侘寂和慢生活

年少时，在日本留学的我曾经一度攻读经济学和服装设计的双学位，拼命读书熬夜，觉得时间很宝贵，想学的都要尝试一下。对学业的贪念，丧失了恰到好处的生活。之后去法国的游学，多数状态里还处于在体力透支的情况下，却潜移默化对慢生活和【独处】的奢侈有了体验。即，一个人出去旅游，一个人看电影，一个人坐在咖啡厅读旧书等等。享受孤独，在很多人看来是不可理解的，尤其是在学生时代。

【一人旅】，日文里叫HITORITABI,对我来说，是非常重要的一个概念，离开日常生活中的工作和学习，我们在一个陌生的城市行走，不一定必须要去旅游胜地，不一定要盛装写真和商场购物，或许只是漫无目的地随意行走，走走停停感受时间天气的微妙变化，看陌生城市的人，擦肩而过的却同样怡然自得的人，随机走进的一间咖啡馆和小店…

7月盛夏，连续三个周末从东京去了京都，一个人大热天行走在哲学之路，空荡荡的街亦是第一次沿路只碰到3个人。不知道应该为人少安静而开心，还是应该为这史无前例的空城记而惋惜。回程机场，偶遇好友两个人不禁相视而笑，平日里频繁出行的时尚轻便，变成大包小包无奈又好笑。今年三月到九月，足足六个月，去年九个月，是我在日本滞在的时间。这期间，为了专栏的采访去了日本的有田烧的圣地，鹿儿岛的沈寿官、冲绳的陶瓷工坊，福井的工坊等。疫情使得口罩变成了重要的时尚要素，社会距离限制了我们聚会，聚餐，基本每个人都增多了【独处】的几率。

疫情施虐，改变了很多。于我，第三次隔离在上海的宾馆，一直不变的酒店，陈设，餐食，天气变化使得同样的窗户小景倒是有着不同的层次变化，清晰的模糊的抽象的，背回来的大包旧书籍默默相伴，旧书籍独特的气味也悄悄蔓延，是暑期在京都旧书店淘来的，隔离期间的静心好伴侣。老书店淘到席勒和三島由紀夫、吉原治良、中原佑介【现代雕塑】，都是一些好书。

与中原佑介老师合作过的上海世博会纪念版画的项目一晃也过了11年，那时策划的草间弥生版画【上海南瓜】是至今以来草间南瓜作品里，唯一一件以上海命名的版画作品。东京版画工坊的伊丹当时把5种玻璃混在一起，磨成细细的玻璃碎末，安放在版画的画面上，直至自己的手最后都会出血。碎末太细，如此敬业的職人精神正是好作品诞生的底气。版画的亮片可以放在INFINITY NET无限之网的网线上，应该也是仅此一件。

上个世纪50年代在关西兴起的GUTAI（具体美術協会）创始人吉原治良的老画册。1972年吉原去世后出版制作的纪念画册，副题为【创造明天的人】，很多他们的作品，现在看也算新鲜，不老套。在隔离宾馆尝试拿墨水滴在硬纸板上，在纸板范围内画「円」、不用毛笔，不用其他任何工具。感悟到原来做不出一件相同的「円相」，体悟吉原先生晚年几乎画的都是「円相」的顿悟。

日本艺术家内田江美的抽象画，10年前曾经在上海M50时的老空间做过个展。恰逢这次展览，上海旧法租界的新空间做她的新作展，时隔10年。在台湾和日本国内，以及各个国家的艺博会的成功，艺术家手上的作品不够做个展的数量，此次上海个展也是继东京个展及艺博会之后的巡展，有艺术家今年的新作尝试。

松枝悠希作品的展出是熏依社画廊每年的必定项目之一，他的作品打破了平面与立体的界限，是挂在墙上的立体，平面冲击三维的那个瞬间，但对于观众来说，更多的是对于固定思维及视觉的冲击。上个月他在INSTAGRAM上的公开制作迎来的20几万人的追捧，各个国家的个展也是排到5年后。鸡蛋，安全出口，扑克牌，颜料等系列是代表作。我们这次带的是最经典的安全出口系列。

王家增老师的作品正在熏依社上海空间个展中，我们也带了个展同系列作品回到北京。有气魄的王老师的作品，脱俗和豪迈。工业风里透出的北方的透彻，给人一种感觉，不啰嗦，干净。

东京空间正在个展中的林麻里子的作品，这次也在北京亮相。她曾经在上海居住生活了4年，在芳草地上海做过个展，很多国家的5星级宾馆和机场贵宾室里都有她的作品。

韩国艺术家李允馥作品，曾在疫情前的上海参展过我们的亚洲群展，他的很多作品是熏依社的馆藏。静静的存在感，与空间呼应的作品喷发出来的关系性，是李允馥作品本身自带的光辉，静肃，却不失诗情。

