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展览预告｜日本波普艺术先驱——冈本信治郎（Shinjiro Okamoto）个展

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日本波普艺术先驱——冈本信治郎个展

Solo Exhibition of Shinjiro Okamoto:

The Pioneer of Japanese Pop Art

展期 Duration｜2020.8.15 - 9.30

开幕 Opening｜2020.8.15 3:00pm

地点 Venue｜東京画廊+BTAP

（北京市朝阳区798艺术区陶瓷三街E02）

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東京画廊+BTAP荣幸的宣布将于2020年8月15日-9月30日，举办日本艺术家冈本信治郎（Shinjiro Okamoto）个展。届时将于BTAP空间展出冈本幸治郎从1954年以来的，在创作各个阶段极具代表性的六件/组作品，其中包括曾在1964年获”首届长冈现代美术馆奖展”大奖的“十个印第安人”系列作品、1966年首次在東京画廊举办个展展出的“虫世界”系列作品，以及1980年代反思战争创作的“樱花”系列。是在年初冈本信治郎去世之后，東京画廊+BTAP对其艺术生涯的一次回望。

Tokyo Gallery+BTAP is honoured to announce the forthcoming solo exhibition of the Japanese artist, Shinjiro Okamoto, which will take place from 15th August to 30th September 2020. Six sets of works by the artist from the 1950s will be displayed in the BTAP gallery space, including the Ten Indians series which was awarded Grand Prize at ‘The Museum of Contemporary Art Nagaoka Prize’ exhibition in 1964, the Insect World series shown in the 1966 solo exhibition at Tokyo Gallery, as well as the Cherry Blossom series from the 1980s that reflects on war. This exhibition offers a retrospective overview of the artistic career of Shinjiro Okamoto after the artist’s decease earlier this year.

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冈本信治郎是公认的日本波普艺术先驱，但他本人却不太认同这个外界给予的称号。我想这是因为他的艺术有着更复杂的多面性，也正是因此，其艺术尚未被充分认识。冈本艺术的复杂面貌可以从他以下自述中领略一二：“日本文学界有纯文学的芥川奖型。大众文学的直木奖型。两者之间的中间型分类也成立，我的绘画包含了所有的类型。或者于超越处思考着一切”。他的作品称为“观看与阅读的绘画”，信息量非常大。细品之，辛辣幽默的画面充满各种巧妙的知性埋伏，扁平的线面和明亮的色彩透露着统一而又背反的丰富消息。

1933年出生的冈本信治郎，少年期恰逢日本“终战前后”的激变时代。“鬼畜美英”一夜之间化作全民向往的理想国度，昨天的正义今天却变成罪恶。敏感年龄段经历的全社会价值观反转和所信真实的幻灭，从根基上影响着其日后的艺术创作。他对时代和社会的批判态度，对主流价值观的怀疑和距离感；他把“实在”视为其实“不在”的影子，把现实事物进行虚构化处理的表现形式；他既通俗又深奥，既立足世俗社会又远离常俗观念的两义性作品内容……都与少年时经历的颠覆性精神冲击有潜在的关系。其深刻的虚无主义批判力和复杂的矛盾性涵盖力，源于其反思人与社会的原初体验。

冈本艺术的突出贡献，在于其开创了与当时既有的绘画、卡通漫画都不同的新类型批评性绘画。这种把日本漫画与现代美术相结合的绘画探索，为后来者提供了启发和借鉴。他早在上世纪60年代前期，就以这种独创的艺术形式获得各种现代美术奖项，并随后走进纽约现代艺术博物馆、苏黎世美术馆等国际艺术殿堂。其先驱性贡献功不可没。今春冈本先生辞世后，东京画廊即筹划纪念活动，作为熟知他个人详情的好友，我也有所参与，期望此展能成为今后持续挖掘冈本艺术复杂内涵和真正价值的开端。

2020年8月王舒野

Shinjiro Okamoto is a widely acclaimed pioneer of Japanese Pop Art, despite personally never having identified with this moniker bestowed upon him by outside observers. I believe this might have to do with the complex versatility of his art, which has made it difficult for some to understand the full scale of his achievements. Two ideas can be teased from Okamoto’s own description below on the complex features of his art: “In the Japanese literary world, you’ve got the Akutagawa Prize for fine literature (or belles lettres), and then there’s the Naoki Prize for popular literature. A middle ground between the two has also been established. My paintings run the gamut of all of these categories. Or perhaps they reflect on everything from a transcendent vantage point.” His works have been called “paintings to be observed and read”, as they comprise a huge amount of information. The sophistication of his paintings lies in their biting sense of humor, as well as the numerous ingenious pitfalls they contain. The two-dimensional lines and surfaces and gaudy color palette reveal a breadth of information that is cohesive yet paradoxical.

