展览预告｜新正春 Shin Masaharu：不齐 Distorted

Gene弥金画廊即将推出新正春在中国的首次个展“不齐”。展期自2022年10月11日至2022年11月03日。

新正春（b.1996）通过对日常生活中的常见肌理与面料的采集，完成其创作素材的累积，艺术家通过这一素材的收集过程对日常环境进行分类与分析，以及更进一步的，借助其判断的习惯和标准建立分类系统，以应对种种日常经验的到来。

Gene Gallery is delighted to announce Shin Masaharu's first solo exhibition in China, "Distorted", from October 11, 2022 to November 03, 2022. 

Shin Masaharu (b.1996) completed the accumulation of his creative materials by collecting standard textures and fabrics in daily life. The collection process of this material classifies and analyzes the daily environment and establishes a classification system with the help of its judgment habits and standards to cope with the arrival of various daily experiences.

PAPAYA

100 x 80.3cm

木框亚麻面、喷绘、丙烯

WOODEN-FRAME、SPRAY、ACRYLIC

2022

在新正春的创作实践中，他尝试讨论在同一价值判断体系和分类标准下，如何形成统—有效的类别系统（包括分类中的物质属性、关系和状态），受这一逻辑的驱使，新正春的绘画创作呈现出画面语言的高度一致性。在某种意义上，同属于一个分类系统 下的创作可以被视作“雷同”，这些表面相似作品实则体现出他处理日常经验时所产生 的细微的认知差别，并以存有论的视角帮助艺术家重新审视“类别与差 异”作为创作对象的结果。

Shin Masaharu's creative practice discussed forming a unified and effective category system (including material properties, relationships, and states in the classification) under the same value judgment system and classification standard. Driven by this logic, Shin Masaharu's painting creations show a high degree of consistency in the language of pictures. In a sense, the creations that belong to the same classification system can be regarded as "similar." These seemingly similar works reflect the subtle cognitive differences he produced when dealing with daily experience and are based on an ontology perspective that helps the artist re-examine "category and difference" as a result of creative objects.

BILI

27.5 x 22cm

木框亚麻面、喷绘、丙烯

WOODEN-FRAME、SPRAY、ACRYLIC

2022

作为一名年轻的艺术家，新正春通过采集当代及上世纪七十年代以来的东亚时装，凸显高度雷同的现代化生活图景中的细微差别。这种分类与再现生活肌理的观察方式让新正春的创作不能被简单地归纳于抽象艺术，而是借由对日常物与肌理的收集形成一 种被他称作“生活绘画”的表现形式，例如诸多作品中出现的金色丝网印刷。

As a young artist, Shin Masaharu highlights the nuances of the highly similar modern life landscape by collecting contemporary and East Asian fashions from the 1970s onwards. This observation method of classifying and reproducing the texture of life makes his creation not simply summarized in abstract art. However, it forms a form of expression that he calls "life painting" through the collection of everyday objects and textures. For example, the golden screen printing that appears in many works.

PAPAYA

182 x 117cm

木框亚麻面、喷绘、丙烯

WOODEN-FRAME、SPRAY、ACRYLIC

2022

“它们看起来几乎完全相同，但颜料在丝网印刷和再创作的过程中产生了 微妙的差异，尽管在金色与黑白色的作品中大多使用了相同的丝网版块，但只需对其中某个元素进行细微的调整，它们便看起来完全不同。”

"They look almost identical, but the pigments create subtle differences in the process of screen printing and re-creation, and although the same screen panels are mostly used in the gold and black and white works, it is only necessary to Each element can be tweaked slightly and they look completely different."

Bone, Skin, Texture

182 x 117cm

木框亚麻面、喷绘、丙烯

WOODEN-FRAME、SPRAY、ACRYLIC

2022

新正春对于作品的诠释照应了《孟子》所描述的客观情形一一“夫物之不齐，物之情 也。”即天下万物即使在微弱的差异性中，也足以保有对“物”的客观情形进行明确的 区分，这也印证了当代商品社会构建的分类体系下，即使式微但却仍然保有的普遍的 差异性。

Shin Masaharu's interpretation of the works corresponds to the objective situation described in "Mencius" - "the unevenness of the husband and the object is also the emotion of the object." That is to say, even in the weak difference, all things in the world are enough to retain the "object." The objective situation is distinguished, which also confirms the general differences still maintained even if they are declining under the classification system constructed by the contemporary commodity society.

Bone, Skin, Texture

72.7 x 60.6cm

木框亚麻面、喷绘、丙烯

WOODEN-FRAME、SPRAY、ACRYLIC

2022

关于艺术家

新正春(b.1996)年出生于日本大阪，2021年毕业于京都艺术设计大学油画系。作为一个艺术家，新正春十分着迷于探索艺术从古至今在社会中所传达的含义和立场。他艺术创作的最终目的是引导大众思考艺术在当今社会的意义，而他创作的艺术作品中所用到的材料则代表了他本人对于这个问题的见解。他的作品不仅是蕴涵了他对当代艺术的理解和表达，更承载了当代艺术之于社会和生态环境的意义。

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