Page 245 - 亚洲二十世纪及当代艺术

ฆ
f̋ᖸݰІʃᛓഹɹЀ޴ෂٙ
“My existence is a constant venture.”
ฆf̋ᖸݰІʃᛓഹɹЀ޴ෂٙ “ M y e x i s t en c e i s a c on s t a n t v en t u r e . ”
͖ˌ݂ԫڗɽdவԬ˜ᚮቾᕩᕨ™
͖ˌ݂ԫڗɽ dவԬ ˜ᚮቾᕩᕨ™ — Izumi KatoIzumi Kato
—
ဧܝ͵ᅂᚤഹ˼ٙ௴Ъʿρ֞ᝈ d
ဧܝ͵ᅂᚤഹ˼ٙ௴Ъʿρ֞ᝈd
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dί኷
ԴՉʔ˸ഒ࿁ഛెމ๟ᖬ
ԴՉʔ˸ഒ࿁ഛెމ๟ᖬdί኷ Izumi Kato, an up-rising contemporary Japanese artist, was
born in 1969 in Shimane prefecture. Despite aspiring to be a
ܝ˸̔ஷ˖ʷ˴ኬٙ˚͉ᖵእІ b o r n i n 1 9 6 9 i n S h i m a n e p r e f e c t u r e . D e s pi t e a s pi r i n g t o b e a
ܝ˸̔ஷ˖ʷ˴ኬٙ˚͉ᖵእІ
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ϓɓ࢕ f՟ҿ׵І್ຬي d̋ᖸ f football player and a rock musician, he unexpectedly gained
ϓɓ࢕f՟ҿ׵І್ຬيd̋ᖸ
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admission to the Oil Painting Department of Musashino Art
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ݰۍ֐୞ᗫءഹ˜ɛ™dՉ௴Ъ
ݰۍ֐୞ᗫءഹ ˜ɛ™ dՉ௴Ъ
University. After graduating in 1992, during Japan’s economic
ڢ ݲ ࡡ ֐ ௅ ໝ ٙ ֧ͩ ኣ ೥ U n i v e r s i t y . A f t e r g r a d ua t i n g i n 1 9 9 2 , d u r i n g J a p a n ’ s e c o n o m ic
ڢݲࡡ֐௅ໝ֧ٙͩኣ೥
ଣׂၾϼɿ
༸͛
༸ᅃ຾‘ʕ
ଣׂၾϼɿ༸ᅃ຾‘ʕ˜༸͛ c crisis, he even worked as a construction worker for several
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ɓ dɓ͛ɚ dɚ͛ɧ dɧ͛ຬي ™ years. It wasn’t until he turned 30 that he finally followed his
ɓdɓ͛ɚdɚ͛ɧdɧ͛ຬي™
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ʔፑϾΥ dהᖭྡᙜ߰ή̮͛ي e true calling in art, stating, “I knew it was a risk, but I also felt
ʔፑϾΥdהᖭྡᙜ߰ή̮͛يe
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eɧ݋਼ɛᖕ
ᖬ७ࣛ˾ௗ෧
eڢ
ᖬ७ࣛ˾ௗ෧eɧ݋਼ɛᖕeڢ t that failure was inconsequential. If I hadn’t made that decision
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ݲࡡ͛௅ໝ d฽׸˿ɛᑌซՑߣ a t t h e t i m e , I p r o b a b l y w o u l d n ’ t h a v e s u r v i v e d . I w a n t e d t o
ݲࡡ͛௅ໝd฽׸˿ɛᑌซՑߣ
at the time, I probably wouldn’t have survived. I wanted to
establish a connection with the environment and society
d
dɛग़Υɓ
eಔي
Յ
e׺ᔥഃ
Յeಔيe׺ᔥഃdɛग़Υɓd e s t a b l i s h a c on n e c t i on w i t h t h e e n v i r on m e n t a n d s o c i e t y

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൴್Іඅ dᙘϞᜳ׌ၾഁॆ fߎ through painting.” In the year 2000, his original creations
൴್ІඅdᙘϞᜳ׌ၾഁॆfߎ
of “otherworldly creatures” gained public attention and
ጌߕஔ᎜᎜ڗ₢ɻ௫ಀ൙ᄆ̋ᖸ
ጌߕஔ᎜᎜ڗ₢ɻ௫ಀ൙ᄆ̋ᖸ o f “ o t h e r w o r l d l y c r e a t u r e s ” g a i n e d p u b l ic a t t e n t io n a n d
widespread acclaim. In 2007, he was invited by American
ݰj
˜
˼ٙЪۜ୭ᕎəГ˙ᖭ೥
ݰj˜˼ٙЪۜ୭ᕎəГ˙ᖭ೥ w i d e s p r e a d a c c l a i m . I n 2 0 0 7 , h e w a s i n v i t e d b y A m e r ic a n
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ආʷሞٙ᜗ӻdϞ؇˙ٙe˚͉
ආʷሞٙ᜗ӻ dϞ؇˙ٙ e˚͉ c curator Robert Storr to the Venice Biennale, marking a new
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era in his artistic career. Subsequently, he collaborated with
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ٙ˖ʷ˕ᅟ d೓ν੽Ⴣ̚Ї͊Ը e n r t a i r n h t i io n a r t l g s a t ic c r i a e r s s e u r . S h a b s P e e q r u r e n i t n a , h d S t o e ll p a h b e o n F t r e e d w i a t h
ٙ˖ʷ˕ᅟd೓ν੽Ⴣ̚Ї͊Ը
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international galleries such as Perrotin and Stephen Friedman
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ٙœၚᜳdί̴ࡁԒɪ޶ʔՑ࿁
dί̴ࡁԒɪ޶ʔՑ࿁
ٙ œၚᜳ Gallery, constantly pushing the boundaries of new media, and
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І್ٙࢵᙰdɰҬʔՑዝ̦Ӑࠠ h e l d s o l o e x h i bi t io n s i n r e n o wn e d a r t m us e u m s w o r l dw i d e .
