細節
鴻池朋子
第三章《遭難》
壓克力 水墨 和紙 裱於木板 (七聯作)
2005年作
簽名:Tomoko Konoike

來源
亞洲 私人收藏

展覽
2005年3月29日-6月19日 「Story Tellers: Stories Behind Pictures」森美術館 東京 日本
2006年4月28日-5月28日 「Chapter 0- A World of Never-Ending Wonder, Secret and Mystery」大原美術館有隣荘 岡山 日本
2009年7月18日-9月27日「鴻池朋子 Inter-Traveller」東京歌劇城畫廊 東京 日本
2009年10月9日-12月6日「鴻池朋子 Inter-Traveller: 十二匹的詩人紀錄集」 霧島美術館 鹿兒島 日本

出版
2005年4月《藝術之窗》生活之友出版社 東京 日本 (圖版,第127頁)
2005年5月《東京月曆》Access出版社 (圖版,第185頁)
2005年5月26日《朝日新聞》朝日新聞社 東京 日本 (圖版,第16頁)
2005年6月《東京月曆》Access出版社 (圖版,第169頁)
2005年6月《藝術手帖》藝術出版社 東京 日本 (圖版,第22頁)
2005年《鴻池朋子》Mizuma Art Gallery 東京 日本 (圖版,無頁數)
2005年7月-8月《SEVEN》e-marketing (圖版,第116-117頁)
2005年11月《Mac Power》 (圖版,第170頁)
2007年2月《Art Journal》Art Journal出版社 東京 日本 (黑白圖版,第122頁)
2007年2月《kyo》秋田魁新報社 (圖版,第9頁)
2007年《藝術武士:日本當代藝術家》Kodansha國際有限公司 東京 日本 (圖版,第58及59頁)
2007年《ArtAsiaPacific》Elaine Ng編 紐約 美國 (圖版,第90頁)
2008年5月《Illustration》玄光社 東京 日本 (圖版,第39頁)
2008年3月《The Power of Contemporary Japanese Art》Ascii 有限公司 東京 日本 (圖版及黑白圖版,第38及151頁)
2009年9月 《藝術新潮》新潮社 東京 日本 (圖版,第114頁)
2009年《狼的軌跡 鴻池朋子展 The Making of Inter-Traveller: 十二匹的詩人紀錄集》產經新聞社 東京 日本 (圖版,無頁數)
2009年10月《美術手帖》藝術出版社 東京 日本 (圖版,第196頁)
2009年11月《典藏今藝術》典藏藝術家庭有限公司 台灣 (圖版,第180頁)


深入沉迷在鴻池朋子的創作中會喚醒你每種感官的知覺,並且把你瞬間拉回到兒時冒險的深遠記憶當中。她筆下的每一幅創作都是在她富含創造性的宇宙中的一小部份:與人類歷史本質相同的基本循環圖像。最富代表性的也許就屬《Chapters》了,在這幅畫中的四個舞台以前所未有的生氣勃勃描述出宇宙與人類生生不息的循環。一開始應該倒序由第四章往回溯到第一章,先是以有目的性的曖昧不清帶出最後對於反轉的世界史的好奇與到底是科學秩序或是理性支配著現下我們所理解的生命?這是可以被顛覆的。鴻池朋子的《第三章(遭難)》(Lot 1032)尺幅宏闊,全圖長達6米,是鴻池朋子在拍賣會上首次出現的大型作品。景觀之壯闊,會讓你不由自主的被帶往世界某個被隱埋的角落,就在她心底那片曠野的最深處,那兒充滿了魔法和無盡的可能性。

