二月 肆 [ 日 ] 拾壹號
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本期藝術家
the Artist
宮崎啓太
Keita Miyazaki 1983 born in Tokyo, Japan. Lives and works in London, UK. Education
2011 - 2013 MA Sculpture, Royal College of Art, London 2007 - 2009 MA Craft Metal Casting, Tokyo University of the Arts 2003 - 2007 BA Craft Metal Casting, Tokyo University of the Arts
Solo exhibitions / 個人展
2009 'Layer', B - gallery, Tokyo 2008 'Excursion', Ai Gallery, Tokyo
Group Exhibitions / 群展
2013 Royal College of Art Degree Show 2013, RCA, London 'Void Open Call 2013', Void Art Gallery, London 'RCA Secret', RCA, London 2012 'Interim Show', RCA, London 'RCA Secret', RCA, London 2010 'SICF11', Aoyama Spiral Hall, Tokyo 'Binabi Exhibition', Mori Arts Centre Gallery, Tokyo 'Transformation', Tokyo University of the Arts, Tokyo 2009 'International Exhibition 2009', Daegu University, Daegu 2008 'International Metal Exhibition', Beijing 'Kougeikan Ueno Town Art Museum’, Taito-ku Shougaigakushu Centre, Tokyo 'Imocolle', Tennouzu Central Tower', Tokyo 2007 'The 4th Sano Renaissance Exhibition', Sano Culture Centre, Tochigi
1983 年出生於日本東京。 現生活和工作於英國倫敦。 教育
2011 - 2013 英國皇家藝術學院，雕塑系碩士 2007 - 2009 東京藝術大學，工藝金屬鑄造碩士 2003 - 2007 東京藝術大學，工藝金屬鑄造學士
Awards / 獎項
2008 Ataka Prize, Tokyo University Arts 2007 The Government of Tokyo Prize 2006 Haruji Naitou Prize, Tokyo University of the Arts
Public Collection / 公共收藏 Ogi Kankou, Ltd.
Teaching and Research / 教學與研究
2013 Artist Talk, Void Art Gallery 2010 Restoration of 'Woman' statue made by Morie Ogiwara, Tokyo National Museum 2009 Teaching Assistant, Craft Department, Tokyo University of the Arts
Publications / 出版物
2013 work featured in The Independent (UK) 18 June p22.
In my practice, I am interested in exploring the systems and fantasies, which lay behind the façades of contemporary society. In my work, I have explored this theme through sound, metal and paper sculptures, installations and traditional metal casting techniques. In my work in Japan, I used traditional metal casting techniques to explore the process of destruction and consumption that underlies contemporary society. This research resulted in a series of works that were casts of found and discarded objects. These objects seemed to capture a ‘suspended state’ between consumption and destruction - casts of an part-eaten apple and a discarded can, for example. Whilst in London I have also begun to use found objects and discarded goods as material within my sculptures. In one work I used a network of discarded wooden chairs held together with just hazard tape and wax. In this piece I was exploring stability and instability in a system. In my recent series Organisms of Control I have used second-hand car parts that are welded together and combined with hand-crafted paper and felt organic forms. The series Organisms of Control continues to reflect my interest in the systems and fantasies behind contemporary society. It also reflects my interest in a specific form of fantasy in society - a Utopian fantasy. I have begun to define these works as ‘sound sculptures’ as sound - through the use of amplifiers and speakers - is centrally incorporated into the work both visually (speakers) and aurally (sounds). This shift in focus in this work – in my use of colour, materials and a sound element – is continued within the artworks I am currently developing.
