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近藤翔平（出生于1986，日本）是一位在紐約工作和生活的日本藝術(shù)家。他的作品已經(jīng)多次在中國(guó)美術(shù)學(xué)院美術(shù)館，紐約視覺藝術(shù)學(xué)院chelsea畫廊（美國(guó)），Amakei畫廊（日本）等國(guó)際平臺(tái)上展出。他是日本三瓦獎(jiǎng)的獲得者，多幅作品在美國(guó)和日本被私人收藏。近藤畢業(yè)于日本的寶冢藝術(shù)大學(xué)，并獲得媒體藝術(shù)的學(xué)士學(xué)位，后在紐約視覺藝術(shù)學(xué)院的純藝專業(yè)學(xué)習(xí)，獲得藝術(shù)碩士學(xué)位。

教育：

2018 紐約視覺藝術(shù)學(xué)院藝術(shù)碩士（美國(guó)紐約）

2009 寶冢藝術(shù)大學(xué)媒體藝術(shù)學(xué)士（日本）

展覽：

2019 /隔空對(duì)話：青年藝術(shù)展覽（貝尼尼餐廳/杭州）

2018 /藝術(shù)家書：國(guó)際青年藝術(shù)展覽（中國(guó)美術(shù)學(xué)院美術(shù)館/杭州）

2017/AHHHHHHHHHH展覽（熱點(diǎn)空間，布魯克林/紐約）

2017/超越光學(xué)：展覽（紐約視覺藝術(shù)學(xué)院chelsea 畫廊/紐約）

2012 /Amakei展覽（名畫廊/兵庫(kù)縣/日本）

2012/Torano-Ana展覽（兵庫(kù)縣/日本）

表演：

2018 /371百老匯/紐約

2017/ 瑞史密斯工作室/布魯克林/紐約

獲獎(jiǎng)：

2016-2018 /紐約視覺藝術(shù)學(xué)院優(yōu)異獎(jiǎng)學(xué)金

2012 /三瓦獎(jiǎng)（日本）

Shohei Kondo (b. 1986, Japan) is a New York-based artist from Japan.His work has been exhibited internationally and venues including, AmakeiGallery (Japan), CAA Museum (China), and SVA Chelsea Gallery (United States).He is the recipient of the Sanwa Award (Japan) and his work is in privatecollections in the United States and Japan. Kondo holds a BA in Film Studiesfrom Takarazuka University of Arts and MFA Fine Art from School of Visual Artsin New York.

b.1986, Hyogo, Japan

Lives and works in New York

Education

2018 MFA Fine Arts at School of Visual Arts

2009 Bachelor of MediaContents, Takaraduka University of Arts

Show

2019 “INTER-SPACE DIALOGUE”, Bernini, Hang Zhou, China

2018 Art-Letter Home, CAAMuseum, Hang Zhou, China

2017 “Ahhhhhhhhhhhhh”– SpaceHeater,Brooklyn, NY

2017 “Beyond Optics”,curated by NAME, SVA Chelsea Gallery, New York, US 2012 Amakei-Exhibition,curated by NAME, GALLERY NAME, Hyogo, JP 2012 Torano- Ana, Hyogo, JP

Performance

2018 371 Broadway, New York, NY 2017 Ray Smith Studio,Brooklyn, NY

Award

2016-2018 School of Visual Arts MFA Fine Arts MeritScholarship Award 2012 Sanwa Award

訪談內(nèi)容

記者：你是用什么技法表現(xiàn)這些作品的？對(duì)于技藝與方法的認(rèn)識(shí)是怎么樣的？背后蘊(yùn)含者什么樣的觀念？

近藤翔平：作為一個(gè)觀念藝術(shù)家，我的材料總是遵循我的想法。我選擇在畫布上使用丙烯顏料的原因與50年代和60年代的波譜藝術(shù)家選擇在畫布上使用丙烯顏料的原因相同。它很便宜，幾乎在每家商店都可以買到，而且可以創(chuàng)造出平滑的肌理。我作品中體現(xiàn)出來(lái)的平滑的肌理，缺少像其他繪畫那樣陰影的效果，沒有所謂的透視感，還有對(duì)于丙烯的使用——也就是我們常說(shuō)的平面性——都喻示著我的“禪宗”主題：所有的“觀念”都是同時(shí)重要但又不具有意義的。我研究的主題是性和死亡，這在視覺藝術(shù)史上是最常見的主題。當(dāng)我冥想時(shí)，我感受到欲望激發(fā)了我的許多行為，以及我周圍人的行為都是被欲望驅(qū)使。“性與死亡”這一主題的創(chuàng)作方法，既來(lái)自波普藝術(shù)，也來(lái)自日本傳統(tǒng)的琳派繪畫。

記者：聽說(shuō)你對(duì)禪宗很感興趣，可以介紹一下嗎？

近藤翔平：自幼兒園起，我便開始冥想。我這一生都在冥想，開始接受我們不可能完美的事實(shí)。雖被教導(dǎo)說(shuō)“世俗欲望”是不好的，但我仍然像每個(gè)人一樣有欲望，正是這個(gè)弱點(diǎn)讓我成其為人。我決定繼續(xù)追蹤禪宗步伐，但仍然擁抱心懷欲望不完美的我。我的作品可能看起來(lái)像是從遙遠(yuǎn)的地方機(jī)械制造而來(lái)，亦如沃霍爾(Warhol)的絲網(wǎng)印刷，但不可否認(rèn)的是，所有作品實(shí)際上都是手繪完成。只要近距離仔細(xì)看，便可看到我的力爭(zhēng)完美之心。畫布上有我做記號(hào)的痕跡，呈現(xiàn)了我的糾結(jié)之態(tài)。沃霍爾畫的是瑪麗蓮夢(mèng)露(Marilyn Monroe)這樣的性感人物，而我選擇畫擺有各種性姿勢(shì)或性動(dòng)作的無(wú)名人物。我發(fā)現(xiàn)我作品中表達(dá)的這種諷刺也是禪宗的一種，因?yàn)樗顷P(guān)于自我接納的。

