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15        ୚ʇॆҎ b.1980                        Maki Hosokawa

                  რʕ੗ʾಷᜦ                             Campbell’s Girl’s Mate Soup
                  Ꮐдɢ੹ ೥̺                            Acrylic on canvas
                                                                    7
                  ɚ㖼ɚɓϋЪ                             116.7 x 91 cm. 46 × 35  /8 in.
                                                     Painted in 2021
                  ಛᗆ
                  No.2117 ಅЍੰᘒ რʕ੗ʾಷᜦ 2021 Maki€೥    Titled in Japanese, signed in English, numbered and
                                                     dated on the reverse
                  ߠ
                                                     LITERATURE
                  ̈و                                 2021, Maki Hosokawa Art Works 2021, Gallery Cellar,
                  2021 ϋd୚ʇॆҎЪۜණ 2021‘dήഀ೥఼d        Tokyo, p.17
                  ؇ԯdୋ 17 ࠫ
                                                     EXHIBITED                            ୚ʇॆҎˌൖيႧ ᖭ।Չܓ
                  ࢝ᚎ                                 25 Jan – 10 Feb 2022, Maki Hosokawa, Gallery Cellar,   ɚɤʞ ɷ̬ϵຬ  ɰ‘dᏀдɢ
                  2022 ϋ 1 ˜ 25 ˚Ї 2 ˜ 10 ˚d˜୚ʇॆҎ™d  Tokyo                                ੹ ˝ ؐd116.5 x 91 cmd2018 ϋ
                  ήഀ೥఼d؇ԯ                            PROVENANCE                           Ъdשርϓʹᄆ 468,400 ʩಥ࿆
                                                     Gallery Cellar, Tokyo
                  Ը๕
                  ؇ԯήഀ೥఼                             Private Collection, Asia
                  ԭݲӷɛϗᔛ
                  HKD 180,000 – 250,000
                  USD 23,100 – 32,100