Born in 1933, Shinjiro Okamoto’s childhood coincided with post-war Japan’s era of rapid changes. Overnight, the USA and Britain – the “demon allied forces” as they had previously been called – became idealized states revered by the entire population. That which had been considered righteousness in the past, was now regarded as evil. Still at an impressionable age, the young artist experienced a full-fledged reversal of social values as well as the people’s disillusionment of the reality they had previously regarded as true. This ended up influencing his later artistic creations at a fundamental level. A case in point was his critical attitude towards his times and society; his doubt and estrangement vis-à-vis mainstream values; his expressive modalities, which stemmed from the fact that he saw so-called ‘reality’ as a mere impression of something that was in fact ‘absent’; and lastly his fictionalizing treatment of real objects. He was at once conventional and profound. The ambiguity of his oeuvre’s content, as well as the artist’s foothold in secular society while at the same time distancing himself from ordinary ideas, are inherently related to the life-changing psychological impact he underwent during his formative childhood years. His profoundly nihilistic critique and complex, paradoxical thematic coverage stem from his earliest experiences reflecting on mankind and society.

Shinjiro Okamoto’s outstanding artistic contribution lies in his innovative use of a novel, critical style of painting which differed from the types of painting and manga that prevailed at the time. His painterly explorations, which combined manga and modern art, provided inspiration and references for his successors. In the early 1960’s, the artist had already received various art prizes with his original brand of art. His works eventually made their way into noteworthy international art institutions such as New York's Museum of Modern Art (MoMA) and the Kunsthaus Zürich. It’s safe to say his pioneering contributions to the art world cannot go unnoticed. Following Okamoto’s passing in the spring of this year, Tokyo Gallery has put together a commemorative exhibition. As a good friend who is quite familiar with the particulars of his personal life, I am also taking part in the exhibition. It is my hope that this exhibition will lay the groundwork for further delving into the complex nuances and indubitable value of Okamoto’s art.

Wang Shuye – August, 2020

冈本信治郎，1933年生于东京。1952年毕业于都立日本桥高等学校，成为东京凸版印刷有限公司设计师（后在此担任26年的艺术总监）。在此期间，他开始自学水彩画，先后在日本水彩画展和二纪展等展览上展出作品。1956年于村松画廊初次举办个展，同年，他与吉田吉惠等人共同创办了“制作会议”艺术小组。乔治·修拉的新印象派作品启发冈本使用明亮、生动的色彩和简单的形式来描绘当代的疾病和不安。1956年，冈本在“读卖 Independent展”展出作品，并在1962年和1963年的“Shell艺术奖展”中获佳作奖，1964年再获首届长冈现代美术馆奖展的大奖。在此期间，冈本信治郎发表包括《圣风景》和《十个印度人》等这些有着滑稽形象但背后却蕴藏着无限空虚感的画作，并相继在日本和国外的几家博物馆展出了他的作品。1964年，冈本信治郎参展了在京都国家现代艺术博物馆举办的“现代美术动向”展览。1965年参展了在苏黎世美术馆举办的“现代日本美术15人展”、纽约现代艺术博物馆（MoMA）举办的“新日本绘画雕塑展”。1968年，冈本在日本协会的邀请下访问了美国，游览了纽约、美国其他城市以及欧洲并进行巡回展出。1969年，他在“当代日本艺术”展览中获得前沿奖。从1979年开始，冈本信治郎还举办过多次个展：1979年在池田20世纪美术馆举办“冈本信治郎的世界——25年之记录”；1998年在新泻市美术馆举办个展“冈本信治郎的世界展览——东京少年”；1998年在神奈川显立近代美术馆举办个展“冈本信治郎展——笑的宇宙全景馆”；2001年在池田20世纪美术馆举办个展“冈本信治郎——笑的雪月花（翻滚的樱花）”；2008年在東京画廊 + BTAP（北京）举办个展“冈本信治郎的宇宙全景馆（笑的哲学1950-2001)”。自此，冈本信治郎作为日本波普艺术先驱艺术家为大家熟知。2020年4月，冈本信治郎在日本镰仓因病去世，享年86岁。

東京画廊＋BTAP（北京）即将展出

日本波普艺术先驱——冈本信治郎（Shinjiro Okamoto）个展