dɰҬʔՑዝ̦Ӑࠠ
І್ٙࢵᙰ
held solo exhibitions in renowned art museums worldwide.
ٙ̍ൔ iҢࡁၾ˼ٙ œၚᜳ೓
ٙ̍ൔiҢࡁၾ˼ٙœၚᜳ೓
His works are held in numerous esteemed institutions,
˚͉ᖬ७ࣛ˾ௗɺᎉ෧
˚ ͉ ᖬ ७ ࣛ˾ ௗ ɺ ᎉ෧ H i s w o r k s a r e h e l d i n nu m e r o us e s t e e m e d i n s t i t u t io n s ,
νஈίεၪ٤ගʕ dۍঐପ͛࿁ i including the Centre Pompidou in France, the National
νஈίεၪ٤ගʕdۍঐପ͛࿁
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༑ٙᅎૐf™ೌᕚ‘௴Ъ׵ 2004 ϋd݊ᖵஔ࢕ܸ̙֡ᅰٙɽˉష
༑ٙᅎૐ f ೌᕚ‘௴Ъ׵ 2004 ϋ d݊ᖵஔ࢕ܸ̙֡ᅰٙɽˉష Museum of Modern Art in Tokyo, the 21st Century Museum of
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Ϙಂ˾ڌЪ
Ϙಂ˾ڌЪdމཀ̘שር̦ʕᖵஔ࢕ 1990 Ї 2004 ϋୋɚɽˉʂʘ Contemporary Art in Kanazawa, the Tai Kwun Contemporary
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Ъd݊ϣ࠯ϣᙑ̈dᗭঐ̙൮l i in Hong Kong, the Red Brick Art Museum in Beijing, and the
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Long Museum in Shanghai. .
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ࠠڏຬي͉ː
ࠠ ڏ ຬي ͉ ː
Enchanting Spirits: Myth and Nature
E n c h a n t in g S p ir i t s : M y t h a n d N a t u r e
̋ᖸݰႩމ߰ਗ਼ЪۜնΤึࠢՓᝈ଺ܠϽdϾЪ͉ۜԒʔึΪೌΤ
̋ᖸݰႩމ߰ਗ਼ЪۜնΤึࠢՓᝈ଺ܠϽ dϾЪ͉ۜԒʔึΪೌΤ
“In my homeland, Shintoism, Buddhism, and
Ͼ཭̰Έ੹dΪϤ˼ϞจʔމЪۜ՟Τfν؈ਗ਼̋ᖸݰٙ௴Ъ̦ఏ “ I n m y h om e l a nd , S h i n t oi s m , B u d d h i s m , a nd
dΪϤ˼ϞจʔމЪۜ՟Τ
fν؈ਗ਼̋ᖸݰٙ௴Ъ̦ఏ
Ͼ཭̰Έ੹
animism intertwine. Influenced by my upbringing,
Ъɓ͉ࣣ
ʃˮɿ‘ഁࣣʕٙᓿసୌ໮
Ъɓ͉ࣣdՉϘಂЪۜɓνʃˮɿ‘ഁࣣʕٙᓿసୌ໮dߗɛర a n i m i s m i n t er t w i n e . I n f l u en c e d b y m y u pbri n g i n g ,
dՉϘಂЪۜɓν
dߗɛర
n
y
s i
v
s
i
. I a
everything there possesses its own life. I am aware
e p
բ f ೌᕚ‘౜ᖭəɛί܀౤ࣛಂٙɧ၇ϓڗ᜗࿒ d೥ʕɧࡈ˴ԉ߰ e h er t t t h h e f g t u h r er s I p o a s i s n e t a s r e e n t o s o w e n l i i f f i e c i n d m a w a l r s e ;
բfೌᕚ‘౜ᖭəɛί܀౤ࣛಂٙɧ၇ϓڗ᜗࿒d೥ʕɧࡈ˴ԉ߰
c
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g
d
ua
a
i
i
i
e
v
t s
that the figures I paint are not specific individuals;
p
஗ɓᄴீ׼ٙᑛᇫჀ႟dቃ࿊႒⟣ৎͿd࿴ிЧʃˮɿ஗ɽɛࡁႬ
஗ɓᄴீ׼ٙᑛᇫჀ႟ dቃ࿊႒⟣ৎͿ d࿴ிЧʃˮɿ஗ɽɛࡁႬ rather, they are depicted in human form. It could be