        ৪ڥɛ͛͑ʔணࠢ                                          A Life of Sparkle Has No Limits
        ୚ʇॆҎഅɨٙϵᜊɾ܀                                       Maki Hosokawa’s Girl of Variety
        2023 ϋࢀ֙˦ߎٙཥᅂټˢ‘Ύɓϣਗ਼˜ɾ׌ɢඎ™ٙᙄᕚ౤̈d                 In the summer of 2023, the hit film Barbie once again raised the topic of
        ᄌʕ˜ټˢʔ̥݊ɓЗᔼ͛dɰ݊ɓΤܛࢪd˸ʿܘεܘεԒ΅™ٙ                    “women’s power” and called for breaking down gender barriers in the
        ̨൚խᝫ͂ॎᔖఙ׌йᖴᝅdˏ೯஢ε΍ჼfᎇഹ 21 ˰ߏɾ׌จᗆ                  workplace, which resonated with us. As the 21st century witnesses the
                                                          further awakening of women’s consciousness, more and more women
        ٙආɓӉᙂ፴dฏԸฏεٙɾ׌ۇ౲೯ΈdϾ˚͉ 80 ܝᖵஔ࢕୚ʇ                  are taking the plunge, and one of them is the post-80s Japanese artist
        ॆҎуމՉʕɓЗdμ˸˚͉̔ဘٙ฽ᔊᇞૢձε੹̻ٙ෩ɪЍd೥                    Maki Hosokawa. She uses the minimalist lines of Japanese cartooning
        ̈ዹՈ˾ڌ׌ٙ˜ɽ଻ɾ܀™ձμࡁഘᙻٙ˰ޢfɾ܀ࡁϞࣛʷԒ                     and flat colours to create her iconic “girls with big eyes”, who are drawn
        ฌᘆകྫྷ༷̀ྤdϞࣛ߈૞׵༺˖Г€Leonardo da Vinci௰ܝٙ           in the scenes of Leonardo da Vinci’s The Last Supper, or Kouki Tsuchiza’s
        ૉ᎛‘e˚͉Ϫ˒Τ࢕ɺРΈৎٙ๕ˤيႧ‘ഃΤЪd੭ԸΌอٙ                    The Tale of Genji, to bring forth a whole new imagination. In 2004, at the
        ซ൥f                                               age of 24, she won the Bronze Prize as a newcomer at GENSAI organised
                                                          by Takashi Murakami. In recent years, she has held solo exhibitions in
        2004 ϋdϋස 24 ๋ٙ୚ʇίӀɪඤ˴፬ٙ GENSAI ᖵஔୄɪ˸อ            Tokyo and Seoul, and has become a favourite among collectors. Her
        ɛԒ΅ᐏ੻ზᆤdɓჼᜓɛfڐϋԸdμ׵؇ԯe࠯ဧഃήᑘ፬ࡈ                     works are also collected by the important New York collector Pigozzi.
        ࢝d௪աᔛ࢕ఃฌdՉЪԨމॲߒࠠࠅᔛ࢕ͤˑᄁ€Pigozziϗᔛf                2021, Maki Hosokawa created a series of works featuring “big-eyed
        2021 ϋd୚ʇॆҎ౪ˏ౷౷ᖵஔɽࢪӜஃ€Andy WarholഹΤٙ             girls”, citing Pop Art master Warhol’s Campbell’s Soup Cans, of which
       ੰᘒಷᜦ᎘‘d௴Ъəɓӻΐ˸˜ɽ଻ɾ܀™މ˴ԉٙЪۜd˸ݺᆌ                    Campbell’s Girl’s Mate Soup is one of the most iconic.
        ٙ̔ဘࠬࣸ࢝ᚣ୚ጰۍ਺දٙɾ׌ঐඎf݊ϣٙრʕ੗ʾಷᜦ‘у                    The bright orange soup can appears in the centre of the work, with
        މՉʕ຾Պf                                            white clouds floating above it, and the logo on the can is painted in
        ᒻᜮٙ၂ɽዐЍಷᜦ̈ତίЪۜʕːdՉɪᙗഹϢϢͣථdᜦɪਠᅺ                    clashing blue colours. The background of the soup can is divided into
        й̈ː൒ή˸ᔝЍᅜЍᖭ̈d׼తݺᆌfಷᜦմԒߠ౻஗ྌʱމ੭ت                    polka dot squares, showing eight girls who are best friends. They
        ᓃٙ˙ࣸd࢝ତ 8 Зრ႓ɾ܀fμࡁ̙݅˸݊߈Փ؂ٙɾኪ͛eഹ४                  can be schoolgirls, ballet dancers, florists, waitresses, violinists,
        ߎ६໽ٙټᑜႀ٫e˖ڡࠬࣸٙڀֳϼᒮeࠬܓᇨᇨٙԲᏐ͛eᎴඩ                    policewomen, doctors, scientists with bangs, etc. They are like Barbie
        ٙʃ౤ೞစ۱࢕dᒔ̙˸݊܏ंٙɾᙆe଀௹ٙᔼ͛eࣰഹࡈ׌ᖑގ                    with multiple identities, demonstrating the infinite possibilities of
                                                          female power and making a name for themselves in various fields. In the
        ᎘ٙ߅ኪ࢕ഃdҗ߰ՈεࠠԒ΅ٙټˢd࢝ତɾɢٙೌ̙ࠢঐdί΢                    centre of the can is a scene of a blonde girl and a kitten washing up and
        ჯਹ̧䂢ࠬථfϾᜦ᎘ʕːۆ݊ږቻɾ܀ձʃ፟ݹဓeτွٙఙ౻d                    sleeping peacefully, with the words “Girl’s mate balanced good” written
        ৣɪ˸ߵ˖ࣣᄳ˜ɾ܀̙˸Ԅλ̻ፅ™ٙ൚Ⴇd߰ԊႭ˴ɛʮϞঐɢ                    in English, suggesting that the protagonist has the ability to balance
        ̻ፅʈЪձӷɛࣛගd੻ՑΌࠦ೯࢝fᜦɪ˸ߎοᄳ̈መεɾɿ֑Τd                   her work and private time, and to achieve all-round development. The
        νΝᖵஔ࢕Іணٙ˜Τɛੀ™dਗ਼˚੬͛ݺʕዹɓೌɚٙɾ׌୚ᇘήთ                   names of the women are written in red on the canisters, like an artist’s
        ՍdਂІҢٙ˜ೌᄆʘᘒ™f୚ʇॆҎ˸˂ॆᙻဘٙɽ଻ɾ܀რ႓ྠ೥                   own hall of fame, inscribing the unique women of everyday life as
        ̈ʔணࠢٙɛ͛dོᎸɾ׌ɽᑔݺ̈ІҢࠬڕdڬͤϾาːf                       priceless treasures of the self.

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