亚洲展讯 | 物，及其动势 - 原口典之台湾首展（台北）
HARAGUCHI Noriyuki Taiwan Premiere Exhibition
展览时间/ Duration: 2019.5.18 (Sat.) - 2019.6.30 (Sun.)
开幕式/ Opening: 2019.5.18 (Sat.) 4:00pm
展览地点/ Venue: 亚洲艺术中心（台北二馆）
Asia Art Center (Taipei Ⅱ)
台北市乐群二路93号
No.93, Lequn 2nd Rd., Taipei
物，及其动势
亚洲艺术中心荣幸地宣布“物，及其动势 - 原口典之台湾首展”将于2019年5月18日在亚洲艺术中心台北二馆开幕。本次展览不仅是日本战后物派大师“原口典之”在台湾的首次个展，作品亦皆为艺术家根据展览现场量身制作。开幕酒会将于2019年5月18日下午4点举行，展期至2019年6月30日止。
墙与钢索（一） Wall and Wire Rope 1 114x87.5x5cm
合板、钢索、铁、石膏 Plywood, Wire Rope, Iron, Plaster 2019
延续今年一月展出的物派（Mono-ha）早期核心人物关根伸夫个展“空相 - 皮肤”，本展艺术家则是“后物派”中“日大系”（日本大学艺术学部）代表人物原口典之，他擅长以工业材料创造富有社会批判性的装置艺术，在倾向于使用自然媒材的物派团体中独树一帜。原口的家乡横须贺是重工业海港城市，处于出入东京湾的重要战略位置，冥冥之中促成了他日后所追求的重工业美学。1960年代的大学时期正逢抗议越战与美日安保条约的学生运动高峰点，而原口躬逢其盛，以待命于横须贺美军基地中，越战时期的主力攻击机A-4E天鹰 (A-4E Skyhawk) 为灵感，作出同名的全比例复制品并展示于校园中，该攻击机本是战场上令人闻风丧胆的武器，透过原口的重义 (Repurpose) 后却成为推崇和平的象征，其中隐晦的讽刺使他反思“人 - 物 - 社会”之间的三角关系。1970年代，原口以Matter and Mind（俗称“油泳池 Oil Pool”）这件“后物派”极具代表性的作品参展第六届德国卡塞尔文献展，使之扬名国际，随后此作由伊朗德黑兰当代艺术博物馆典藏；作品中的废油静如止水，看不透的黑色表面清晰地反映该作品所存在的背景环境，往往反映工业社会中人文与自然的共存共灭。
纸上作品6姿态 Work on Paper 6 Gesture 76x56cm
铅笔丙烯纸本、描图纸 Pencil and Acrylic on Paper, Tracing Paper 2019
“物，及其动势”展出的新作系列承续原口典之对物的重义之主题，废弃的累赘之物与被忽视的遗忘之物，经他之手成为重获新生的回忆载体，又或是重审历史的证物。作品中的钢铁、木板、聚氨酯（PU）物料虽仍保有浓烈的工业材料质地，其表面光泽却已黯淡哑然，在分别完结自身属于“物品”之功能性的使命后重拾“物”的本性。后物派与物派，对于“物”的读法，有何差异？在向往自然与哲学的物派团体，年纪较轻且酷爱工业材料的原口典之无疑是其中的异数，如他所言：“我们之间些微的年龄差距不曾消逝，我们永远活在两条平行的轴在线，我与物也是如此。”原口描述的距离感，不仅揭露他在思想上的差异，也是他探究当“物”在历史洪流中不断演变的同时，人又该如何透过“物”反观自身与时下世界的关联？
Substance and Motion
Asia Art Center is pleased to present "Substance and Motion: HARAGUCHI Noriyuki Taiwan Premiere Exhibition", opening on May 18, 2019 at Asia Art Center Taipei II. This marks the Post-war Mono-ha artist Haraguchi Noriyuki's debut solo exhibition in Taiwan, featuring his site-specific works exclusively designed for the venue. The opening will be held on May 18, 2019 (Sat.) 4:00pm, and the exhibition will be on view till June 30, 2019.