我们的亚洲艺术家，在北京。

【一人旅】系列服装即将在上海问世，我们希望出游的你我他，可以有更好的出游体验，有自己的独有的风格与感觉,珍惜时代留给我们的，不愧对后世之人的概念。非日常的独有体验，使日常更生辉。

7月清晨京都寺院坐禅时的鸟鸣还依然在耳旁，聆听纯粹自然的声音，是现代人难能全然体会到的事情。然，疫情把很多还原给自然，在敬畏大自然的同时，我们需要聆听更多自然的声音，有选择地，接受窗外秋雨的声音，夜深人静时格外清晰。

Shun

于2021小秋

吉原 治良 Jiro YOSHIHARA

A pioneer of post-war Japanese art, Jiro Yoshihara is widely recognized as the founder of the avant-garde Gutai group, which was active from 1954 until his death in 1972. Inspired by Yoshihara’s mandate “studies the human movement, remains true to the material and explores the undiscovered beauty”, the Gutai artists created original artworks that emphasized gesture and properties of matters. Starting in the 1960s, Yoshihara developed a style of action painting inspired by Japanese “Enso” calligraphy and Zen philosophy as well as Western abstraction, he tried myriad variations on the circle, whose simplicity and ubiquity he believed provided infinite possibilities for artistic expression.

Yoshihara’s work has been exhibited throughout his native Japan and at museums around the world, including MoMA in NYC and the Guggenheim.

草间 弥生 Yayoi KUSAMA

Born in Nagano Prefecture.

Avant-garde Sculptor, Painter and Novelist.

Started to paint using polka dots and nets as motifs at around age ten, and created fantastic paintings in watercolors, pastels and oils.1957 Went to the United States. She has showed large paintings, soft sculptures, and environmental Sculptures using mirrors and electric lights.

内田 江美 Emi UCHIDA

Emi Uchida’s abstract works are infinitely extending as a whole. But on closer inspection, they revealed a dense interplay of charcoal paintinged lines suggestive of a network.The impression conveyed by the painted surfaces was of space exploding into infinity. Here were the neural networks of the human body connecting with the unbounded expanses of the universe and transporting with them the viewer. The familiar segued spectacularly into the ineffable.

At the same time, Emi Uchida is also engaged in printmaking. She draws nourishment from the “Shunga” of the Edo period, using lines and collages to deal with taboos and explicitness, concealment and revealing, and endow tradition with new interpretation and vitality.

Her works have been exhibited in Japan, China, Taiwan (China), the United States, Europe, Turkey, Singapore, and other places. Some important solo exhibitions were held in 2016 at the Taipei 101 Tower Art Museum (Taiwan, China), in 2018 at the Miura Art Museum (Ehime, Japan), in 2018 at the Kaohsiung City Government Cultural Bureau/Taiwan Cultural Center (Taiwan, China), and in 2020 at the Setouchi Art Museum (Okayama, Japan) and other institutions.

小林 麻衣子 Maiko KOBAYASHI

Maiko Kobayashi has created a unique and lovely creature, pale and soft, as if threatened by invisible forces and feeling helpless, but she retains a light of courage and hope in her heart. This creature is like a vessel of the human soul, into which the artist puts delicate emotions and affectional connections with others. In addition to studying characters, the artist also invests a lot of time in the selection of materials and painting skills, constantly breaking through to adapt to richer changes and layers. The artist grew up in Japan’s “ACG” and “Hikikomori” cultural background, the image she created is quite universal. With the deepening of her creation, this image has its own unique “lovely philosophy”, which in turn affects her contemporaries.

Since 2009, Maiko Kobayashi has held nearly 20 solo exhibitions in Europe, China, Japan, South Korea and other places. In recent years, her works have been sought after with remarkable achievements, in the international auction market. Meanwhile, several European and Japanese publishers continue to introduce her works.

松枝 悠希 Yuki MATSUEDA

It’s one thing to conform to boring, one-dimensional street signs, but one gets a whole different feeling when obeying the incredible 3D art sings by Japanese artist Yuki Matsueda. These artworks are definitely attractive and easy to pay attention to. The series is fun, creative and unique—the pieces certainly break the mold.

Matsueda’s work consists of signs, ordinary elements and abstract images trying to escape the plastic frame they’re put into. The artist creates a 3D piece by giving the impression that the subject of the image has come to life and is trying to escape its constraints. My favorite has to be the exit man trying to actually exit—it’s extremely ironic and eye-catching.
Yuki Matsueda is a young artist whose intentions were to express through art the need to break with everyday rules and boundaries.

