Healing
Chiho AOSHIMA, Emi KURAYA, Takuro KUWATA, KYNE, Kasing LUNG, MADSAKI, Mr., Takashi MURAKAMI, Shin MURATA, OB, Otani Workshop, Aya TAKANO, TENGAONE, Yuji UEDA
group show
February 05
- March 20, 2021
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SHANGHAI

3/F, 27 HU QIU ROAD, HUANGPU DISTRICT.


Open by appointment only. Please email rsvpshanghai@perrotin.com 24 hours in advance to book your visit.


CURATED BY TAKASHI MURAKAMI

















Perrotin Shanghai is delighted to present Healing, an exhibition devoted to Kaikai Kiki artists: Chiho Aoshima, Emi Kuraya, Takuro Kuwata, KYNE, Kasing Lung, MADSAKI, Mr., Takashi Murakami, Shin Murata, ob, Otani Workshop, Aya Takano, TENGAone, and Yuji Ueda. This exhibition comes as the last episode of the trilogy group show curated by Takashi Murakami, following its two previous chapters last year at Perrotin Seoul and Perrotin Matignon in Paris.


贝浩登(上海)荣幸呈现群展“治愈”,集结来自Kaikai Kiki团体的艺术家:青岛千穗,仓谷惠美,桑田卓郎,KYNE, 龙家升,MADSAKI, Mr., 村上隆,村田森,ob, 大谷工作室, 高野绫,TENGAone与上田勇儿。作为村上隆亲自策划的展览项目,“治愈”去年曾于贝浩登(首尔)和贝浩登(巴黎马提翁)分别呈现前两章回,本次展览将是“策展三部曲”的最终章。

Courtesy of the artists, Kaikai Kiki and Perrotin.
Courtesy of the artists, Kaikai Kiki and Perrotin.
Courtesy of the artists, Kaikai Kiki and Perrotin.

Healing explores the multifaceted and eccentric universe that is Takashi Murakami’s Superflat and the far-reaching and deep influence of Japanese ceramic arts in the context of Bubblewrap. While in the west art is predicated on the differences between “highbrow” and “lowbrow” culture, “original” and “derivative,” “art” and “commodity,” Superflat establishes itself as an independent lineage of Japanese contemporary art that roots itself in anime and manga.


展览在“泡沫包装”的语境下展开,探索了村上隆多面而异乎寻常的“超扁平”宇宙,以及日本陶瓷艺术深刻隽永的影响。艺术在西方世界根植于“高雅”与“低眉”文化、“原创”与“衍生”、“艺术”与“商品”的差异之上,而“超扁平”则确立了自身基于动漫的日本当代艺术独立传承。


Kaikai and Kiki, two of the most recognizable characters created by Murakami, are featured in the artist’s works in the exhibition. Part of Murakami’s iconography since 2000, these are two characters that take influences from Japanese manga, cartoons from the US, and to ever evolving popular culture. Kaikai and Kiki have their names — borrowed from an expression “kaikaikiki” (“strange and mysterious”) that was originally used to describe the works by sixteenth-century master Eitoku Kano— rendered in Japanese script on their ears. It follows a practice that has its roots in Japanese woodblock prints, where popular characters would be indicated by writing the names next to the figure themselves.


“Kaikai”和“Kiki”作为村上隆最为人所熟悉的经典艺术角色之一将于展览中登场。自2000 年以来,它们开始成为村上隆标志性创作的一部分,在很大程度上受到日本漫画,美国卡通以及不断发展的流行文化的影响。“Kaikai”和“Kiki”的名字借典自日文词汇“kaikaikiki”(怪怪奇奇),最初用以描述16 世纪大师狩野永德的作品,而这两个角色都将自己的名字以日文的形式刻在耳朵上——这种方式源自日本木刻 版画传统,受欢迎的人物将自己的名字写在身体一旁,以此方便辨识。

Courtesy of the artist, Kaikai Kiki and Perrotin.

A monumental, ambitious, 15-meter-long acrylic painting mounted on an aluminum frame by Murakami is also included in the exhibition. The artist embraced the beaming, overjoyed flora and adopted it as one of his emblems when preparing for entrance exams for the Tokyo National University of Fine Arts and Music, and after spending nearly a decade teaching prep-school students how to draw flowers. The inspiration behind Murakami’s flowers are derived from his early studies of Nihonga painting, where he attempted to paint flowers in the setsugetsuka tradition. Signifying peace and happiness on the outside, the floral motif yet evokes repressed, contradictory emotions experienced by the Japanese as a result of the historical traumas in the 1940s. Presented in a wide spectrum of colors, from rainbow hues to at times a darker palette, the iconic polychromatic petals surrounding smiling faces are one of his most often employed motifs in the Superflat world.

