10.6.2018

展訊 | 鈴木展:The Writing of Meteors
Exhibition | Hiraku Suzuki: The Writing of Meteors

鈴木展:The Writing of Meteors
October 6 – November 7, 2018
Opening Reception: October 6, 2018 | 3PM

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 Each Modern亞紀畫廊非常榮幸將於2018年10月6日起舉辦日本藝術家鈴木展的台灣首次個展「The Writing of Meteors」。展覽將包括藝術家受金澤21世紀美術館收藏的早期系列〈Bacteria Sign〉,到為此展量身訂作、以反射板構成的裝置〈Reflector〉。展覽呈現藝術家由「線」的思索所擴發的無限性。在線條成為文字與藝術等文明構成之前,仍屬點與點之間透過物理動作而連接的狀態-即不僅屬於二維卻是空間時間的運動狀態-是鈴木展創作的出發點。對於考古學、天文學、礦石學的涉獵,以及對土地、自然的熱愛,鈴木展從中獲取線條與描繪(drawing)的契機,又再由城市景象的觀察獲得形體的線索,最後完成既潛存過去與記憶,又指向現代主義與未來主義的作品。2000年展開的〈Bacteria Sign〉讓鈴木展獲得高度矚目,他將正方形的畫板上鋪滿含有土質的保存性顏料、將枯葉完全埋藏其中、再逐步挖掘顯露出葉脈的「畫線」行為,涵蓋了繪畫、考古、生命循環、文明起源、侘寂美學等層次,且由沈澱地面的土壤反彈成為對宇宙無垠的想像,為極具隱喻的奇妙作品。

延續對生命痕跡細微存在的捕捉,鈴木展的〈GENGA〉為已進行15年的計畫:描繪日常形體的斷片、採集成未知的記號、最後分類歸檔。GENGA一字指涉了言語(Gengo)和銀河(Ginga),並與漢字「原畫」同音。由〈GENGA〉發展出的錄像作品〈GENGA #001 – #1000 (video)〉,則進一步反轉影像,跳脫物質形體,以近似光本身的潛變更強調了線條的運動與美感。另一與之相關的攝影系列〈GENZO (photo)〉則與〈GENGA〉的採集行為互補-鈴木展並非企圖尋找形體,卻以繪畫的方法再構攝影空間:他在全黑洞窟中以銀色噴漆在黑紙上作畫,而後經翻拍轉化為相片。此盲目的繪畫行為可擬似暗房現象的過程-GENZO與漢字的「現象」、「幻象」、「原畫」等字同音。

鈴木展關於線條不同類型的描繪,最後融合成為2016年開始的〈Constellation〉系列。東京都現代美術館策展人薮前知子評論道:「你可以說,鈴木展的『挖掘』是為了找出時間和空間的交會處。邏輯上,他的作品現在更強調的是空間的概念。在最新的作品中,許多的銀河系統被裝置在巨大的表面上。他將他的繪畫行為定義於事物間並創造一個管道,通過它的運動將『運輸』的概念帶於前端。可窺見這些累積的線條們通過共有的關係且有秩序,這些線條都自行決定了它們的形狀與空間擴展。」

對鈴木展而言,線為透過手的動作「描寫」感情與意見所誕生的痕跡,不但連接西方傳統中的「書寫calligraphy」,也同時回應亞洲傳統中的書法。他藝術的中心思想-描繪(drawing)不侷限於紙筆間的可能性,而在媒介、形式、意義都超越到另一種關於「更大整體所組成的徵兆」,即更為宏大、複雜的宇宙觀。此次個展題目「The Writing of Meteors」(隕石的書寫)來自法國超現實主義評論家凱盧瓦(Roger Cailois)的著作《L’ecriture de Pierres》(石頭的書寫)-鈴木展利用這些極簡物質所創造出的符號線條串連了宇宙中的時空。他正書寫著宇宙,在鉅與細中對宇宙結構的變與不變做出了詮釋。每一系列作品都因相同的架構下有著變化而呈現著全然不同的全貌,而這也正是鈴木展所再現的宇宙秩序。