铁 Iron 2019
In sequence to our January solo exhibition of Mono-ha pioneer Sekine Nobuo, the upcoming exhibition presents the central figure of "Post-Mono-ha" Haraguchi Noriyuki, from "The Nichidai Connection" (Nihon University). Unlike his Mono-ha peers' embrace of natural materials, Haraguchi is instead distinctively recognized for the predominant use of industrial materials in his installation art that critiques on society. Haraguchi's hometown, Yokosuka, is an industrial port city located at the opening of Tokyo Bay, a strategically important location that also serves as the base of the United States Seventh Fleet; subsequently, this cross-pathing background has inspired his lifelong pursuit of "heavy industry aesthetics". While attending university in the 1960s, Haraguchi found himself amidst the boiling turmoil of student protest against the Vietnam War and US-Japan Security Treaty; as a result, he contributed to the protest by creating the seminal sculpture A-4E Skyhawk, a full-size reproduction of the eponymous primary attack aircraft in Vietnam War that was on stand-by at his hometown's naval base. Though widely regarded as a wrathful killing machine on the battle field, the aircraft was transformed into a symbol of peace propaganda after its "Repurpose" by Haraguchi; needless to say, the irony underlying this reversed public perception prompted him to reflect upon the triangle relation of "human-matter-society". In the 1970s, Haraguchi would draw international attention by participating in Documenta 6 with the iconic "Post-Mono-ha" work Matter and Mind (commonly referred to as Oil Pool), and the work was later collected by Tehran Museum of Contemporary Art. In this controversial work, the waste oil appears as tranquil as still water, where the seemingly impenetrable surface lucidly reflects its located surroundings, thus contemplating on the coexistence between human and nature in the context of an industrial society.
纸上作品2姿态 Work on Paper 2 Gesture 76x56cm
铅笔纸本、描图纸、聚氨酯
Pencil on Paper, Tracing Paper, Polyurethane 2019
"Substance and Motion" presents Haraguchi's newest series that adheres to his overarching theme of repurpose. In his compositions, objects abandoned, neglected or forgotten by society are once again revitalized as media of recalling memories, or perhapsas exhibits of re-thinking history. The iron, wood, polyurethane materials eminent in his works though still retain their industrial materialistic qualities, their once glossy surfaces are already dulled and muted; nevertheless, after their presumed functions as "objects" are completed, each is then liberated to regain its nature of "matter". Ultimately, how are Post-Mono-ha and Mono-ha distinguished in their comprehensions of "Mono"? In the nature-yearning and philosophical-focused Mono-ha group, Haraguchi is without a doubt an outlier with his modest age gap and fervent passion for industrial materials, as he has stated, "The slight difference between our ages has never disappeared, and we will forever live in parallel. Perhaps I constantly live in parallel with things, too." This sense of distance described by Haraguchi not only is an indication of his idealistic idiosyncrasy, it also reveals his concern regarding the ever-changing interpretations of matter throughout civilized history, and how we as humans can truthfully engage with the current world through matter?
纸上作品1姿态 Work on Paper 1 Gesture 76x56cm
铅笔纸本、描图纸、纸蜂窝
Pencil on Paper, Tracing Paper, Paper Honeycomb 2019
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关于艺术家
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，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。
重要展览：“第六届德国卡塞尔文献展”（卡塞尔，1977）、“第十届巴黎双年展”（巴黎现代艺术博物馆，巴黎，1977）、“原口典之回顾展”（连巴赫市立美术馆，慕尼黑，2001）、“黑方块：向马列维奇致敬”（汉堡美术馆，汉堡，2007）、“原口典之：社会与物质”（横滨艺术特区，横滨，2009）、“东京1955-1970：新前卫”（纽约现代艺术博物馆，纽约，2012）。
公共收藏：纽约现代艺术博物馆（MoMA）（美国）、泰特现代艺术馆（英国）、连巴赫市立美术馆（德国）、库勒慕勒美术馆（荷兰）、因赫泰姆当代艺术中心（巴西）、德黑兰当代艺术博物馆（伊朗）、丰田市美术馆（日本）、目黑区美术馆（日本）。
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