在我的藝術實踐中，我喜歡探索潛藏在當代社會表面背後的體系與幻想。我的作品 中運用聲音、金屬、紙、裝置與傳統鑄金工藝來探索這個主題。 在日本創作的作品中，我用傳統的鑄金工藝去探究當代社會中的破壞與消耗的過程。 這個研究成果表現在由一系列對現成品與廢棄物進行翻制的作品裏。這些作品看起 來像是要捕捉一個在消耗與破壞之間的“暫停狀態”——譬如一個被咬了一口的蘋 果和一隻被丟棄的罐子。後來來到倫敦，我仍舊開始利用現成品及廢棄物作為我的 雕塑材料。在一件作品裏，我用了許多廢棄的木椅子，然後用警示膠帶和熔化的蠟 把它們固定在一起，這是為了探索在一個機制中的穩定與不穩定性。在我最新的作 品“有機體控制”中，我把焊接在一起的二手汽車部件與手工折紙相結合，令它們 看起來像是生物的形態。 “有機體控制”這個系列延續著我對於當代社會背後的體制與空想的興趣。同時體 現了我對於社會中幻想的一種特殊形態——烏托邦式幻想的興趣。我開始把這些作 品定義為“聲音雕塑”，因為聲音——通過使用擴音器與揚聲器——是視覺（揚聲器） 與聽覺（聲音）的中心結合。這件作品中聚焦的這種轉變——通過我對色彩、材料 和聲音元素的應用——在我目前的創作中延續著。
>> Organisms of Control - Annual Graduate Exhibition At The Royal College Of Art 2013 (live) Video: http://vimeo.com/69855088
"I made those paper or fabric parts by myself. Those parts have a honeycomb structure. And regarding music, each sculpture has some speaker inside, you can see them in the mid of flower parts. Each speaker has an own melody I collect which come from Japanese society. I attach some description about melody below. One melody takes about 12seconds as a signal of arriving and departure at the station in Japan. Each station has a specific melody and sometimes animations song or Japanese traditional songs are used for train melody. In the 1970s in the wake of the economic boom a lot of people begancommitting suicide at train stations –like jumping into the path of passing trains. At that time, at train stations they used a very high pitched and aggressive sound to signal the arrival of a train to the platform. As more and more people began to commit suicide at station platforms – thetrain companies became more anxious. One theory was that the sound that was used to signal the arrival of the train could be causing people to ‘jump’. Because of this, they began using these melodies – these are the melodies you can still hear now at train stations. At first these melodies were, apparently, effective at lowering the number of suicides. However – these new melodies were only effective for a while. Suicide numbers later began returning to their previous high figures. Effective or not – these are the melodies you can still hear today. And effective or not – this melody is being used to control the public – in this case, to control their desires – their desire to live or their desire to die."
Keita Miyazaki
about the work 關於作品 ORGANISMS OF CONTROL
“我自己做了那些紙或布的部分。那些部分有一個蜂 巢結構。關於音樂，每一個雕塑裏都安置了一個揚聲 器，你可以在花心部分看到它們。每一個揚聲器都有 各自的旋律，我是從日本社會中收集來的。下面是關 於這些旋律的描述： 有一段旋律收錄了大概 12 秒的日本車站上列車到站 與出發的信號音。每一個車站用於列車的都有一段特 別的旋律，有些是動畫音樂，有些是日本傳統民謠。 在 1970 年（日本）經濟復蘇的時候大量的人開始在 火車站自殺——像是跳進火車行進的軌道。在那個時 候的火車站，用的是十分高昂和緊張的音調作為火車 進站的信號音。 當越來越多的人開始在月臺自殺——火車公司感到越 來越焦慮。一個言論說車站用的火車進站信號音導致 了人們的“跳下”。 正因如此，火車公司開始使用這些旋律——這些你在 當今的火車站仍能聽到的旋律。 最初的時候，這些旋律確實有效地降低了自殺率。然 而，它們只有效了一段時間。之後自殺率又開始回到 了之前的高數字。 不管有沒有效——這些旋律你至今仍可以聽到。 也不管有沒有效——這些旋律是被用來控制公眾的。 從這個角度來說，控制了他們的欲念——對於生或死 的欲念。”
——宮崎啓太
interview with
Keita Miyazaki 採訪記錄
宮崎啓太
肆： 請問你對聲音雕塑的理解？為什麼傾向於把自 己的作品定義為聲音雕塑？ SI: How do you understand ‘sound sculpture’? Why do you prefer to classify your work as sound sculpture? 宫崎：關於“聲音雕塑”，我並不知道這個稱呼是否 適合我的作品，但我覺得視覺和聽覺的結合在我的作 品中是很重要的。 如果我將視和聽分開來用，我不會用“聲音雕塑”這 個片語，正因為我把兩者結合在一起我才使用這個稱 呼。 KM: Regarding the term "Sound Sculpture", I don't know if this term is appropriate for my work or not, but I do think that the combination of visuals and sound in my work is important. If I used the visuals and sounds separately I would not use the term "Sound Sculpture", but as I combine both visuals and sound I use the term "Sound Sculpture".