鈴木展的作品已獲日本不同領域的重要人物推崇,包括書法家石川九陽(Kyuyo Ishikawa)、吉增剛造(Gozo Yoshimasu)、時裝設計師川久保玲(Rei Kawakubo)等。法國品牌Agnes b.也長期與鈴木展合作項目,並收藏他的作品。鈴木展的作品曾於金澤21世紀美術館、森美術館、銀川現代美術館、巴黎日本文化會館、倫敦Daiwa Anglo Japanese Foundation等大型展覽中展出,明年亦將參展東京都現代美術館重新開幕首展。

Hiraku Suzuki:The Writing of Meteors
October 6 – November 7, 2018
Opening Reception: October 6, 2018 | 3PM

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Each Modern is pleased to present for the first time in Taiwan, an exhibition of Japanese artist Hiraku Suzuki, “The Writing of Meteors”. The exhibition will present new works on paper and canvas, installation, video and photographs to present the infinity of the artist’s expansion from lines.

Before lines form the essentials of civilization, such as language and art, they remain in the state of connection from point to point through physical movement – that is, not only two-dimensional but the state of motion of space and time – which is the critical concept of Suzuki’s oeuvre. Suzuki rediscovers lines from archaeology and astronomy, as well as his interest in the fluidity between the visual and the textual, and then obtains clues of form through observations of the city scene. He integrates all into his unique method of drawing which conclusively points to modernism and futurism. Bacteria Sign, one of his famous early series from 2000, is comprised of canvases of soil. Suzuki buries dead leaves and gradually excavates the “line drawings” through revealing the veins. Bacteria Sign resonates drawing, archaeology, life cycle, the genesis of civilization, and other narratives. Soil of the sedimentary ground rebounds into an innocent imagination of the universe; a metaphorical, wonderful work.

Continuing the approach of traces of life, GENGA has been Suzuki’s long-term project of depicting fragments of everyday shapes, collecting unknown marks, and finally sorting and archiving.

The title GENGA refers to a word play between “GENGO” (language) and “GINGA” (galaxy), with “GENGA” also meaning primal or original pictures. The video GENGA #001 – #1000 (video) developed from GENGA further reverses images and jumps off physical forms, emphasizing the movement and beauty of lines with change of light itself. GENZO (photo) , another related to GENGA, was begun with Suzuki taking black paper and silver spray into a completely dark tunnel to draw blindly. The artist is not exploring to find a form, but reconstructing the photographic space by drawing – The title GENZO comes from the Japanese term for photographic development, but also means “phantom” and “original statue”.

Began in 2016, Suzuki’s experimental depiction of lines finally merged into Constellation. Tomoko Yabumae, curator of The Museum of Contemporary Art Tokyo, mentioned in her article, “ It may follow logically that Suzuki’s work now emphasizes the concept of space. His most recent work shows what appear as galactic systems, laid out on huge surfaces. He defines his act of drawing as creating a tube between things, with the movement through it, bringing the notion of ‘transport’ to the fore. Accumulated lines discover orders through their mutual relationships, and all on their own determine their shapes and expanses of space.”

For Suzuki, lines are more than depictions of feelings and opinions through movements of the hands. The radical idea of his drawing is not limited to the possibility of a pen and paper, but of the media, form, and meaning, transcending another “premonition of some greater whole”, that is more striking and complex. The exhibition title The Writing of Meteors comes from French critic Roger Cailois’ L’ecriture de Pierres. For Suzuki, the symbols and lines that are created by these minimalist materials connect to time and space in the universe. Interpreting the changes and constants of the universe’s structure in both macro and micro, Suzuki is writing the universe.

Born in 1978 in Miyagi, Japan, Suzuki’s work has been the subject of numerous museum exhibitions: 21st Century Museum of Contemporary Art, Kanazawa; Mori Museum, Tokyo; MOCA YinChun, YinChun, ; Maison de la culture du Japon à Paris, Paris; Daiwa Anglo Japanese Foundation, London and etc.