展览还将倾力呈现由村上隆创作的另一幅长逾15米、裱于铝框之上的巨幅丙烯画。欣荣绚烂的花朵是艺术家创作中不可或缺的元素。在备考东京艺术与音乐大学期间,村上隆将它们视为作品的标志之一,甚至之后近十年都在教授预备学校的学生如何画花。“花朵”的灵感最初来自村上隆对“日本画”的研究,当时他按照日本画中的“雪月花” 传统绘制花朵的形象。这些花朵表面象征着和平和幸福,但同时也唤起了日本人在20 世纪40 年代遭受历史创伤后所郁结的压抑和矛盾。 从缤纷的彩虹色到暗沉的深色,“花朵”浮现在广泛的色谱中。在“超扁平”的世界里,围绕着笑脸的标志性的多色花朵成为村上隆最常使用的主题之一。

As part of the new generation of artists who grew up in an environment where video games and social media have always been part of daily life, also known as Japan’s SNS generation, Emi Kuraya and ob, explore the dreamy filter of the feminine psyche through kawaii elements: cartoon-like forms; and over-scaled heads with wide eyes and baby faces. This intersection of reality and fantasy is an important dimension of Superflat that is perhaps best illustrated in the works of Chiho Aoshima and Aya Takano. Both artists present the viewer with fantastical worlds of a Utopian nature. Aoshima’s liminal spaces are populated by female characters who are transformed into mountains and rivers, disguised as fairies or represented as living creatures in the natural world. This breakdown of the boundaries between humans and animals or plants, and between organic creatures and inanimate objects is echoed in Aya Takano’s oeuvre. The latter’s floating figures, unphased by the restrictions of gravity, are at one with the universe, conversing with other-worldly animals and plants. There is no hierarchy in either Aoshima or Takano’s work, all cohabitate in perfect harmony, all are equal, much like Superflat itself.


作为新一代艺术家,仓古惠美与ob被称为SNS一代,其成长环境充斥着视频游戏与社交媒体。艺术家通过卡哇伊元素探索女性心灵的梦幻滤镜:甜美的卡通形象、长着大眼睛的超大的脑袋和孩童般的脸庞出现在她们的创作中。 这种现实与幻想的交集体现出“超扁平”的重要维度,青岛千穗与高野绫的作品对此提供了绝佳的诠释。两位艺术家向观众展示了乌托邦式的幻想世界。青岛千穗的艺术中充满了女性角色,她们幻化成山川,装扮为仙子,或被描绘成自然的精灵。而这种打破人类与动植物、有机生物与无生命体之界限的行为,也在高野绫的作品中得到了呼应。漂浮的人物不受重力的限制,与宇宙融为一体,在高野绫的笔下和另一个世界开始对话。青岛千穗与高野绫的创作消弭了明确的等级区分,所有生命完美和谐地共生存在,万物平等,如同“超扁平”的概念本身。


Courtesy of the artist, Kaikai Kiki and Perrotin.

The radical affiliation and lack of distinction between post-war Japan’s fine arts and popular arts is strongly linked to otaku culture. In its infantile and marginal existence, the world of otaku could be seen as similar to post-war Japanese society. This isolated world establishes one of fantasy, rooted in the need to overcome reality – a reality where otaku (as social outcasts) are excluded from mainstream society and its value systems. In a Superflat world, the otaku becomes the true driver of contemporary culture by externalising his inner world. Mr. built his career on anime and videogame-like renditions of everyday Japanese girls. A true otaku, and the first of his kind, Mr. singlehandedly undid the stigma of producing artworks in an anime style.


日本纯艺术与流行艺术在战后紧密联系,并无明显的界限区分,这与御宅文化关切尤重。御宅族在其幼稚且边缘的生存状态下,可以被视为战后日本社会的缩影。这个孤立的世界建立了一种植根于克服现实需要的幻想——在这个现实中,御宅族(作为社会浪子)被排除在主流社会及其价值体系之外。 在“超扁平”的世界里,御宅族通过将自己的内心世界外化,成为当代文化的真正驱动力。Mr.的作品便建立在日本动漫女孩形象及电子游戏式的表演之上。作为一名真正的御宅族,Mr.开拓了自己的世界,独自一人打破了将动漫风格加诸艺术的污名。

For me, [my identification with otaku] was a matter of making anime and manga into art—this has not been done historically.



对[御宅族的]我来说,就是要把动漫和漫画变成艺术——这是历史上从未有过的。

— Mr.

Superflat focuses not only on contemporary art, but extends itself to contemporary ceramics. However, it is Bubblewrap, a term humorously coined by Takashi Murakami to describe the interim period between Mono-ha and Superflat overlapping with Japan’s bubble economy, that best reflects the modern realm of ceramics. Indeed, the rise and maturation of ceramic art is juxtaposed with Japan’s Bubble Economy era. It is at this time that the “ceramics of modern life” appear. These ceramics represent a shift and new phase in the history of ceramics: their popularization. Ceramics thus become, like manga and anime, another popular art of post-war Japanese culture.


