十月 肆 [ 拾柒號
日 ]
4. October issue 17
The Artist
本期艺术家
山口 真和
Manna Yamaguchi
1987 年生于日本东京 现工作、居住于德国斯图加特 Born 1987 in Tokyo, Japan now live and work in Stuttgart, Germany
2010 2011 2013
获日本东京造型大学绘画系学士 赴德国国立斯图加特美术学院留学 获日本东京艺术大学绘画系硕士
2010 Graduate at Tokyo Zokei University / BA Fine Art Painting, Tokyo, Japan 2011 Study abroad to The Stuttgart State Academy of Art and Design 2013 Graduate at Tokyo University of the Arts/ MA Fine Art Painting, Tokyo, Japan
Group Exhibition 2009 "Regreen Arts!" 2009/Summer camp residence, Tokyo, Japan 2010 Graduate Exhibition of Tokyo Zokei University Tokyo, Japan "Taro or Alice" TURNER GALLERY, Tokyo, Japan Chiyo or Ivan Gendai heights gallery, Tokyo, Japan "U.U.U.U Tokyo, Japan 2011 "Taro or Alice vol.2", Tokyo, Japan "Art climbing the mountain " Chiba, Japan 2012 "WONDER SEEDS 2012" Tokyo, Japan "Taro or Alice vol.3" Tokyo, Japan "Geronimo" TURNER GALLERY, Tokyo, Japan "TRANS ARTS TOKYO" former Electric University,Tokyo, Japan 2013 "Graduate Exhibition of Tokyo University of the Arts] Tokyo, Japan
>>the street avob the park oil acrylic on canvas 162Ă—161 cm 2010
“对图像意义的挪用，或者是对图像出现的位置进行置换是我常用的创作手 法。 通常来说，图像的内容总会承载着某种感觉或者某种寓意。 但是我却认为， 图像本身作为一个中立的事物是可以独立于这样的法则之外而存在的。 如果图像既有在特定语境中的符号象征性，并且还同时具备作为一个承载感 觉和寓意的容器的话，那么，对我来说更有意义的是后者——图像作为一个 形式或者是一个被挪走了内容的物体。 用手挪走图像的内容让它变成一个空的物体，这个过程对我来说很重要。用 一种触觉的动作去处理图像，使事物的物理性得以被感受，进而点亮图像的 另一面。 那是一种也可以被称之为叙述的东西。甚至是熟悉的日常生活，在称为过去 的时候也会被叙述为一个故事。但是这里仍然有另外一种真实性是不适宜被 叙述的。 每个人都只生活在自己所选择的一些事实里面。但是我经常想打开另外一些 事实，通过窥探它们的脸，去感受更多的可能性，比如一些几乎被遗忘的事实。 在我的作品中，图像和叙事几乎没有被曝光。那是因为我的兴趣不是揭露一 些什么。我所考虑的是另一种新的真实是如何通过媒介（绘画和雕塑）来生 效的。”
"In my work. I deal with images by meaning shift or displacement. Generally speaking, the context of image carries a specific feeling or morality. But in my opinion, image is originally neutral and apart from this criterion. If an image is symbolic in a particular context, and can be seen as a vessel for it, the more interesting for me is the latter – image is as a form or object without contents. For me, removing their contents by hands is an important process to make the image to be empty. I deal with it through tactile function action to feel it physically, in order to light up the other side. It can be interpreted as a kind of narrative. Even our familiar daily life can be turned to be a story when it becomes the past. Whereas, there are still something cannot be narrated. Everyone lives only in the reality, which they choose. But I always try to discover another side of the truth to peep their face, and to feel more possibilities that almost forgotten. In my work, few of the image or the narrative are expose. Because of my aim is not to disclose something. Well, what I consider about is how those new realities be effective through the mediums such as painting or sculpture."