肆：" 紙花”的靈感來源是什麼？這種靈感的來源與 後來的作品有沒有聯繫？ SI: What was the “paper flowers” idea originally came from? And is this inspiration also related to your final resolution? 宫崎：當我發展我的雕塑時，我並不意在創造一個只 是像花朵一樣的雕塑。我想要創造一些活物（也許有 一個莖，花瓣或果實等）。我用的這些彩色的蜂巢狀 結構的靈感來源於我找到的一個有類似蜂巢結構的聖 誕裝飾品。我想賦予我的作品像裝飾品一般的氣質， 所以我決定在其中用一個類似的彩色的、複雜的蜂巢 結構。 這種蜂巢結構可以同時在機械和自然中找到（舉個例 子，在發動機引擎上，龜殼上，蜂巢中等）。這種既 原生而又機械的結構實在很吸引我。
KM: When I was developing my sculptures, I did not aim to create sculptures that only look like flowers. My aim was to create sculptures that appeared to be living things (perhaps having a stem, petals, fruits.etc). The colourful honeycomb structures I use are inspired by a Christmas ornament I found, which had a similar honeycomb structure. I wanted to give my work an ornament-like quality so I decided to use a similar colourful and complex honeycomb structure. This honeycomb structure can be found in both machines and in nature (eg. In engines, on a turtle's shell, in bees' nests.etc). The fact that this structure can be both organic and inorganic really interests me.
肆：不同的材料並置，消解物的屬性；保留材料的原 始形態，強調物的屬性。你怎麼看待你處理這種矛盾 的結果？ SI: In your works, the juxtaposition of materials leads to eliminate their property whilst emphasizing the property by keeping their original form. How do you see the result from dealing with such contradiction? 宫崎：對不起，我不太明白你的問題。也許我大概知 道你想問的是什麽，但需要確定你在問題中的用詞。 KM: Sorry, I couldn't understand your question. Possibly I could get something what you want to ask but need to be sure about the words you used in the question.
肆：你作品中是一個對現實社會的反映還是你構造出 的虛擬世界？你怎麼理解現實社會的運行機制？ SI: In your works, do you propose to reflect the current society or depict your imagination of the world? How do you understand the running systems of current society? 宫崎：在我的作品裏，我嘗試去創造一個想像的空間， 使觀眾能在這個空間裏面思考他們所生活的社會。 我想要引發觀眾的想像。然而，對我來說重要的是這 個想像空間看起來離真實的當代社會並不太遠。 在當今社會中，人們總是陷入某種程度的機制和結構 中（力量與控制）。這些機制有好的地方也有不好的 地方。 人們有時希望能從他們在社會中所面對的那些困境中 逃脫出來，從這些機制（力量與控制）中逃離。但有 時最好的方式是去面對這些困境和機制（力量與控 制），與它們在裏面直接交涉。我認為藝術能成為一 個幫助我們正視現實的體驗。 KM: Using my works, I am attempting to create an imaginary space in which the viewer can think about the society they live in. I want to stimulate the viewer's imagination. However, it was important for me that this imaginary space does not seem to be too far from the reality of contemporary society. I use sound in my work to bring this imaginary space closer to reality. In contemporary societies, people are often trapped in certain systems and structures(of power or control). These systems have advantages and disadvantages. Sometimes people wish to escape from the problems they face in society by trying to escape from these systems(of power or control). But sometimes the best way to face these problems is to also face these systems (of power or control) and to tackle them directly or from the inside. I think art could be an experience that helps us to confront this reality.
