展览预告｜“复奏 — 小清水渐与原口典之”
展名Title / 复奏 PolyChord
艺术家 Artist / 小清水渐，原口典之
KOSHIMIZU Susumu, HARAGUCHI Noriyuki
展期 Duration / 2020.5.30 (Sat）- 7.26 (Sun)
开幕 Opening / 2020.5.30 (Sat) 4:00pm
展览 Venue / 亚洲艺术中心（上海）| 上海市普陀区莫干山路50号7号楼106室
Asia Art Center (Shanghai ) | Room 106, Bldg. 7, 50 Moganshan Road, Shanghai
“复奏”是小清水渐与原口典之两位物派重要人物各自代表性作品在空间划分中互相映照生成的动势轨迹。二人的作品以不同属性的自然物和工业化材料元素彼此间的关系以及与所处空间的关系为结构核心，通过分解重组产生的变化组合充满平衡与对位的协同律动性。经由简洁的重复和累积展开延伸与变动，从而推动质的强化。其创作所蕴含的异同与分合、协调和反差亦是自然世界并社会关系之“复奏”的视觉化呈现。
亚洲艺术中心（上海）于2020年5月30日举办 “复奏 — 小清水渐与原口典之” 。展览将持续至2020年7月26日。
Unveiling slowly, Wall and Wire Rope wrapped by clean muslin showing up, a sound of polyphony settled in the precise structure is unfolding tunefully and simultaneously with an aesthetic mode of energy and logic.
PolyChord is a dynamic curve generated by the representative artworks of KOSHIMIZU Susumu and HARAGUCHI Noriyuki which reflects on each other while taking part in the space site. The essence of the structure of their works relates to the attributes of nature objects and industrial elements, as well as to the connection of particular positions. It is full of synergic rhythm of counterpoint and balance in the diversification and combination by decomposing and reorganizing. The concise repetition and accumulation develops evolvement and advancement to promote the strengthening of quality. In their creations, the similarities and differences, separation and unification, coordination and confrontation are visual representation of the nature world and social relations.
PolyChord, the exhibition of KOSHIMIZU Susumu and HARAGUCHI Noriyuki will open on May 30, 2020 at Asia Art Center (Shanghai). The exhibition will be on view until July 26, 2020.
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小清水渐 1944 年生于日本爱媛县，毕业于多摩美术大学雕塑系，后成为日本1960至70年代渐趋成熟的艺术流派─「物派(Mono-ha)」主要成员。自艺术生涯初期开始，小清水渐对于雕塑和空间感的掌握，使得他的雕塑作品成为物派之中相当具代表性的作品；他此时期的雕塑作品，主要探讨物体中固有但不可视的本质，关注其物质性，并透过并列物件的手法，揭露雕塑的本质。1970年代伊始，小清水渐转而特别关注物体表面的结构。
重要展览包括：2015年意大利米兰慕荻玛基金会“物派”；2013年美国达拉斯仓库艺廊“平行观点：1950、1960及1970年代的意大利与日本艺术”；2001年英国伦敦泰特现代美术馆“现代都市的百年艺术文化”；1995 年“1970 年代的物质与感知：物派的奠基与研究”日本巡回展，自岐阜县美术馆（展期自2月17日至3月26日），巡回至广岛市现代美术馆（8月19日至9月24日）、琦玉县立近代美术馆（10月7日至12月17日）。此展于1996年，接续巡回至法国圣德田当代美术馆。1994年纽约所罗门·古根汉美术馆“1945年后的日本艺术：划破天际的嚎啸”，后巡回展出至美国旧金山现代美术馆。1986年法国庞毕度中心“1910至1970年的日本前卫艺术”；1983年巴西第 17 届圣保罗双年展；1976年意大利第37届及1980年第39届威尼斯双年展；1971年法国第7届巴黎青年双年展。
KOSHIMIZU Susumu was born in 1944 in Ehime Prefecture, Japan. He graduated from Sculpture Department, Tama Art University and later became one of the key members of Mono-ha, a group of artists who turned prominent in the late 1960s and 1970s. From early on, Koshimizu’s investigation of material and space resulted in some of Mono-ha's most definitive artworks. Koshimizu's installations and sculptures during the 1960s and 1970s focused on the qualities inherent to but not visible in an object. He shows concern for the materiality of objects—a desire to expose the fundamentals of sculpture, often revealed through juxtaposition. At the beginning of the 1970s, Koshimizu started to explore specifically the structureof surfaces.
The artist's important exhibitions include Mono-ha, Fondazione Mudima (Milan, Italy, 2015); ParallelViews: Italian and Japanese Art from the 1950s, 60s, and 70s, The Warehouse, (Dallas, Texas, U.S.A., 2013); Century City Art and Culture inthe Modern Metropolis, Tate Modern (London, UK, 2001); Matter and Perception :1970 Mono-ha and the Search for Fundamentals, The Museum of Fine Arts, Gifu, Japan, from 17 Feb. to 26 March, 1995 (traveled to Hiroshima City Museum of Contemporary Art, from Aug. 19th to Sep. 24th; Kitakyushu Municipal Museum ofArt, from Oct. 7 to Dec. 17 and The Museum of Modern Art, Saitama. In 1996, this exhibition traveled to Museum of Modern and Contemporary Art, Saint-Etienne, France. Japanese Art after 1945: Scream Against the Sky, Solomon R.Guggenheim Museum, New York (traveled to San Francisco Museum of Modern Art,San Francisco, U.S.A.) (1994);Avant-Garde Arts of Japan 1910-1970, Centre Pompidou, Paris, France (1986);17th Sao Paolo Biennale (Sao Paolo, Brazil, 1983); 37th & 39th Venice Biennale, Venice, Italy (1976 & 1980), and 7th Paris Youth Biennale (Paris, France, 1971).
