AYA TAKANO
高野綾

Dun Huang's Room

細節
高野綾
Dun Huang's Room
壓克力 畫布
2006年作

來源
法國 巴黎 Galerie Emmanuel Perrotin
現藏者於2006年10月購自上述畫廊

展覽
2006年9月24日-12月31日「西澤千晴。Mr.。高野綾」里昂當代美術館 里昂 法國


出版
2006年《西澤千晴.Mr..高野綾》Panama Musées編 里昂當代美術館 里昂 法國 (圖版為展覽照片,第160及166頁;圖版,第168-169頁;黑白圖版,第204頁)
2007年12月-2008年3月《BING》冬春號 Perrotin 畫廊 巴黎 法國 (圖版,第84頁)
2009年《高野綾》Kaikai Kiki 東京 日本 及 紐約 美國 / Perrotin 畫廊 巴黎 法國 (圖版,第94-95及100頁)


高野綾之夜


「我要擺脫牽制我的重力。我要逃脫。我要抓住那自由..」
-高野綾


渴望逃避世俗現實是高野綾創作出視覺奇想世界的原動力,在這些離奇的影像中有著已被遺忘大半的夢,觀者彷彿被傳送到各種對立的空間:平凡與異常,童趣與成熟,幻想與現實,人類與非人類,純真和腐敗。


高野的概念源自二次大戰後七十年代興起的少女漫畫所彌漫的逃避現實和沉醉幻想,她運用依稀熟悉卻又遙遠的場景去喚起觀者豐富的情感,並築構起一座心靈庇護所,讓觀者擺脫社會制約所形成的「重力」。星際之旅,伴蟲夜遊,動物和怪獸,萬家燈火中的冒險,都一一呈現在高野以生動的色彩精心繪製的畫面上。


藝術家通過《敦煌的房間》(Lot 1036) 帶我們遊歷古絲綢之路的文明,她用柔和的線條和薄施的塗料去喚醒莫高窟壁畫和那黃金時代已逝的榮光。細緻且金光耀目的長袍,以迎合東方品味的抽象區塊和造型表現出來,流露出古斯塔夫.克林姆(Gustave Klimt)對她的影響。儘管標題和歷史參照明顯來自中國文化,高野的畫面卻包括了阿茲特克武士、一隻奇特的貓科動物和一個稻草人,以一種大合奏的形式來完成充滿想像力的旅程。


高野喜歡表達機巧,社會中的顛覆和及時行樂的精神,她把日本當代社會的可愛少女形象跟藝妓、歌舞伎演員、武士和妓女等江戶年代(1603-1868年)「浮世繪」元素並置。她對空間的佈置以及利用屏風進行分割,在在顯示其受到日本浮世繪版畫的影響,而在寶庫般房間裡身穿長袍的宮廷仕女在主題上則呼應著早期平安時代(784-1185年)的經典小說《源氏物語》。就像大多數藝術家的創作,我們不能確定這些角色到底處於現實還是幻想的場域,她們有可能是現代婦女穿著古裝在玩角色扮演的遊戲,也可能是時空旅者夢中的記憶。

高野綾豐富而複雜的視覺語言成功地統合了異想天開的觀念和精妙的繪畫技巧。她用薄塗水彩的手法,讓底層的圖像也滲透出來,像暗示著過去的陰影依然困擾著當下的生活。人物四肢的紅暈似乎表明她們的敏感性,儘管她們看似脆弱,但依然不知疲倦地穿梭進出夢境的現場,展現出既困惑又歡愉的表情。而在這幅作品中,她們睜大空洞的圓眼睛,撅起嘴唇,用過去和現在的某種神祕感掩蓋了潛藏的譟動。