觀看者被創作者塑造成為「旅者」,與他的呼吸達成一致,然後被鼓勵以這種方法進而用交替的官感來驗證現實。在觀看《第三章 (遭難) 》之前,森林的脈絡似乎被期待成為超自然活動發生的場景。幾世紀以來,在神話與傳說中,森林都是神靈、獨角獸和神秘生物的居所,與現實世界的連結之處,同時也是科學中產生氧氣、給予動物生養、避難、儲蓄精力之處。不單如此,就像在《風之谷》所描述的那樣,森林更是一個寧謐精純和充滿精神力量的神秘所在,也因此常常成為學者隱士們潛心修行的場所。在這幅全景當中,鴻池朋子插入了幾個「狼」人,隨著驚人的巨大心臟所傳出的不知名旋律而翩翩起舞。

對鴻池朋子來說,在身體律動上表達出一致性的狼人是十分自然的,狼掠食肉類,同時也豢養「人類」,古羅馬建國者羅慕路斯與雷穆斯都是由母狼所養大的,在《魔法公主》中人類的守護者也是狼。相對於一般認為狼族總是邪惡放縱的刻板印象,因為對於”狼”這種生物的莫名迷戀使得鴻池朋子在它們身上投注了不可思議又帶著親切的亮度。大自然與人類及動物深纏的糾結使得觀看者開始思考這幾個世紀其中關係的轉變。近年來,人性是否打壞了原本存在於動物與人類、自然環境與工業的平衡?鴻池朋子提供了她的詮釋︰天空滿佈了呈月亮形狀的光點,仿似是自然,實際卻遙指了鋼鐵工業的火點;小小的「螢火蟲」自由飛舞,細看卻原來是鋒利的小刀。各種意象都同時隱含了「自然」及「工業社會」的含義,看似矛盾對立,但在鴻池朋子細膩優美的詩化筆觸描繪下,所有負面、衝突的意味被沖淡,代而起來就是一種和諧並處、安穩寧靜的氣氛。在此一章節中,所有的元素看起來都是和平共存的,豐滿的心臟更擁有驚人的生命力。就像月亮一樣,所有的元素緩慢地往森林的中心移動,進而將觀看者的視線往心臟牽引而去,生氣蓬勃跳動著的心臟,在宇宙的創作中的第三章節表現出來的,也許正是愛的引言。

鴻池朋子優雅的線條表現技巧毫無疑問的來自她曾受過的傳統日本繪畫訓練,在這個奇妙世界裡現實的進化是有可能並且是可信的,這也導致了對我們身處宇宙的「大爆炸」產生了疑問。利用迷幻的色彩,鴻池朋子描繪出畫中每個個體的微妙細節,像是覆蓋在狼身上的皮毛看起來相當溫暖的觸感,地上的蕨類似乎傳送出植物獨特的香氣以及那顆堅實又具有彈性的心臟。圓柱形的樹木佔據了我們的視線並且覆蓋了天頂,觀看者彷彿在一次傍晚的散步中便不小心跌進了這幅畫中。一剎那之間,天空中的所有活動彷彿停滯在我們恰巧經過的那一刻,這也證明了鴻池朋子在現實中創造第四空間的奇妙能力。

《第三章 (遭難) 》不單包含了鴻池朋子最關注的主題及元素,也觸及其他層面,內涵豐富,可以作多層面的探索和解讀。在鴻池朋子後來的創作中,她也常常重複觸及和深入探討這些主題,形成一個創作脈絡,《第三章(遭難)》也因此成為更重要、更具代表性的作品。鴻池朋子的眾多創作,常常圍繞相同主題,但就能從不同角度、不同層面作詮釋,她在這樣的主題中尋找到慰藉並且感到愉悅,也因而使得她的創作呈現清晰的發展脈絡及個人風格。而是也許是這些在我們的童年、科學及人類進化中強力並且具代表性的圖像讓她的作品看起來令人印象深刻並且引起我們的共鳴。她的作品所擁有獨立觀點和個人的詮釋喚起了我們也許在多年前就已經遺忘的世界。持續的推動我們的想像力及冒險的本能,我們在鴻池朋子所建立起的溝通管道中冒險犯難,同時也針對她的觀點之複雜性進行對話。此外,《第三章 (遭難) 》有豐富的展覽記錄,分別在四次大型展覽中展出,作品還被收錄在超過15本雜誌中,包括日本的、《美術手帖》、ArtAsiaPacific雜誌、《藝術武士:日本當代藝術家》及日本的朝日新聞等,吸引了學者、藝壇的高度關注,說明這幅作品在日本當代藝術範疇的美學價值和重要意義。