d i
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e
orm
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༆ܝՍจࠠᖭٙ
༆ܝՍจࠠᖭٙ˜ஊч൥™ʫ༁f̋ᖸݰ߰ˏ͜ϤՊ݂d੽Յഁൖ y ou , or i t c ou l d b e m e . I do n o t k n o w w h o i t i s , u s i n g
d੽Յഁൖ
˜ஊч൥™ʫ༁
f̋ᖸݰ߰ˏ͜ϤՊ݂
you, or it could be me. I do not know who it is, using
dɛي˸ලމ
ԉൖᙂʷɛᗳ̼ࣛٙ͛նাኳfЪۜ˸޻ͣЍމߠ౻dɛي˸ලމ an anonymous individual like this. What captivates
fЪۜ˸޻ͣЍމߠ౻
ԉൖᙂʷɛᗳ̼ࣛٙ͛նাኳ
k
i
n a
p
s
i
. W
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on
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v
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i
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˴Ѝdߎeၠމᓃၢd༕ᙑ͛նٙɧ၇စᜊfՉʕd௰̸ᗙ̬ٮФ
˴Ѝ dߎ eၠމᓃၢ d༕ᙑ͛նٙɧ၇စᜊ fՉʕ d௰̸ᗙ̬ٮФ my attention is not the individual, but the essence of
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d
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e i
u
t t
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en
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t
s
v
s
o
࢝ٙ୚ڗҖ൥dν୚ߤʱ൓ڋϓٙߝߣdᕙЍʝ໾ٙၠЍ୚ߤၾߎ
࢝ٙ୚ڗҖ൥ dν୚ߤʱ൓ڋϓٙߝߣ dᕙЍʝ໾ٙၠЍ୚ߤၾߎ e x i s t en c e i t s el f . ”
existence itself.”
ЍА၍ஹഐഹ͎᜗ᔘ੭dрɢආʷϓۨfϾ୅ͦЇ̛dᏃՅկկᄥ
ЍА၍ஹഐഹ͎᜗ᔘ੭ dрɢආʷϓۨ fϾ୅ͦЇ̛ dᏃՅկկᄥ
— Izumi KatoIzumi Kato
—
ήd̋ᖸݰ˸๰ͣᓃ̈ᕐ଻dΎତνΝڋ༾˰ޢٙୋɓ༸Έ੹f˸
f˸
dΎତνΝڋ༾˰ޢٙୋɓ༸Έ੹
d̋ᖸݰ˸๰ͣᓃ̈ᕐ଻
ή
o
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ฮලכᖭٙԒ᜗ฮఏ૿ӗᓛᘚٙڋ͛াኳ fΎ޶೥͍ࠦʕ d࠶ٶٙ I Izumi Kato’s hometown, renowned as “Izumo Province,” is
ฮලכᖭٙԒ᜗ฮఏ૿ӗᓛᘚٙڋ͛াኳfΎ޶೥͍ࠦʕd࠶ٶٙ
c
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dᔧႊՉɪٙᑛᇫ஼နऊ౳
̶Ꮓᕐၺɪ౮dᔧႊՉɪٙᑛᇫ஼နऊ౳dཫͪՉભ୭ᑂሏኪึᔕ the birthplace of ancient Japanese culture and myths. In
̶Ꮓᕐၺɪ౮
dཫͪՉભ୭ᑂሏኪึᔕ
p
m d
n
c
e
”
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a
d஼ӉኹϞІ˴׌
Ԓ
dᑕ᎔෥෥ٙߎЍၾᓃຒٙ˜˫ͣЀ࿊
Ԓd஼ӉኹϞІ˴׌dᑕ᎔෥෥ٙߎЍၾᓃຒٙ˜˫ͣЀ࿊dˈᜑ the ancient Japanese term divine was explained as “Kami”
dˈᜑ
e
r
s
i
, b
o
– divine beings encompassing all living creatures, be
͛նɢfͦΈɪԚd೥ࠦჃஈ᜷್৪ତɓЗታԑٙ܀ഁd߰ᖵஔ࢕ – d i y v m n a e b vol i n g s e r n b c en m e p a s en i t n . g a o ll l i i n v g i n u g c K e a a t o t u r i s e t s en e e