肆：你的碩士論文主要研究關於資本主義社會的焦慮， 你怎麼看待資本主義社會中正在發生的商品拜物教這 一現象？ SI: Your master dissertation was mainly about the anxiety in Capitalism society, how do you think of the “Commodity Fetishism” happening in Capitalism society? 宫崎：儘管我的碩士論文談到了關於焦慮的問題，就 像你在問題中提及的，“商品拜物教”的概念也關聯 到資本主義社會中產生焦慮的過程。 商品拜物教也許在當代社會中的商品與貨物華麗的一 面最為明顯。我也在我的論文中談及到了這些華麗面。 華麗的特質同時也是資本主義的特質。它創造了一種 暈眩，這種暈眩也是使人快樂的，它分泌腦內酚—— 也許像一個致幻劑。這種致幻劑刺激我們的神經產生 快感和一種對更多快感的渴求。我們是永不能滿足的。 這種渴求是一種欲望，而當華麗的東西（致幻劑）被 拿走的時候，欲望會製造一種焦慮感。 欲望產生的輪回以及渴求（導致焦慮）也許是不可避 免的。在資本主義社會中人們被商品拜物教的幽靈所 困擾著。 KM: Although my dissertation addressed the issue of anxiety, as you suggest in your question, the notion of Commodity Fetishism is also connected with the processes that can produce anxiety in capitalist societies. Commodity Fetishism may be most visible in the (quasi-divine) shininess of goods and products in contemporary society. I also talk about this shininess in my dissertation. The character of shininess is also the character of capitalist society. The experience of shininess creates a dizziness. It's a dizziness that is also pleasurable, producing endorphins - perhaps like a narcotic. The narcotic stimulates our minds producing pleasure and a craving for more pleasure. We're insatiable. This craving is 'desire' and desire can in turn create a feeling of anxiety when the stimulus -
the shiny object (the narcotic) is removed. This cycle of desire production and cravings (leading to anxiety) may be inescapable. In capitalist societies people can be haunted by the spectres of Commodity Fetishism.
肆： 你怎麼看我們現在生活的這個世界，你對它的 運行還滿意嗎？ SI: How do you see the world we are living in now, do you satisfy with its system? 宫崎：我想答案在第 4 和第 5 個問題中已經回答了。 KM: I guess this answer is duplicated in 4 & 5.
肆：你在日本展出這些作品時，觀眾有什麼反映？日 本觀眾和英國觀眾看這些作品的反映有什麼區別？ SI: What were the audiences’ feedback while your works were showing in Japan? Is there any different between Japan and British audiences? 宫崎：觀眾的反應似乎取決於我在作品中用到的聲音。 在“生物控制”系列中我用的聲音可以在日本的地鐵 站聽到。 在倫敦展示這系列作品時，許多人並不認識這些聲音。 不過他們似乎能從這些聲音裏感覺到一些什麼。 當我在日本展示這些作品時，日本的觀眾可以識別出 這些聲音。但他們也不總能意識到這些聲音的歷史和 使用它們的原因。而當我解釋了這些聲音的歷史和用 它們的原因是要減少日本地鐵站自殺率時，日本觀眾 通常會給予我更加直接的反應。 儘管這些聲音的確來自於一個特殊的、當代的、工業 化的社會（日本），我想要這件作品同樣能夠反映其 他工業化社會。 所有在我的作品中涉及的問題也能在別的當代的、資 本主義的、工業化社會中感受到。
KM: The audiences’ responses seem to depend on the sound I use in my work. In my 'Organisms of Control' series I used sounds that can be heard at train stations in Japan. When I showed this work in London, many people did not recognise these sounds. However they seemed to get some 'feeling' from the sounds. When I show this work to audiences in Japan they can recognise the sounds. However, they are not usually aware of the history of the sounds and the reason why they are used. Once I've explained the history of the sounds and explained why they are used that they were introduced to reduce suicides in Japan audiences in Japan often react with a more cutting response to my work. Although the sounds do come from one specific contemporary, industrialised society (Japan) I intended for the work to be equally able to reflect to concerns in other industrialised societies too. The issues and problems that are addressed in my work can also be experienced in other contemporary, capitalist and industrialised societies.