來源
Private Collection, Asia
出版
Seikatsu no Tomosha, The Window of Arts, Tokyo, Japan, April 2005 (illustrated, p. 127).
Access Publishing, Tokyo Calendar, May 2005 (illustrated, p. 185). 'Storytellers Exhibition' in Asahi Shimbun, Asahi Shimbun-sha, Tokyo, Japan, 26 May 2005 (illustrated, p. 16).
Access Publishing, Tokyo Calendar , June 2005 (illustrated, p. 169).
Geijutsu Shuppan-sha, BT Magazine, Tokyo, Japan, June 2005 (illustrated, p. 22).
Mizuma Art Gallery, Tomoko Konoike, Tokyo, Japan, 2005 (illustrated, unpaged).
e-marketing, SEVEN, July/August 2005 (illustrated, pp. 116-117).
Mac Power, November 2005 (illustrated, p. 170).
Art Journal Publishing, Art Journal Vol. 51, Tokyo, Japan, February 2007 (illustrated in black & white, p. 122).
Akita Sakigake shimbun-sha, Kyo, Vol. 62, February 2007 (illustrated, p.9).
Kodansha International Ltd, Warriors of Art, A Guide to Contemporary Japanese Artists, Tokyo, Japan, 2007 (illustrated, pp. 58-59).
Elaine Ng. (ed.), ArtAsiaPacific, No. 51 , New York, USA, Winter, 2007 (illustrated, p. 90).
Genkosha, Illustration, Tokyo, Japan, May 2008 (illustrated, p. 39).
Yumi Yamaguchi (ed.), Ascii Publishing Co. Ltd, The Power of Japanese Contemporary Art, March, 2008 (illustrated in colour and black & white, pp. 38 & 151).
Shinchosha Publishing Co. Ltd., Geijutsu Shincho, Tokyo, Japan, September 2009 (illustrated, p. 114).
The Sankei Shimbun, On the Trail of the Wolves-Konoike Tomoko The Making of the Inter-Traveller: Twelve Wolf Poets, Tokyo, Japan, 2009 (illustrated, unpaged).
Geijutsu Shuppan-sha, BT Magazine, Tokyo, Japan, October 2009 (illustrated, p. 196).
ARTCO Publishing Co. Ltd., ARTCO, Taiwan, November 2009 (illustrated, p. 180).
展覽
Tokyo, Japan, Mori Art Museum, Story Tellers: Stories Behind Pictures, 29 March-19 June 2005.
Okayama, Japan, Ohara Museum of Art Yurinso, Chapter 0- A World of Never-Ending Wonder, Secret and Mystery, 28 April-28 May 2006.
Tokyo, Japan, Tokyo Opera City Art Gallery, Konoike Tomoko Inter-traveller, 18 July-27 September 2009.
Kagoshima, Japan, Kirishima Open-Air Museum, Konoike Tomoko, Inter-Traveller: Twelve Wolf Poet, 9 October-6 December 2009.

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拍品專文

Reveling in Tomoko Konoike's creations beckons the attention of every bodily sensation and deeply pulls on memories of childhood adventures. Every individual piece she crafts represents but one fraction of her greater creative universe concentrated with essential recurring images and subjects equally essential to human history. Perhaps most representative of this universe is Konoike's "Chapters" which in four stages illustrate the cycle of the universe and humanity with an unparalleled vivacity. Originally meant to be viewed in reverse order from Chapter Four to Chapter One, the purposefully ambiguous first and last chapter prompt curiosity as to what the implications of a reversed world history signifies and whether the scientific laws and rational reasoning which governs current understanding of life, can be challenged. Stretched before your eyes in a six metered panorama, Chapter Three "Wreck" (Lot 1032), the first major piece by Tomoko Konoike to be presented at any auction, is breathtaking in its ability to transport you to a hidden corner of the world, deep inside the wilderness of her mind touched with magic and infinite possibilities.