記者：在美國(guó)的學(xué)習(xí)給你了怎樣的影響？

近藤翔平：雖然繪畫一直被認(rèn)為是一種以西方為中心的藝術(shù)形式，但我卻在東方藝術(shù)教育和歷史背景下逐漸形成了一種富有表現(xiàn)力的畫布視覺語(yǔ)言，東西方的主題截然不同。隨著西方藝術(shù)對(duì)我作品的影響越來(lái)越大，我去到了西方。我從東方禪宗的信仰體系對(duì)西方當(dāng)代藝術(shù)的自由與個(gè)人主義進(jìn)行了探討：自我接納和放下。雖然身體及其物質(zhì)和性在西方是一個(gè)壓抑性或禁忌話題，但我接受并適應(yīng)了西方身體的欲望和性，用釋放透鏡對(duì)其進(jìn)行了描繪。我的作品表現(xiàn)了牡蠣，女人/男人和棕櫚樹的情色象征—在烏托邦式的虛無(wú)原色空間中，甚而用標(biāo)記手法來(lái)表現(xiàn)進(jìn)而顛覆了原本意圖。

記者：你的作品是以探討性和死亡為主題，是什么啟發(fā)了你來(lái)做這個(gè)主題呢？

近藤翔平：我的作品以性與死亡為主題，視覺藝術(shù)史上各種文化的最常見主題。仔細(xì)想來(lái)，便會(huì)意識(shí)到自己的許多行為及周圍人的行為都是欲望驅(qū)使而為之。我對(duì)性與死亡的正式探討，既受到波普藝術(shù)的啟發(fā)，也受到傳統(tǒng)繪畫和琳派繪畫的啟發(fā)。

琳派是紙上和面板上金葉。琳派繪畫中的底面或黃金空間亦如圖形一樣重要，這是因?yàn)楸尘盎螯S金空間亦如圖形空間一樣重要，它象征著描繪雷神和風(fēng)神兩種人物形象之間的關(guān)系。

兩百多年來(lái)，同樣的兩種人物形象一直以同樣的方式在紙上描繪，唯一有改變的是技巧。藝術(shù)作品中圖形本身不重要，行為或流貫形式才重要。歐洲前現(xiàn)代藝術(shù)作品雖也側(cè)重于從技術(shù)上掌握一致形式，但與其不同的是，這類作品不僅注重圖形，也注重圖形與背景的關(guān)系及其空間本質(zhì)。

1、What kind of way you used to show yourartworks.And what do you think of skill and methods？What kind of concept contained in your works?

As a conceptual artist, my materials follow myideas. I choose to work with acrylic on canvas for the same reasons that PopArtists of the 1950s and 60s chose acrylic on canvas. It is cheap, commerciallyavailable, and flat. More than that, acrylic gives out an inorganic plasticfeel, but still retains organic brush strokes – rendering the symbolicintersection of tradition and technology in my work. The evenness of marks andsurface, the lack of shading, the void of perspective, and the opacity andflatness of the material acts as a metaphor for the zen principle that alltopics are equally important or meaningless. My topic is sex and death; This isthe most common theme in the history of visual art. When I meditate, I feelthat desire motivates many of my actions, as well as the actions of thosearound me. The creation method of the theme of "sex and death" comesfrom both pop art and traditional Japanese Rinpa painting.

2、I’ve heard you are interested in zen, can youtell something about zen?

When Iwas in kindergarten, I graduated from meditation school. I have been meditatingfor my entire life. I began to accept that we cannot be perfect. I was taughtthat “earthly desires” are not good, but I still have desires as does everyone.That weakness makes me human. I decide to work on the pursuit of zen but stillembrace desire imperfection. My work may appear to be mechanically producedfrom far away,like the silkscreens of Warhol, but it is undeniable that all ofthe work is actually painted by hand. Up close, you can see my struggle forperfection; the canvas bears the trace of my mark making and reveals myinconsistencies. While Warhol painted famous sex symbols like Marilyn Monroe, Ichoose to paint anonymous figures in various sexual pose or actions. I findthat this irony of my work is also zen, as it is about the acceptance of theself.

3、What influence bring you from your studies inUS?

While painting has been regarded as aWestern-centric art form, I grew up developing an expressive visual language oncanvas through an Eastern Art education and historical context. Subject matterdiffers be- tween the East and the West. Moving to the West with increasedinfluence of Western Art upon my work. I approach the freedom and individualismof Western contemporary art from my Eastern Zen belief sys- tem: acceptance andnon-attachment within oneself. While the body and its material and sexuality inthe West is a subject of oppression or taboo, I accept and adapt Western bodywith its desire and sexuality by portraying them with liberating lens. My workrepresents the erotic symbols of oysters, women/man, and palm trees — andsubvert their original intent by illustrating them with even marks in the midstof a utopian flat color space of nothingness, and emptiness that is areminiscent of Zen thinking.

4、The theme of your works is about sex and death,so what inspired you ?

My work resonates with the themes of sexualityand death; the most common themes in the history of visual art regardless ofculture. When I meditate, I realize that desir For over two hundred years, thesame two figures have been depicted on paper in the same manner. The only thingthat changes is the technique. What matters is not the figures themselves, butthe movement, or circulation, of the forms in the artwork. Unlike Europeanpre-modern artworks, which also focused on technical mastery of consistentforms, these works do not focus on the figures alone. They focus on therelationship between the figure and the ground, and the nature of the spacebetween them.

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