她的作品充滿了溫柔與顛覆形成的強烈對比,這正是令觀眾神迷的重點。國際公認高野是日本最重要的當代藝術家之一,她著眼廣度和深度來確立作品,並以自身的想像力揭示出真實世界的複雜性。高野的作品始終沒有解答她個別的觀點,而是像俳句一樣述說著一連串的視覺故事,從而釋放出她內在的時空幻想旅程。
來源
Galerie Emmanuel Perrotin, Paris, France
Acquired directly from the above by the present owner in October 2006
出版
Panama Musees (ed.), Lyon Museum of Contemporary Art, Chiho Aoshima, Mr., Aya Takano, 2006 (exhibition view illustrated, pp. 160 & 166; illustrated, pp. 168-169; illustrated in black & white, p. 204).
Perrotin, BING, Paris, France, December 2007-March 2008 issue (illustrated, p. 84).
Kaikai Kiki Co. Ltd., Aya Takano, Tokyo, Japan & New York, USA Perrotin, Paris, France, , 2009 (illustrated, pp. 94-95 & 100).
展覽
Lyon, France, Lyon Museum of Contemporary Art, Chiho Aoshima, Mr., Aya Takano, 24 September-31 December 2006.

拍品專文

"I wanted release from the gravity that weighed me down. I wanted to escape. And I wanted to grasp that freedomK"-Aya Takano

A longing for certain escapism from the mundane reality of contemporary society is the backbone behind the visual wonderlands of Aya Takano's creations. In these extraordinary visions, liken to flashbacks of half-forgotten dreams, one witnesses a simulated experience of being transported into various spaces of opposites: ordinary and extraordinary, child and adult, fantasy and reality, human and non-human, purity and corruption.

Drawing from the concepts of escapism and fantasy in shojo manga (girls comics) of the uncertain post World War II era in the 1970s, Takano's images elicit rich emotions and establishes a kind of psychological sanctuary for her audience to surpass the "gravity" of the social constraints by employing vaguely familiar but distant settings. Stellar journeys into the frontiers of space, nighttime travels with insects, animals and strange creatures, adventures in the glistening city lights, are all transpired onto her delicately painted and vividly coloured canvases.

In Dun Huang's Room (Lot 1036), the artist brings us towards a distant time of ancient civilization on the Silk Road. Her characteristic muted lines and delicate washes successfully evoke the Mogao cave murals and the glory of a bygone Golden era. We catch a glimpse of Gustave Klimt's influence in its intricate, glistening golden robes of abstract shapes and forms that are suited to Oriental fashion. Where the title and historical reference are clearly Chinese, Takano's image is a pastiche of an imagined, magical historical journey complete with Aztec warriors, a strange feline and a straw man.

Takano comments on a type of artifice, subversions in society, and the spirit of carpe diem by juxtaposing the kawaii (cute) girls of contemporary Japanese society with elements taken from the "floating" world (ukiyo-e) modern Edo period (1603-1868), populated by the of geishas, kabuki actors, samurai and prostitutes. The influences from Japanese ukiyo-e prints are evident here in the spatial arrangement, with the collapse and division of spaces with screens, while the theme of robe-clad court noblewomen in this trove-like room harkens to the classic Tale of Genji (Monogatari-Emaki) of the early Heian period (784-1185). Like in most of the artist's creations, we are unsure which realm of reality and fantasy the figures really lie in - whether they are contemporary women dressed in ancient costumes for role-play, or memories from a time-traveler's dream.

Aya Takano's rich, complex visual language is a successful union of her a sheer imaginative genius matched with her mastery and skill in painting. She employs thin watercolour-like so that the underlying images show through like shadows of the past that haunt the present. The redness on the extremities of the figures seems to suggest to their sensitivity. Despite their apparent fragility, the characters move tirelessly in and out of these dream-like worlds, showing expressions that render bewilderment, amusement, or in this case, a slight craze overcome by the mystical, magical mystery of their past and present, through their vacant, unblinking eyes and pursed lips.

It is this jarring contrast between the impression of gentleness and the underlying subversive nature in her work that is most captivating to many of her. Internationally recognized as one of the most important contemporary artist in Japan, Takano anchors the quality of her work by the sheer breadth and depth of her pictorial world and the capacity of her imaginations that is unmistakably revelatory of the perceived complexities of our everyday real world. Ultimately, Takano's oeuvre does not offer resolve to her individual visions, but like haikus, they are like small musings of a long-running visual story that releases the artist's private world of fantasy and travel in space and time.

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