The viewer is said to be an "inter-traveller", a term coined by the artist, who breezes through worlds at his or her own accord, in such a way as to encourage examining present reality with alternate sensitivity. When brought before Chapter Three "Wreck" , the context of a forest seems an expected setting for paranormal activity to take place. For centuries mythology and folklore has marked the forests as a place where nymphs, unicorns and mystical creatures have said to exist in conjunction to the material world outside. It is equally a place of nourishment and energy in both the scientific characterization of oxygen and refuge for animals. Additionally, it is a mystical place of tranquility and spiritual awakening told in stories such as Nausicaa of the Valley of the Wind, and a place for scholarly hermits of China to study in modern history. It is within this landscape that Konoike has interjected graceful wolf-human hybrids euphorically dancing to an invisible tune, guided by the powerful thumping of the giant heart.

The wolves depicted in melodic unison with the bodies are very natural to Konoike; the wolves are not predatory but in fact nurturing and have historically been represented as mothers in the tale of Romulus and Remus and as a guardian in Princess Mononoke. This inexplicable attraction to wolves prompts Konoike to render them in a wondrous and friendly light, opposing the stereotype that all wolves are evil and conniving. The deep entanglement of nature, animal and human compels the viewer to consider how their relationship has changed in recent centuries. Has humanity betrayed the existing balance between animals and humans, natural environment and industrialization? The answer seems to lie in the double edged imagery hidden in the moon-shaped opening in the sky which is in actuality steel engineering and the small 'fireflies' that are miniscule daggers. These elements are clear representations of industrialization and warfare yet Konoike's delicate and fine rendering removes negative connotations as the 'moon' and 'fireflies' in fact shed light on the happenings within the dark surroundings. In this chapter, all the elements seem to peacefully coexist and undeniably, the engorged heart is the overwhelming life force. Like the moon, all the elements slowly gravitate towards the forest center, further drawing the viewer's eye towards the heart. Vigorously pulsating, perhaps the heart signifies the introduction of love and compassion in the third stage of the universe's creation.

In rendering her works with fine lines, a skill undoubtedly brought forth from her major in classical Japanese painting, the realism promoted in this fantastical world is striking and believable, leading to the very questioning of the 'big bang' formation of our universe. Employing intoxicating colors, Konoike paints the individuals with attentive details whereupon the fur of the wolves seems warm to the touch, the ferns rough yet fragrant and the heart firm and gelatinous. The columnar trees scattered throughout our line of sight and deliberate cropping of the tree canopies adds an element of spontaneity as if the viewer stumbled upon the scene on an evening stroll. For a split second, the gracious movements in the sky seem to pause as we walk by, demonstrating Konoike's uncanny ability to add a fourth dimension to this alternate reality.

Chapter Three "Wreck" does not represent a concrete, singular, finite composition rather it is a work whose significance will continuously accumulate and transform as Konoike's oeuvre develops. Konoike does not use these recurring themes consciously to promote consistency in her works but rather, she finds comfort in the motifs as they genuinely please her. It is perhaps this unconscious amalgamation of powerful, representative icons of our childhood, scientific and human evolution that makes her work so profound and relevant. Her work cultivates independent viewing and personal interpretation that encourages a world we might have forgotten many years ago. Constantly pushing our imagination and sense of adventure we venture directly in a channel of communication with Konoike, in dialogue to discuss the intricacies of her vision. In addition to its exhibition in four different shows, Chapter Three "Wreck" has been documented in over fifteen books and articles including BT magazine of Japan, ArtAsiaPacific emagazin Warriors of Art, A Guide to Contemporary Japanese Artists and Asahi shimbun of Japan, a testament to the prominence of this work for the artist and Japanese contemporary art.

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