亞紀畫廊呈獻年度攝影企劃展「TOKYO」
以昭和百年藝術視野重構都市文化記憶
陳澄波 Chen Cheng-Po · 鄧南光 Teng NanKuang · 井上有一 Inoue Yuichi · 細江英公 Hosoe Eikoh · 威廉克萊因 William Klein · 中平卓馬 Nakahira Takuma · 菅木志雄 Suga Kishio · 森山大道 Moriyana Daido · 川內倫子 Kawauchi Rinko · 杉戶洋 Sugito Hiroshi · 高野綾 Takano Aya · 西村有 Nishimura Yu · 南谷理加 Minamitani Rika · 西野壯平 Nishino Sohei
亞紀畫廊榮幸將於7月22日舉辦年度攝影企劃展「TOKYO」，本次展覽突破既往框架，首次以歷史與繪畫作為脈絡與對話，透過橫跨1926至2025年的作品，呈現東京自昭和元年以來百年間社會文化變遷的藝術史圖景。
展覽以時間為軸線，分為三大敘事章節。
首先呈現台灣前輩藝術家陳澄波1926年繪製的東京國立博物館，這幅罕見的海外藝術家視角作品，與攝影先驅鄧南光1932-1935年間拍攝的東京實驗街景形成對話，共同見證東京作為台灣現代化樞紐的複雜性。而後1945年東京大空襲不僅改變歷史，也改變井上有一的創作，是戰火與重生的轉折點。
第二部分呈現經濟奇蹟下的文化沸騰，匯集William Klein《東京》系列與細江英公《薔薇刑》三島由紀夫等的炙熱肖像、以及中平卓馬《挑釁》時期作品。而這些發展最終集結在1970年東京雙年展，菅木志雄與物派揭示日本當代藝術之後三十年的發展。 但1980年後日本面臨的泡沫幻影與世紀末憂鬱，森山大道與杉戶洋選擇直視東京內部的壓抑與失落，揭示都市人普遍卻無法言說的焦慮與失語，呈現出城市與人之間精神與物理的雙重惆悵——東京也從集體主義的狂熱，轉向存在主義的焦慮。
終章來到21世紀，川內倫子的惆悵與消縱即逝為新世紀定調了序幕，承接著，當代繪畫中杉戶洋、高野綾、至今日的西村有、南谷理加皆繼續以自己的語言傳達日本失去的十年。2024年，西野壯平再次拍攝以東京為主題Diorama Map，重新將後奧運時代東京的精神地圖呈現在我們面前－這個群展，是對東京作為「永遠進行式」都市文本的當代解讀。
Each Modern is honored to announce its annual photographic exhibition, "TOKYO," on July 22. This exhibition transcends frameworks by integrating history and painting as contexts for dialogue. It showcases works spanning from 1926 to 2025, presenting an artistic historical panorama of Tokyo's socio-cultural transformations over the past century since the beginning of the Showa era.
The exhibition is structured along a temporal axis, divided into three major narrative chapters.
The first chapter features a rare overseas perspective work by Taiwanese pioneer artist Chen Cheng-Po, depicting the Tokyo National Museum in 1926. This piece engages in a dialogue with the experimental street scenes captured by photography pioneer Teng NanKuang between 1932 and 1935, together witnessing the complexities of Tokyo as a hub of modernization for Taiwan. The devastating Tokyo air raids of 1945 not only altered history but also transformed the creative trajectory of Inoue Yuichi, marking a pivotal moment of war and rebirth.
The second chapter highlights the cultural fervor during Japanese Economic Miracle, bringing together William Klein's Tokyo series and Hosoe Eikoh's BaraKei alongside vibrant portraits of Mishima Yukio, as well as works from Nakahira Takuma's Provoke period. These developments culminated in the 1970 Tokyo Biennale, where Suga Kishio and the Mono-ha movement revealed the evolution of contemporary Japanese art over the following three decades. However, the post-1980s era saw Japan grappling with the specter of economic bubbles and the anxieties of the turn of the century, as reflected in Moriyama Daido's neon street scenes and Sugito Hiroshi's ordinary pale, illustrating the physical and psychological expansion and collapse of the city, as Tokyo shifted from a fervor of collectivism to existential anxiety.
The final chapter arrives in the 21st century, where Kawauchi Rinko's poignant reflections and ephemeral moments set the tone for the new century. Continuing this narrative, contemporary painters Sugito Hiroshi and Takano Aya, along with today's Nishimura Yu, Minamitani Rika convey the second Japan’s Lost Decade through their unique languages. In 2024, Nishino Sohei revisits the theme of Tokyo with his Diorama Map, presenting a spiritual map of post-Olympic Tokyo before us. This group exhibition serves as a contemporary interpretation of Tokyo as an ongoing urban text.
