艺术家：
石川真奎 Masaki Ishikawa
动态与概念
M/Notion
开幕时间/Opening: 2022.11.05 15:00
展览时间/Exhibition Duration: 2022.11.5 - 2022.12.04
地点/Address: 北京市朝阳区798艺术区中二街 SIMULACRA
SIMULACRA, Zhonger Street,798 Art District,
Chaoyang,Beijing
SIMULACRA 将于2022年11月05日，推出艺术家石川真奎(Masaki Ishiwaka)的个展 M/NOTION(动态与概念)。本次展览将包含艺术家于2021 - 2022年的11件绘画，1件影像，及5件数码图像作品。画廊将通过对艺术家作品细致的介入，呈现出一个概念与时空混合的记忆中格拉斯哥的景观边缘。失去了清晰思绪的清晨，他开始写信，收信人是玛丽贝特。他想知道这两年里那边都发生了什么。「城市变了，不仅仅是街道和人群，似乎时间的浓度都改变了。地铁站和每一个路口都在施工；玛丽贝特站在街边，身后有一间很老旧的小咖啡馆，她手举一本充满文字的硬皮书，潦草地在其上书写着什么。玛丽贝特进了门，“请帮我来杯热茶吧。”她还是打算点点儿什么。但是这会儿她已经头也不抬的全然沉溺在自己的创作当中。过了些时候，地板的湿味开始减退，空气中的粉尘被清晨的光线打进了屋内。还没等到服务生喊出声，玛丽贝特已经径直往城东走去了。冬季花园的确很特别，该地点被判定为结构不安全，而且稀有的植物都被迁移。她从一个碎裂的玻璃窗户那儿翻了进去。这里的一切都是临时性的，包括空气和水。从工地施工的痕迹不难看出：这里曾经发生过一起灾难；而罪魁祸首也早就被遗忘了。“这该死的资本主义！”玛丽贝特皱起了眉头，在巨大的白色弧形架构下游走。随着氧气愈发稀薄，她的眼前逐渐眩晕起来；她的视觉开始变形，以一种立体主义式的方式撕扯开来。她再次打开手中的书，不知道是在写还是在涂抹什么…“就应该是这样的，对，这才是我要的…让名词动起来吧…”两天后，宫殿被警戒线围了起来，什么都没有发生过。」SIMULACRA will present M/NOTION, a solo exhibition by artist Masaki Ishiwaka, on the 5th of November 2022. The exhibition will include eleven paintings, one video and five digital images by the artist from 2021-2022, and the gallery will present a conceptual and temporal mix of the artist's memory of the edge of the Glasgow landscape through a delicate approach.Early in the morning, when the clarity of thought was lost, he started writing a letter to Marybeth. He wanted to know what had happened there in the past two years.「The city had changed, not just the streets and the people, but also the concentration of time. Construction was taking place at underground stations and every intersection; Maribeth stood on the sidewalk in front of a small old café, holding up a hardback book full of texts and scribbling something on it."My lady, so chilly outside. Would you like to come in?""I'm sorry, I didn't notice you were about to set the table. I was writing this...""It doesn't matter. You may come in and work on it."Maribeth stepped in, "A cup of hot tea, please." She still wanted to order something."Would you like it with milk or sugar?"But she was already absorbed in her thoughts without looking up.Later, the damp smell of the floor began to fade, and the dust in the air was poured in by the morning light.She closed her notebook and glanced at her watch: it was half past six."Am I forgetting something?"Before the waiter could yell out, Marybeth was already heading straight for the east side of town.The Winter Garden was indeed unusual; the site had been judged structurally unsafe, and the rare plants had been relocated. She tumbled in through a broken window.Everything here is temporary, including the air and water. It was easy to see from the signs of construction work: there had been a disaster here, and the culprits had long been forgotten."Bloody capitalism!" Maribeth frowned, wandering around the enormous white curved architecture.As the oxygen grew thinner, her eyes gradually glazed over; her vision began to distort, tearing apart in a cubist fashion. She opened the book in her hands again, not knowing whether she was writing or scribbling something... "This is how it should be, yes, this is what I want... let the nouns move..."Two days later, the palace was cordoned off, and nothing ever happened."」"That must be her story."He stepped to the window just as the mist drifted up over Glasgow.
石川真奎
Masaki Ishikawa
石川真奎是一位视觉艺术家，1995年出生于日本东京。他于2019年毕业于东京武蔵野美術大学油画系，获学士学位，并于2021年毕业于英国格拉斯哥美术学院纯艺术系，获硕士学位。目前工作与生活在格拉斯哥。石川的创作来源于对人文景观的去颜貌化阅读。他通过日常性的微观配置将空间与历史乔装打扮，进入私人物品之列。他在作品图像织造的坚硬边缘呈现出的工业性底层之上平等地并置了浪漫，结构以及虚无。看似严格的紧密框架实则被柔软裹挟，使光滑的图像僭越了天真的拓扑学，游离至绵延的异质性编码集群。艺术家在绿色的空地上搜寻着被遮蔽之物。其中，眼球的转动服务于擒拿图形的动态，而现实体系的历史性则成为了永恒消逝的状态。叙事则永久性地让步到层与节段身后，一切都将成为纪念性的实体。石川实践的逻辑类似于抽象机器：他打捞起被遗忘的信息，将其附着于画面表层机理。城市中文化符号的残渣被艺术家挤压并形成强度，最终生成某种虚构，亦或是在怀想中才成真的现实。Masaki Ishikawa is a visual artist born in Tokyo, Japan, in 1995. He graduated with a BA Degree in Oil Painting from Musashino Art University, Tokyo, in 2019 and a MA Degree in Fine Art from Glasgow School of Art, UK, in 2021. Currently working and living in Glasgow.
Ishikawa's work is derived from a "dévisagéified "reading of the cultural landscape. He masquerades space and history into private objects through micro configurations of the everyday. He juxtaposes romanticism, hierarchy, and nothingness equally over the industrial stratum rendered by his rigid edges. The seemingly strict and confining framework is embedded in such softness that the sleek images transgress the topology of naivety and stray into extended clusters of heterogeneous codes. The artist traces the obscured objects on the green field. Whereby the rotation of the eyeballs serves the dynamics of the tackled figure, and the historicity of the reality system becomes a state of perpetual evanescence. The narrative then permanently yields behind strata and segments, where everything becomes monumental. The logic of Ishikawa's practice is parallel to that of an abstract machine: he retrieves the neglected messages and affixes them to the surface texture of paintings. The residues of cultural symbols within the city are squeezed by the artist and built into certain intensity, eventually generating a kind of fiction, or a reality that only becomes real in nostalgia.