展览现场｜ 井口真吾 Shingo IGUCHI 个展「形、色与看不见的世界」The Invisible World

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Shun Art Gallery · Shanghai

熏依社画廊荣幸宣布为日本艺术家井口真吾在上海空间举行个展 「形、色与看不见的世界」，此次展览为井口真吾在中国的首次个展览。作为漫画家的井口真吾，于1984年以漫画角色“Z CHAN”的世界为基础，发起“Z计划”，探索角色在虚拟世界的可能性，通过漫画、绘本、诗歌、绘画、表演、音乐等形式呈现了充满哲学暗示、折叠了三个时空的世界。

1994年，井口又创造了Vanrogh，一只来自“看不见的世界”的“熊”，它身上的拉链便是通往“看不见世界”的入口......热爱哲学的井口，巧妙地把禅宗的思想融入故事，人物以“禅问答”「ぜんもんどう」的方式对话。如果追溯哲学的缘起，最早的语言方式便是提问与回答，启迪不会因为晦涩的语言把渴求真理的人拒之门外。

In 1994, Iguchi created Vanrogh, a "bear" from the "invisible world", and the zipper on its body is the entrance to the "invisible world"... Inguchi, who loves philosophy, cleverly integrates Zen thoughts into the story, and the characters talk in the form of "Zen Questions and Answers"「ぜんもんどう」. If we trace the origin of philosophy, the earliest form of language is question and answer. Enlightenment will not shut out those who are thirsty for the truth because of obscure language.

井口 真吾Shingo IGUCHI

于光明中拯救灵魂 SAVE OUR SOULS IN THE LIGHT ‍

布上丙烯 Acrylics on Canvas‍

（F20）72.2×60.6cm

2023

自2000年起，井口将创作转向当代艺术领域。他将“Z CHAN”漫画的构成要素拆解、重构，简单的黑白轮廓线构成空间表现的基底，简洁、鲜明的色彩平铺，以及时常出现的凸起的可爱圆点，形成井口标志性的绘画风格。

Since 2000, Iguchi has shifted his creation to the field of contemporary art. He dismantled and reconstructed the elements of the "Z CHAN" comics. Simple black-and-white outlines formed the basis of spatial expression. Simple, bright color tiles, as well as cute raised dots that often appear, form Iguchi's signature painting style.

井口也是运用和创造符号的高手。画面中的108个点，108自古以来就是一个神圣的数字，比如，佛教的断除一百零八种烦恼。椭圆画框也是一个由108个点组成的零的形状被命名为“莲花环”，它是连接“Z CHAN”世界的大门。

Iguchi is also a master of using and creating symbols. There are 108 points in the picture. 108 has been a sacred number since ancient times. For example, Buddhism means to eliminate one hundred and eight kinds of troubles. The oval picture frame is also a zero shape composed of 108 points and is named "Lotus Ring". It is the door to the world of "Z CHAN".

再比如，守护在ROSE身边的KATO这个人物，在故事开始很久以前他就存在，随时随地都存在，有时会以黑KATO白KATO的对立形象出现，隐隐地指向人类的先验灵魂。玩味艺术家的相当数量的符号，符号之间嬉戏、散播、绵延，成了故事中强韧的纤维，变得有机、可生长起来。

For another example, the character KATO who protects ROSE existed long before the story began and exists anytime and anywhere. Sometimes he appears in the opposite image of black KATO and white KATO, vaguely pointing to the transcendental soul of man. Playing with Iguchi’s numerous symbols, which play, spread, and extend, becoming strong fibres in the story, becoming organic and growable.