fͦΈɪԚ
d೥ࠦჃஈ᜷್৪ତɓЗታԑٙ܀ഁ
͛նɢ
d߰ᖵஔ࢕
en
G
r

,
e
o
w
d
l
they malevolent or benevolent. Growing up, Kato listened
e
t
vol
p
l
t
h
ІԒא൴್׼ᙂٙୋɧ٫͍ᄲൖ଻ۃவ͛նٙዝ೻f
ІԒא൴್׼ᙂٙୋɧ٫͍ᄲൖ଻ۃவ͛նٙዝ೻f
d
t
l t
a
n
a
n
h
c
l t
n t
u
e
t
i
e
o
r
a
t
to fantastical tales passed down through oral tradition,
i
o
l
s
a
w
t
i
g
o
d d
h o
s p
s
o f
r
a
a
s
r
a
,
which influenced both his artistic creations and his cosmic
ࠠܽᖭ೥ܝ d̋ᖸݰࠠอჯࢻ ˜ग़™ٙԉЍ d̴ৰəСᚐ eһ੭Ϟ wh ic h i n f l u e n c e d b o t h h i s a r t i s t ic c r e a t io n s a n d h i s c o s m ic
ࠠܽᖭ೥ܝd̋ᖸݰࠠอჯࢻ˜ग़™ٙԉЍd̴ৰəСᚐeһ੭Ϟ
perspective, establishing his unique position within Japan’s
І್ޢ൴ɛٙหޡʘɢd౤፴˰ɛᏐࣛՍᕿϞᑹ՚ʘːdϤЪ͵Ԋ p e r s p e c t i v e , e s t ab l is h i n g h is u n i qu e p o s i t i o n wi t h i n Jap an ’ s
d౤፴˰ɛᏐࣛՍᕿϞᑹ՚ʘː
І್ޢ൴ɛٙหޡʘɢ
dϤЪ͵Ԋ
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Ⴍə˼ٙρ֞ᝈf຅ʕɽඎٙवͣdഗɛ˸˜ɽဋ֘๧ٜ™ٙ٤ᖄ p o s t - war ar t s c e n e
Ⴍə˼ٙρ֞ᝈ
˜ɽဋ֘๧ٜ™ٙ٤ᖄ
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ชdၾɧ༸ሯዎٙଉЍҖϓᒻ׼࿁ˢdᙕᙑəӊɓϓڗࣛՍԢ೻຦
ช dၾɧ༸ሯዎٙଉЍҖϓᒻ׼࿁ˢ dᙕᙑəӊɓϓڗࣛՍԢ೻຦ dominated by cartoon
.
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fϾჃஈٙ
dᛖϖ̈͛ն͉ঐΣජϾ͛ٙೌᇊɢඎ
όٙจ່dᛖϖ̈͛ն͉ঐΣජϾ͛ٙೌᇊɢඎfϾჃஈٙ˜ᝈ࿀ culture. His creative
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٫™ dᖭ̈ࡈ᜗ʘ׵ρ֞ຬيٙ಺ʃ d࢝ତ੶डٙੵɢˀࢨ f޴ˢ̋ philosophy aligns with ,
٫™dᖭ̈ࡈ᜗ʘ׵ρ֞ຬيٙ಺ʃd࢝ତ੶डٙੵɢˀࢨf޴ˢ̋
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Lao Tzu’s Tao Te Ching,
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ᖸݰܝԸٙڐ྅˜तᄳ™ၾᎉ෧dϘಂЪۜһءࠠՍ೥͛նආ೻d
ᖸݰܝԸٙڐ྅ ˜तᄳ™ၾᎉ෧ dϘಂЪۜһءࠠՍ೥͛նආ೻ d which states, “The Tao
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ᒔࡡ຅˾ٟึॹ̰ٙ̚ዎၾ͉ॆdЪۜ؟ఖग़।ϾٜᏘɛːdᜫɛ
ᒔࡡ຅˾ٟึॹ̰ٙ̚ዎၾ͉ॆ dЪۜ؟ఖग़।ϾٜᏘɛː dᜫɛ gives birth to the One, One
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d͍݊ˏჯ̋ᖸݰίᖵஔڽᎈʘࣚʕॐ
ཀͦᗭҙ
ཀͦᗭҙfவɓࣛಂٙЪۜd͍݊ˏჯ̋ᖸݰίᖵஔڽᎈʘࣚʕॐ g gives birth to Two, Two
fவɓࣛಂٙЪۜ
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ᘥۃБٙଉՍᄳ๫f gives birth to Three, and
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