原口典之 1946 年生于日本神奈川县横须贺市，1970年毕业于日本大学油画系，现工作及生活于岩手县。他从大学起举办展览，当时正是抗议越战与美日安保条约的学生运动年代，而横须贺又是美国海军的基地，原口早期绘画和雕塑如“船”系列（1963-65）、Tsumu 147（货运车厢）（1966）、空气管系列（1968-69），均参照重工业的美学及材料。1968-69 年，原口创作出一件重量级雕塑作品“A-4E天鹰式攻击机”，此作与美国海军战机同名的全比例复制品，在防暴警察重新进入校园之前在大学校园展出。随后，原口典之开始使用工型钢、压力钢汽车零件、废油、聚氨酯（PU）、橡胶等为其创作媒材，此种艺术语汇和李禹焕、关根伸夫、菅木志雄等与他同时代的物派创作者常用的自然材料，相距甚远。
自1970年代，原口开始于日本与国际间展出；如1977年，他在第六届德国卡塞尔文件展展出一件大型废油槽作品 Matter and Mind，获得广大回响，同年参加在巴黎现代艺术博物馆举行的第十届巴黎双年展，来年1978年，他在德国杜塞道夫的Alfred Schmela画廊举办首次海外个展，并于2001年慕尼黑连巴赫市立美术馆举行回顾展，2007年参与德国汉堡美术馆举办的“黑方块：向马列维奇致敬”展览；原口典之近年最具规模的展览是2009年在他的故乡神奈川县横滨艺术特区的“原口典之：社会与物质”回顾展，并于2012年参加纽约现代艺术博物馆（MoMA）的“东京1955-1970：新前卫艺术”，与关根伸夫、草间弥生、白发一雄等多位日本现代艺术史的重量级艺术家共同展出。他为ArtBase百岛艺术区所做的“油泳池”一作是他在世界上唯二的永久性特定艺术品之一，也是“后物派”极具代表性的一件作品。原口典之作品受目黑区美术馆（日本东京）、丰田市美术馆（日本爱知县）、泰特现代艺术馆（英国伦敦）、伊朗德黑兰当代艺术博物馆、纽约现代艺术博物馆（MoMA）、库勒慕勒美术馆（荷兰奥特罗）、英佑庆博物馆（巴西布鲁马迪纽）、连巴赫市立美术馆（德国慕尼黑）典藏。
HARAGUCHI Noriyuki was born in Yokosuka, Kanagawa, Japan, in 1946, and he graduated from the Department of Oil Painting at Nihon University, Tokyo, in 1970. He began exhibiting his works while in college, amidst the rising political turmoil of campus protests andstudent riots against the Vietnam War and the Japan-US Security Treaty. Coincidentally, Yokosuka was the home port of the US Navy’s Seventh Fleet, and Haraguchi’s early paintings and sculptures, such as the Ships series (1963–65),Tsumu 147 (Freight Car) (1966), and Air Pipes series (1968–69), referenced the aesthetics and materials of heavy industry. Haraguchi created the iconic sculpture A-4E Skyhawk (1968–69) behind the student barricades at Nihon University; it was a full-scale reproduction of the eponymous US Navy fighterjet and was exhibited at the university before riot police retook the campus. Subsequently, Haraguchi’s adopted materials have come to include I-beams, pressed-steel car parts, waste oil, polyurethane, and rubber—creating anaesthetic vocabulary quite distinct from his Mono-ha contemporaries such as LeeUfan, Sekine Nobuo, and Suga Kishio, who embraced more natural materials.
Since the early 1970s, Haraguchi has exhibited extensively in Japanand abroad. In 1977, his spent-oil reflecting pool Matter and Mind was exhibited at Documenta 6 in Kassel, Germany, which received critical feedback;in the same year, he also participated in the 10th Biennale de Paris. In 1978, his first solo exhibition abroad was held at Galerie Alfred Schmela, Dusseldorf;in 2001, his retrospective exhibition was organized at Städtische Galerie im Lenbachhaus, Munich; in 2007, his works were included in the group exhibition “Das schwarze Quadrat – Hommage an Malewitsch” at Hamburger Kunsthalle,Hamburg, Germany. In recent years, Haraguchi’s major retrospective exhibition“Society and Matter” was organized at his hometown, BankART Studio NYK at Kanagawa, in 2009; in 2012, he exhibited alongside other influential Japanese modern artists, such as Sekine Nobuo, Kusama Yayoi and Shiraga Kazuo at the group exhibition “Tokyo 1955-1970: A New Avant-Garde” at MoMa, New York. The“Oil Pool” he created for Art Base Momoshima is one of his only two permanently exhibiting works, as well as being an iconic piece of Post-Mono-ha. Haraguchi’sworks are collected by Meguro Museum of Art (Tokyo, Japan), Toyota Municipal Museum of Art (Aichi, Japan), Tate Modern (London, UK), Museum of Modern Art(New York, US), Tehran Museum of Contemporary Art (Tehran, Iran), Kröller-Müller Museum (Otterlo, Netherlands), Inhotim Museum (Brumadinho, Brazil) and Städtische Galerie im Lenbachhaus (Munich, Germany).
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