>>two heads acrylic, pastel,pencil on linen 30Ă—42 cm 2009
>>two heads acrylic, pastel, pencil on paper 30Ă—42mm 2009
山口真和 採訪記錄
interview with Manna Yamaguchi
肆：你的画面中总是重复出现一些“形象”，譬如人脸、鸟等，这些形象在 你的绘画中有什么特别意义吗？ 山口：从早些时候起我就把人脸作为主题着手创作了。一张凝视你的脸也需 要你的凝视。透过凝视，你强调了自己作为一个人的存在，从周围的其它人 中隔离出来。即使这张脸只是被画在画布上，仍然具有这种力量。
SI: There are some symbols that often shown in your paintings, such as human face, bird, etc. Do they have any special meaning in your paintings? MY: Human face is a motive that I have dealt with from early on. A face gazing at you requires you to face it as well. Through the gaze you will emphasize yourself as an individual that is isolated from others. Even if the face you gazing is just an image paint on canvas, it still has this power.
>>brown bird charcoal, pencil on paper 26Ă—36,4 cm 2009
肆 : 你从 09 年到 12 年的作品中绘画内容从相对微观的独立的个体转向场景 与个体结合，是什么引发你的这种转变？ 山口：我想我对于叙事性的认识有了一些转变。 那时候开始我就对画面做了一些简单处理——去除了主题之外的细节性的外 在信息。可以说某种程度上就像在做一件雕塑作品那样。主题和背景之间的 关系产生了故事。我试着避免因不同的故事而在作品和观众之间产生的分离 感。 自从我开始创作“March”(" 行进 ") 系列，我开始能够将故事当做一个有 形之物。人不能脱离一个故事（或历史）而存在，而故事使人们得以从一个 角度来记录世界。也不存在绝对的故事。我并不是把一个故事当做修复世界 观的工具，而是将它看做一个鲜活的材料。
SI: From 2009 to 2012, contents depicted in your paintings shifted from relatively small independent objects to combinations of landscape and objects. What creates this kind of transformation? MY: I think there was a change in my perception of ‘narrative’. So at that time I started to make my drawings by removing the details of extrinsic information from the motive. In a sense, I could say that it was like a working process of making a sculpture. I tried to avoid the separation caused by the disparity of different narratives. Since I started to make the series of works named ‘March’, I have been able to regard a narrative as an object with form. No one can escape from being involved with a story (or history). However, a story may enable humans to capture the world from a perspective. Also there is no absolute story. I have come to regard a story or narrative not as something to fix the worldview but as a living material.
>>swallow1 charcoal, pencil on paper 26×18 cm 2009 >>swallow2 pastel, pencil on paper 30×42 cm 2009
肆：你的一组名为 "swallow" 的画，是通过使用不同的绘画方式来从不同的 角度理解事物吗？ 山口：准确地说，那些画更加可视化了我是怎样与主题打交道并使其转变成 一张图像的。 画中的死燕子看起来像是正在风化，但实际上是我去除它的细节的过程。抽 象的过程正是一张图像失掉细节的过程，这些细节所体现的关于时间、地点 和其它的信息把观众和图像分隔开来。同时，它也始终是我作品中的重要过 程之一。 SI: There is a series of your painting entitled “swallow”. It seems like that you intend to use different ways of drawing to understand an object from various angles, is it? MY: Or more precisely, those drawings showed visually how I touch a motive and turn it into an image. The dead swallow in the work seems to be weathered. But actually, it is the process in which I remove its details. Abstracting is a way to make an image losing details, which separate you and the image with time, location or other information. And it is one of the consistent fundamental processes in my work.
肆：“March”( 行进 ) 系列的作品在所有作品中显得相对具象，为什么会 有这样的不同？这一些列的作品又相对完整，是否有其故事在内？
>>swallow3 acrylic, charcoal, pencil on paper 30×42 cm 2009 >>swallow4 acrylic, charcoal, pencil on paper 30×42 cm 2009
山口：如果这个系列看起来与其它的特别不同，那很有可能是因为比起其它 作品，它们直观上与早前的画面更相像。正因如此，你可能会感觉到有一些 政治的东西在里面，又或者让你想起早前的一张图像。 我也试图创作模糊的图像，尽可能地去除信息，但是我敢于处理那些与历史 关联很强的图像 , 并思考一张用于记录的图像和信息本身之间的关系。
>>March 1 Acrylic,PastelOnPaper 42Ă—60 cm 2010
>>March 2 ink, pastel, housepaint on panel 51,5Ă—73 cm 2010
>>March 6 pastel, oil on panel 51,5Ă—73 cm 2010
SI: The series of ‘March’ appeared to be more representational than others. Why dose that make a difference? Furthermore, this series is relatively intact in the terms of content. Is there any story behind it? MY: If this series seems especially different from the others, it may because that they resemble their prototype more directly than others. As such, it could rouse you a feeling of something political or stimulate your memory of an image you have ever seen. I had sought to create neutral images, removing information as far as I could, but I dared to deal with images that are strongly connected with history, and considering relation between a recorded image and information or context.
