大田秀则画廊荣幸地呈献聚焦多位勇敢而充满活力的中日艺术家的群展"走的人多了 ... "。 本次展览标题引用自中国作家鲁迅的著名小说《故乡》，他在书中阐述道： "其实地上本没有路，走的人多了，也便成了路" 。本次展览中的四位艺术家在当今世界的情境下，竭力开拓多元化的道路与美学，推动我们这个时代的新思想并创造新的轨迹。
"热带溜被黄瓜吓到的小黄猫"描绘了一只强壮的袋鼠，他嘴里叼着烟，脖子上戴着金项链，还长着长长的纤细胡须。 尽管它有着小混混一样的阳刚形象，却牵着一只被最不可能吓到的事物：一颗无害的植物所吓到的温顺宠物。在另一件作品"转塘镇愉悦野餐"中，观众见证了一只仓鼠冒着冷汗，和一只喝醉了的凶狠斯芬克斯猫一起野餐的可怕时刻。 这幅景象的灵感来自于他在一个和转塘（如哥谭一般的罪恶小镇）类似的小镇长大的个人经历。 艺术家描绘出的矛盾情景既出人意料又有些蠢蠢的，常给观众带来笑容。 虽然当代艺术家经常面临着保持某种形式的庄严或学术严谨的压力，尤阿达却仍旧保持着一种深度与享乐共存的愉快表现精神。
而与其类似的，陈维（生于1980年）邀请我们进入一个他以舞台排演的方式所构建出的高度虚构的世界。作为他对城市景观探索的延伸，他在"旋转趴梯"中深入探究城市内外空间相互之间的联系。 一个独立的楼梯矗立在看起来已经废弃的环境中，观众不清楚这是一个未完成的建筑的一部分，还是拆除后的残余部分，而陈维并没有提供这些答案，他呈现出的仅仅是被新的光线与四周梦幻般的粉红色调和散乱玻璃球所重构的楼梯。 通过结合独特的摄影构图和一定的趣味性，陈维提升了我们对周围城市和社会变化的敏感度。
郑裕憬（生于1991年）的实践源于他对韩半岛和日本之间不同却又紧密相连的历史的探索。 作为一个既非日本人也非韩国人的"在日韩国人" ，他不得不审视自己与这些国家间的关系。 当郑裕憬在网上搜寻时，他发现了一些旧的韩国海报，其中包含着部分在他看来相当古怪和幽默的意识形态标语。于是他扭曲了原始的作品构成，创造了有着明亮色彩和黑色圆圈的"流行"美学，冲淡了这些海报原有的语境。 画布上粗体的韩文写着"胜利"、"前进! " 和"团结"，这些形式化的标语如今对艺术家来说已经变得毫无意义，作为视觉审美的一部分融入了作品中。郑裕憬对这些口号的无动于衷点出了他与韩半岛之间空洞而不合理的关系。
日本艺术家Akira the Hustler（生于1969年）的探索包括社会不平等、能源安全、艾滋病和边缘化群体在内的社会问题。 Akira对艺术在社会中的作用感到好奇，并倾向于创作充满信息、形态和符号的作品。 "希望的工具: 不要说谎"描绘了一个长着狼(或野狗)头的女孩。 她的双手举成"×"的形状，文字"No"在她前胸重复地出现。 2017年6月，Akira看到日本东京涩谷站前的一次大规模市民活动中所用到的一些标语牌，由此受到启发而创作了这幅作品。 另一方面，"滑板上的男孩"被创作于作为铭记2011年福岛核事故的系列粘土雕塑之一。 这个男孩代表着一个普通的青少年，他穿着简单的衣服，有着积极的生活方式。 在他的左手上，一根红线将他与同样见证事故的其他人所共享的现实和经历绑在一起。 在Akira的作品中，平凡和不平凡的经历交织在一起，重新引起人们对那些很容易被社会大多数人所遗忘的事的认识。
Ota Fine Arts Shanghai is delighted to present "When many pass one way..." a group exhibition featuring bold and dynamic artists from China and Japan. The title of this exhibition is referenced from Chinese writer, Lu Xun's famous novel entitled "My Old Home", where he asserted "for actually the earth had no roads to begin with, but when many men pass one way, a road is made." The four artists in this exhibition have endeavored to form alternative pathways and aesthetics in today's contemporary world, propelling new ideas of our times and creating new trajectories.