Matsueda completed his PHD in crafts at Tokyo University of the Arts and has since been active as a 3D artist. Although Matsueda’s parents run a printing company in Japan, his interest has been in printing equipment and 3-dimensional solids rather than 2-dimensional prints. Nevertheless, his childhood memories and aesthetic senses still retain a natural affinity for his parents’ printed products. Matsueda’s recent work express motifs from 2-dimensional planes that protrude and encompass 3-dimensional spaces. The author seeks to overcome the limitations of the printing industry and its products — planar objects.

林 麻里子 Mariko HAYASHI

The flow of nature, the atmosphere, the flow of time, expressing plants, water, wind, etc. with a unique worldview.

Her works are characterized by their beautiful use of color and sense of rhythm.From her works, you can also feel her sound.

She can feel the depth, as if she is protruding from the frame.Her imaginative admiration for sounds and colors.

She was born and raised in an area that knows deep winter.This must have been woven from her sensitive childhood.After graduating from her university, she gained experience as an interior designer.She has been involved in planning, supervising and producing murals, etc.She has been developing her own works since 2000.​It is undeniable that this history has a great influence on her style.

Her work is based on the idea that she wants to create art that fits the space.As it was created with space in mind, she creates a gentle atmosphere while blending into the space.

王 家增 WANG Jiazeng

Wang Jiazeng has been rooted in the old industrial base of Northeast China since he was a child, and the urban imprint of his youth is deeply embedded in his consciousness, which has become an inexhaustible driving power for his creation. In his more than 30 years of artistic career, Wang Jiazeng’s creative language has become more and more refined, growing from a printmaker to an abstract artist, and from an abstract artist to an installation artist. In recent years, the artist has focused on the study of “folds”, from “folds of space” to “folds of objects”, in addition to focus on the change of industrialized cities, he has more philosophical reflection. Wang Jiazeng mainly uses rusted iron, steel, aluminum and other metals to condense the distant and heavy history in the remnant fragments, and return to the trauma that is difficult to name. “Punctum” is just a glimpse into this trauma, and the desolation of bodies and minds left over from China’s northern industrial age.

Wang Jiacheng has won several national print works awards, and more than 60 works have been selected by the British Museum, the Ashmolean Museum of Cambridge University, the Dusseldorf Museum, the National Art Museum of China, the Shanghai Art Museum, the Guangdong Museum of Art, the Central Academy of Fine Arts, China Printmaking Museum, Today Art Museum, Zhejiang Art Museum, Guan Shanyue Art Museum and art museums in Anhui, Sichuan, Guizhou, Qingdao, Liaoning, Heilongjiang, etc.

李 允馥 Yunbok LEE

Born in Seoul, Korea in 1970, Lee’s work is based on the fundamental core of human body and humanity.  Since his return from Japan in 2003 after finishing his research-student program in metal sculpture at Tokyo University of the Arts, he has been working almost exclusively in stainless steel for his creation.  He creates work from hard stainless steel that feels heavy and is light, looks firm and yet soft, with essential elements and simplicity.

The creation of his work begins with damaging a pure metal through hammering, bending, cutting and grinding, and then attaching the damaged metal pieces by welding and then finely polished to create a new life.  Likewise, the core of our body and soul are damaged and hurt as well, and they are similarly mended, comforted and purified over time. 

Although his work process requires a tremendous amount of time and labor, he believes that his work evolves through the process of making, i.e. it is spontaneously generated in the process of making.  As the artist says “Artwork is made on the border between mind and body.  We go to sleep feeling the pain of our body, and so we awake.” And again, “…to me the process is a part of the artwork itself and it is where its soul emerges”.  With a mirror-liked body, the evolution of his work never stops as it mutates into new forms with its ever changing surroundings.  Its soul speaks to the hearts of those who look upon it.

岛内 美佳 Mika SHIMAUCHI

Mika Shimauchi is eager to touch the reality of this world and wants to leave a trace that can be touched. As artists’ most commonly used material, clay can be directly touched with hands, evoking childhood memories and touching real sense. In particular, the exploration of life and death is one of the themes that the artist cares most about. She believes that this is very important to understand who we are and how we should live. Unfortunately, even without such thinking, we still live in this world.

The artist develops motifs from her own landscapes and exhibits them as sculptures and various works. The imperfections visible within the works are a motion to humorously represent the irony of the over-efficiency of our lifestyles under the weight of globalization created by mankind, and yet how we are unable to fully adapt.