肆：我们注意到在 2011 年的雕塑作品中，你给它命名为“New March" (“新 进行”)，而其中的形象又与在你画面中经常出现的人脸有关，它们似乎有 什么联系？ 山口：2011 年 3 月我在东京经历了东日本大地震。 在整个城市的所有公共交通都瘫痪之后，去往紧急避难所的途中；也在抗议 政府对核泄漏事件的响应的队伍里，我将自己置身于这“行进”中。在我迄 今为止根据新闻照片而画的未知数量、未知姓名的人群里，我也是画面上他 们其中的一员。 这并没有改变我对于“行进”，这种人类行为的看法，更确切地说，当我在 历史中重生的时候我感到一种无助，我有强烈的现实情感，但同时也知道自 己仅仅是这其中的一个图像。正因如此，我想到从作为游行队伍中的个人的 视角来创作一件作品。 你提到的关于“新行进”和“地图”系列所画的脸之间的相似性很有意思。 我可以说它们之间是有一些共同性。因为在“地图”系列中的脸也是作为个 人的脸被描绘的。
SI: As we see, the series of sculptures you made in 2011 were named ‘New March’. Figures in this series are seemed to relate to the human face that appeared in ‘Map’, but are different from the early ‘March’. Then what is the relationship between ‘March’ and ‘New March’? MY: I experienced the Great Tohoku Earthquake in March.2011 in Tokyo. The whole transportation in the city was paralyzed, when we were on the way to the emergency shelter where there is a demonstration against the response of the government to the unclear accident. Meanwhile, I put myself in a ‘march’. Among the crowd of unknown number of nameless people that I have painted based on news photographs until now, I was there as one of them in the image. My understanding of ‘March’, an activity of human being, was not changed. But I felt more helplessness when I was recovering in a story. You know, I had strong realistic emotion, but at the same time I knew I am just a face in a lot of nameless faces. So I had an idea of making some work from the viewpoint of a person in a march. The similarity you mentioned between the faces in ‘New March’ and ‘Map’ is interesting. Yes, there is some commonality between them—the faces in the series of ‘Map’ are also painted as individual faces.
>>new march wood, plaster, oil 38×42×40 cm 2011
>>March oil on canvas 40 x 30 cm 2014
肆：在 2012 年之后的作品，比如 "family" 系列的作品每张都相较独立和怪诞， 对比从军系列有很大转变，能就此谈谈吗？ 山口：自从我把一个故事当成一个物体，我所思考的就不仅仅再是一个独立 作品中的单一概念，而是如何在一个展览中呈现更大的叙事的可能性。 除了通过一系列的作品来完成一个概念的呈现之外，我开始考虑如何给每件 作品中赋予叙事性，然后再通过展览将这些不同的故事组装成一个新的景象。
SI: The appearance of works you made after 2012 are far away from ‘March’, especially the series of “family”. They are much more independent than previous works and even a little bit wired. They are changed, and could you talk about it? MY; Since I regarded a story as an object, I have started to think about not only to represent a concept in an individual work, but also about the possibility of a larger narrative in an exhibition. Aside from completing a concept to be a series of works, I consider that how to make every work has a proactive narrative, and then be shown as a vision in an exhibition that assembled by those different stories.
>>Man in the box pastel pencil on paper 40 x 30 cm 2012
肆：能谈一下 "map" 系列的创作背景吗？ 山口：对我来说能否找到一个结构很重要。 有时我找到的是一张令人震惊的新闻图片，有时是我走在路上偶然看到的画 面。还有些时候，是我小时候的一些记忆，到现在还反复在脑海中呈现的。 SI: Well, there seems to be a story behind the series of ‘Map’. Would you like to talk about it? MY: It is important for me to find a structure. It could be a shocking news photograph, or something on the street I walking around, even if an image I choose from my memory of childhood, which I recalling repeatedly.