¥ouada's (b.1987) world goes beyond his paintings and sculptures, rather he presents a personalized visual world of wit, sassiness, coquettishness and kitsch. Tapping into his personal memories of growing up in China during the 80s and 90s, he depicts popular cartoon characters, imported anime figures alongside consumer goods, luxury symbols and local gang culture. He also adopts a consistent anti-mainstream approach and is unafraid to explore compositions that are seemingly distasteful, shocking, or unexpected. In this exhibition, he mines the intersection where art meets everyday life.
"Walking a yellow kitten that was frightened by a cucumber in the Tropics" depicts a macho Kangaroo with a cigarette in its mouth, a gold hunky chain around his neck and long silky whiskers. Despite its masculine and gangster-like image, it is accompanied by a docile pet that has been frightened by the most unlikely of things, a harmless vegetable. Elsewhere in "Happy picnic at Zhuantang Town", viewers witness a terrifying moment of a hamster in cold sweat, sharing a picnic with a drunken and malicious Sphynx cat. This image is inspired by his personal experience of growing up in a city similar to the 'Gotham city-like' town of Zhuantang. The depicted contradictions are unexpected and silly, often bringing a smile to its viewers. While contemporary artists are often under pressure to maintain some form of gravitas or intellectual rigour, ¥ouada maintains a spirit of joyful expressions where depth and enjoyment coincides.
Similarly, Chen Wei (b. 1980) invites us into a highly fictionalized world. One that he has constructed in the same manner that stage rehearsals are put together. Extending his explorations in city landscapes, Chen mines the interconnections between the inner and outer spaces of a city in "Spiral Party". A freestanding stairway stands in a seemingly derelict environment. The viewer does not know if this is part of an incomplete building or a remnant of a demolished block. Yet Chen does not provide these answers, except that the stairway is now reinvented in a new light, with dreamy pink hues and scattered glass balls around it. By pairing unique photographic composition and an amount of playfulness, he raises our sensitivity to urban and social changes around us.
Jong YuGyong's (b.1991) practice stems from his explorations of the differentiated yet conjoined histories of the Korean Peninsula and Japan. As a "Zainichi" -- a person who is treated as neither Japanese nor Korean, he is compelled to examine his relationships with these nations. While Jong was searching through the internet, he found old Korean posters that contained ideological slogans that seemed rather odd and humorous to him. He distorted the original compositions, and created a "pop" aesthetic of bright colors and black circles, diluting the original context of the posters. Written in bold across the canvas are the Korean words, "Victory", "Forward!" and "Unity". These formalized slogans have now become meaningless for the artist, blending into the work as part of its visual aesthetic. Jong's indifference to the slogans hint of the empty and inconsequential relationship that he shares with the Korean peninsula.
Japanese artist, Akira the Hustler (b. 1969) explores social issues that includes social inequality, energy security, AIDS and marginalized communities. Akira is curious about the role of art in society and tends to create works that are strewn with messages, formations and symbols. "Tools of Hope: Don't Tell Lies" depicts a girl with the head of a wolf (or wild dog). Her hands are raised in the shape of an "X" with repetitions of the word 'no' strewn across her chest. Akira was first inspired to create this work after seeing placards that were used in a mass citizens' activity that occurred in front of Shibuya Station in Tokyo, Japan in June 2017. On the other hand, "A Boy on Skateboard" was created as part of a series of clay sculptures that was created in memory of the Fukushima nuclear accident in 2011. The boy represents the ordinary teenager in simple clothes and an active lifestyle. On his left hand, a red string binds him to the shared reality and experience of others who had also witnessed the accident. Ordinary and extraordinary experiences come together in his works, raising awareness to issues that are easily forgotten by the vast majority of society.
Join Ota Fine Arts Shanghai as we explore the roads less travelled, the alternative pathways of thought and the colorful adventures of these four artists as they navigate life, art and society.
项目名称 : 走的人多了…
展期 : 2020年6月20日 — 2020年8月22日
地址 : 上海大田秀则画廊
Title : When many pass one way…
Exhibition Period : Sat. 20 June - Sat. 22 August 2020
Venue : OTA FINE ARTS Shanghai