肆：你希望觀眾怎麼理解你的作品？在不同的的語境 下（比如英國和日本）會產生溝通的障礙麼？ SI: How do you wish people to understand your works? Under the different cultural context (e.g. UK and Japan), does it cause communication barrier? 宫崎：我並不希望我的作品是可以“被理解”的。我 的作品不是對什麼東西的解釋。我想要我的作品更多 的是作為一種中介，而觀眾也許能夠從中探索一個想 像的空間（同時也關聯到他們居住的社會的空間）。
KM: I do not wish for my works to be 'understood'. My work is not an explanation for something. I intend my work to be more of a device, through which audiences may be able to explore an imaginative space (a space which also connects with the society in which they live).
肆：你作為一個亞洲人，在西方進行藝術創作的過程 中有沒有遇到文化差異帶來的問題？ SI:As an Asian studies and works in the west, have you occurred any problems because of the cultural differences? 宫崎：我想是有的。 不過我之前就作為一個藝術家在英國與日本之間旅 居。 我不希望過於簡單地將文化一分為二。 舉個例子如果讓我談談日本藝術與英國藝術，它們之 間當然有許多不同因為這樣那樣的歷史差異。 有時我會感到一些困難，但是我們都生活和工作在一 個文化變得越來越類同的全球化世界。 我會願意去相信視覺語言會對人們的想像產生影響， 不管他們從哪里來。 KM: Possibly, yes. However I have travelled primarily between the UK and Japan as an artist. I don't wish to divide cultures into two categories in such an over-simplistic way. If I talk about Japanese Art and British Art for example, of course there are several differences between them due to historical differences. Sometimes I feel some difficulties, however we are living and working in a globalised world where cultures are becoming increasingly homogenised.
I'd like to believe that visual languages can have an impact on people's imaginations regardless of where they are from.
肆：哪些藝術家影響了你的作品？ SI: Which artists inspired your works? 宫 崎： 我 受 許 多 藝 術 家 的 影 響， 譬 如 Thomas Hirschhorn、Roger Hiorns、Matthew Monahan 和 Mark Manders。最近的展覽中給我留下最深記憶 的是 Thomas Hirschhorn 在 2011 年威尼斯雙年展中 展出的“晶體的抵抗”（'Crystal of Resistance' ）。 這件作品對我產生了很大的影響並且改變了我作為一 個藝術家的思考方式。 KM: I am influenced by several artists, for example, Thomas Hirschhorn, Roger Hiorns, Matthew Monahan and Mark Manders. The most memorable recent exhibition for me was Thomas Hirschhorn's 'Crystal of Resistance' at the Venice Biennale 2011. It had a big impact on me and changed the way I think as an artist.
- end (chinese translated by Wendi Xie)
>> Organisms of Control Annual Graduate Exhibition At The Royal College Of Art 2013 (live)
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About SI
micro conceptual magazine part of Zoe(zoewanshu.net) introducing young Asian artists who are based in Europe
editor / 編輯 孫 敏祺 Minqi Sun 謝 文蒂 Wendi Xie（翻譯） 鄭 田明 Tianming Zheng 王 琰迪 Yandi Wang 应 梦婷 Mengting Ying
front cover / 封面 >>TDBB Mixed Media Display dimensions variable 2012 Keita Miyazaki
contact / 聯繫我們 www.zoewanshu.net www.zoewanshu.com (comming soon) zoe.wanshu@gmail.com
SĂŹ 4. February 2014 No. 11
zoewanshu.net