肆：你是怎么选择图像的？ 山口：我抛开表面的信息看图像，去看这里面是否还留有一些叙事性，去看 我是否能重新叙述它们。 SI: How do you choose the image that you deal with in your work? MY : I try to look at images past the extrinsic information, to see whether there is anything of narrative remaining and whether I can restate that in another way.
>>Child in the box pastel pencil on paper 30 x 40 cm 2012
>>our map acrylic on canvas 45,5Ă—53 cm 2012
>>map acrylic on canvas 91Ă—73 cm 2012
>>the boat sails O ink, oilbar on paper 156Ă—212 cm 2012
肆：可以理解成你是在用绘画消解图像么？ 山口：消解图像的符号性是我创作的基础过程，但是我并不是要去除所有的 符号。 图像完全被消解，失去它的全部符号性几乎是不可能的。我在一定范围之内 消解图像，因为我想让它跳出某一个具体的语境或者某一个明确的定义。 SI: Do you use painting to get rid of all significances of images? MY : Getting rid off significance of the image is a fundamental process of my creation, but not all of them. It is impossible to remove all significance of an image. I get rid off some information of images to an extent, in order to take them out of a certain context or a specific definition.
肆：你的绘画和雕塑之间的关系是什么？是什么促使你去创作雕塑作品的？ 你以后的创作方向会尝试更多的雕塑作品吗？ 山口：我经常使用一些有寓意的图像，但是同时，我讨厌除了符号什么都没 有的画面，就像毫无营养的唠叨。制作雕塑会颠倒势力的平衡，内容在符号 之前就会浮现。 我作为一个画家，但是就像我所提到过的，我发现我的绘画风格更像是基于 一个雕塑的。实际上，这种触觉的感受在制作雕塑的过程中对我来说是一种 简单的快乐。并且很有趣的是，你会发现，一件基于同一图像创作的雕塑和 绘画，其实会是多么的不同。 自从我开始制作雕塑，我注意到那种复杂性和自大的容量是一种可能。 关于我游走在绘画和雕塑之间的创作，我还没有尝试过将绘画和雕塑放在同 一空间展示。并且还有很多未尝试的想法。我正站在继续探索的入口。
>>Family acrylic, ink, oil on cnvas 162Ă—162 cm 2012
>>Family - our futur acrylic, ink on paper 162×130 cm 2013
>>Family - boy meets girl, girl meets boy acrylic, oil on cnvas 259×162 cm 2012
>>Family - Portfolio young sister acrylic, oil on canvas 53Ă—45,5 cm 2012
SI: What is the relationship between your paintings and sculptures? What promoted you to make sculpture? Would you make more sculptures in future? And why? MY: I deal with figurative images, but at the same time I hate the painting wearing nothing but significances that happens to be only loquacious without flesh. Sculpture making reverses the power balance. Instead, the flesh comes before significance. As I mentioned, I always find that what I make through painting is more like working on a sculpture. Actually, the tactile sense of making process of a sculpture is a simple joy for me. And you will see how different appears to be with the painting which it basing on. That is very interesting. Somehow I have realized the possibility of sculpture, which is complexity and arrogantly large capacity. As for going crossing paintings and sculpture as an artist, I never exhibited painting and sculpture in a same space. And I also have many ideas that I want to implement in my further works. I am standing in front of the entrance of continuous explorations.
- end (translated by Yandi Wang & Wendi Xie)
>>Our future 100 x 60 x 70 cm 2014
(designed by Minqi Sun)
关于 > 肆 SI< 隶属 > 草乙載萬殊 <zoewanshu.weebly.com 之微杂志 介绍活动于欧洲的亚洲青年艺术家 About SI micro conceptual magazine, part of Zoe(zoewanshu.weebly.com) introducing young Asian artists who are based in Europe
editor / 編輯 孫 敏祺 Minqi Sun 謝 文蒂 Wendi Xie 鄭 田明 Tianming Zheng 王 琰迪 Yandi Wang 应 梦婷 Mengting Ying
front cover / 封面 >>swallow1 charcoal, pencil on paper 26×18 cm 2009 Manna Yamaguchi
contact / 聯繫我們 www.zoewanshu.weebly.com www.zoewanshu.com (comming soon) zoe.wanshu@gmail.com 微信平台 : SiArtMagazine 或掃描二維碼
copyright©2014 zoewanshu / SI
SĂŹ 4. October 2014 No. 17
zoewanshu.com