“超扁平”不仅专注于当代艺术,还延伸至当代陶瓷领域。然而,“泡沫包装”一词最能够反映现代陶瓷产业的现状。村上隆幽默地发明了这个词汇,用以描述日本泡沫经济时期“物派”和“超扁平”之间的过渡状态。的确,陶瓷艺术的兴起与成熟和日本经济的崩塌几乎同时发生。“现代生活陶艺”正是在这个时候出现的:陶瓷的大众化代表了陶艺历史的新转变和新阶段。因此,就像漫画和动画一样,陶瓷成为战后日本文化范畴内的另一种流行艺术。

Courtesy of the artists, Kaikai Kiki and Perrotin.

After Mono-ha, the next established art movement is Superflat, but that means the interim period overlapping the years of Japan’s economic bubble has yet to be named, and I think calling it “Bubblewrap” suits it well. It especially makes sense if you incorporate the realm of ceramics.



“物派”之后,即确立了“超扁平”艺术运动,但这意味着其中与日本经济泡沫时期重叠的过渡时期尚未命名,我认为称之为“泡沫包装”很合适。如果你将陶艺也纳入其中,就更说得通了。

— Takashi Murakami | 村上隆
Courtesy of the artists, Kaikai Kiki and Perrotin.
Courtesy of the artists, Kaikai Kiki and Perrotin.
Courtesy of the artists, Kaikai Kiki and Perrotin.

A new generation of Japanese ceramicists that Murakami dubs “radical artists”: Takuro Kuwata, Shin Murata, Otani Workshop and Yuji Ueda shed the principle of artisanal technique and adopt the posture of artists, pushing the boundary between ceramics and sculpture (or as Superflat would have it, between ‘commodity’ and ‘art’). Their unique pottery methods merge a respect for tradition and lineage with improvisation and experimentation, in a body of work informed by their love of nature and sustainable lifestyle.


被村上隆称为“激进艺术家”的新一代日本陶艺家:桑田卓郎村田森上田勇儿以及大谷工作室摆脱了手工技术的限制,以艺术家的姿态松动了陶瓷与雕塑之间的界限(或以“超扁平”的方式描述,打破了“商品”和“艺术”之间的区隔)。他们在尊重传统的基础上结合即兴创作与实验,形成独特的陶艺创作方法,在作品中体现出对自然的热爱,并且秉行可持续的生活方式。

The theme of alienation and/or disconnect is prevalent in the works of MADSAKI and TENGAone, although not themselves otaku. Both artists are heavily influenced by graffiti and use the medium to express the frustration and feeling of estrangement brought about by their bicultural identities. Street art is also an influence for Kasing Lung and KYNE, whose works are influenced by the economic and cultural boom of the 80’s. Raised in Europe whereby fairy tales and folklores are deeply rooted in people’s culture, Lung has developed a profound interest in the fantastical and created his very own magical realm. The anonymous female characters under KYNE creation are mostly found on the internet, from time to time, the void of emotion from the figures is exactly what the artist intends to exhibit.


MADSAKI与TENGAone的作品则聚焦于异化与脱节的主题,尽管他们自己不是御宅族。这两位艺术家都深受涂鸦文化的影响,并利用这种媒介来表达双重文化身份所带来的挫折与隔阂感。与此同时,街头艺术也深深烙印在龙家升与KYNE的作品中,他们的艺术呼应着80年代的经济文化繁荣。龙家升于欧洲成长,受遍布文化肌理的童话和民间传说的滋养,从而对奇幻产生浓厚兴趣,并创造了自己的魔法王国;而KYNE画中不具名的女性角色则大多基于互联网形象,这些角色体现出的情感缺失正是艺术家的意图所在。

Courtesy of the artist, Kaikai Kiki and Perrotin.
Courtesy of the artists, Kaikai Kiki and Perrotin.
@KYNE.

Healing illustrates the undeniable importance of Superflat and Bubblewrap in the contemporary art scene, disrupting the symbolic order of Western Art History. Incessantly moving between past, present and future, while mixing high culture and popular culture indiscriminately, is a “superflat” group of works devoid of prejudice or boundaries: a truly free expression of creativity.


展览“治愈”强调了“超扁平”与“泡沫包装”在当代艺术语境下无法否认的重要性,并且打破了西方艺术史的象征秩序。不断穿梭于过去、现在和未来之间,不圄于高雅文化与流行文化的固定区分,这便是偏见与界限消失无踪的“超扁平”的世界:一种真正自由的创造力表达。

Courtesy of the artist, Kaikai Kiki and Perrotin.

When [artworks] are produced, the artists and all those involved continue to work as though in prayer, never stopping until “beauty” that is apparent to any beholder emerges, no matter how many years it takes. As the times change, doubts may emerge, and the purpose for forging ahead may get lost at times. But when they force the production to propel through the finish line, fundamental “beauty” emerges; that is when a work worthy of devotion is born.



当[艺术]被创造出来时,艺术家和所有参与其中的人都如同祈祷般继续工作,永不停歇,直至“美”呈现于任何观者眼前,无论这个过程是否耗费数年。随着时代变化,怀疑或许横亘四处,前进的目的或许迷失无踪。但当它们迫使创造推进至终点时,终极的“美”就显现了;一件值得奉献的作品便诞生了。

— Takashi Murakami | 村上隆
List of artworks
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