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Encounter of the Fat and the Slim with Ten-thousand Yen Bill Background
2007
canvas, inkjet print
450×1045cm
Born in 1965, Niigata, Japan. Aida uses manga-like drawn girls (bi-shoujo) and motifs such as cannibalism, sex, war and politics in his works, which critics and curators acclaim for their critical approach toward the malfunctions of contemporary society. In creating works that are historically tabooed or avoided to provoke our aesthetic sensibility, Aida attempts to expose our positions as slaves to the commercialized modern world we contribute in. The Edible Artificial Girls Mi-Mi series of 2001 is one of the examples which was also exhibited at the 2001 Yokohama Triennale. He currently lives and works in Tokyo.
1965年生于日本新滹。会田诚运用漫画的方式绘画少女（两个少女）并进行主题创作，例如同类相食、性、战争和政治等主题曾在他的作品中出现过，批 评家和策展人称赞其作品对当代社会的问题的批判。他创作了一些激发人们审美却长期禁忌的或是回避的作品，会田诚试图揭示我们在商业化社会中的奴性地位。 2001年展于横滨国际当代艺术三年展的《食用人造少女 MI-MI》系列（2001）就是其中一个范例。他目前在东京工作和生活。
Exonemo (エキソニモ)
Formed between Sembo Kensuke and Akaiwa Yae in 1996, exonemo is a duet unit whose activity is based on the web-site: www.exonemo.com. They create many experimental projects which can predominantly be viewed on the net, and aim to explore new dimensions in distance and dynamics. Not only do they limit their productions to online viewing, but are also active in managing spatial installations and also live performances. Wide critical attention has been brought to them since Discoder of 2000, where they manipulated computer mechanisms to create a device to write inconsistency into HTML code, and are currently considered one of the leading artists in the field of web technology. The two currently base their production in Tokyo and on the internet.
Exonemo 是1996年由Kensuke Sembo与Yae Akaiwa所成立的艺术团体。Exonemo（艾克索內墨）是一个二人团体，他们的活动基于www.exonemo.com网站。他们创造了很多试验性 计划，这些计划大部分都可以从网上看到，目的是在距离和动态上挖掘新的维度。他们不止限制自己的作品在网上被浏览，还积极控制空间装置和现场表演。自从 《去编码器》（2000）以来，他们受到了广泛的批评关注，在这个作品中，他们操纵计算机装置建立一台设备，向HTML代码里编写矛盾语句，目前被他们视 为是在网络技术领域的先锋艺术家。目前二人在东京和因特网上从事创作。
Kaneuji Teppei (金氏徹平)
Kaneuji Teppei
teenage fun club
2007
Solid, three-dimensional plastic figures covered with plaster. An image of a felt-tip drawing as if it were stained with drops of water. A collage made from cut-outs of coffee and tea stains. A drawing constructed with forms that result from dissecting circumscribed shapes unique to coloring drawings. Kanuji’s materials and images, ranging from the pieces of driftwood and colorful strands of hair, are all familiar everyday objects. However, each piece of material is stringently selected to visually construct the image within the artist’s mind. What unifies these first-glance unrelated, diversified pieces is the fluidity and flexibility of boundaries and areas with which Kaneuji experiments. Rupturing the once closed and fixed contours, or nullifying the contours of the solid works with the whites of plaster and powdered sugar, creates a different void that embodies new possibilities of interpretation and experience. In the Black Puddle of 2007, black-ink stained pieces are meticulously cut out, and collaged with pre-existing small images and ball-point pen drawings. This piece could be seen as an amalgamation of many of his previous experimentations, where, while the work belongs to a flat two-dimensional spectrum, a cosmos of depth and profundity can be experienced within the dark, black abyss. Splash and Flake, on exhibit in this current show, combines driftwood, architectural and waste materials that construct the base, with parts sourced in China by the artist.
固体的、立体的塑料形象为熟石膏覆盖。仿佛被水滴晕染的毡尖笔绘画的图像。由咖啡渍和茶渍剪片构成的拼贴。切开着色画中特有的轮廓闭合形重构而成的 图画。金氏的材料与图像，从片片浮木到缕缕彩色毛发，都是熟悉的日常物件。然而，每一件材料，都是为构建艺术家心目中的视觉形象精挑细选的。联系这些乍看 不相关的多样作品的，是金氏所实验的区域范围和区域界限的流动性。切开一度闭合、固定的轮廓，或是以石膏和砂糖的白去（無化，nullify）固状物的边 界，创造出一种隐含着新的诠释与经验可能的不同的空白。在2007年的作品《黑水坑》（Black Puddle）中，金氏小心翼翼地割下黑墨水晕染的片段，与既有的小图和圆珠笔图画拼贴在一起。这件作品或可被视为金氏之前的多样实验的集成，虽然属于一 个二维的平面世界，在这暗黑的彼处，却有一个深远的宇宙。本次展出的《飞沫与断片》（飛沫と断片，Splash and Flake），在浮木、建材和废材的基础上，艺术家组装了从中国调运来的零件。
Konoike Tomoko (鴻池朋子)
Konoike Tomoko
Chapter Three “Wreck”
2005
acrylic, sumi, Kumohada-mashi (Japanese paper) and wood panel
2200 x 6300 x 50 mm
photo by Keizo Kioku
(c) Konoike Tomoko
Courtesy Mizuma Art Gallery
Born 1960, Akita, Japan. Unexpected from her line of works, Konoike is a graduate of the Japanese Arts department of Tokyo National University of Fine Arts and Music. After graduation, she entered a Toys company and got herself involved in the planning and project team for inventing new toys to sell into the market. Konoike’s figures with doll-like facial expressions may be seen as a derivation of her career as a member of this team. Konoike demands viewers to experience the work with all his/her senses. Rather than lecture about the concepts of the work, she asserts that her interest and aim lies more in the “encounter” between the two; when the two meet, there is no need for the artist to be. The pellucidity that allow nothing near, or the distance of tangible things have are what Konoike perceives as beautiful. Knives, wolves or snow are some her dominant motifs that embody this versatility. Konoike currently lives and works in Tokyo.
1960年生于日本秋田。令人意外的是与她的兴趣领域不同，鴻池朋子是一名东京艺术大学日本艺术学院的一名毕业生。毕业后，她进入一家玩具公司的计 划和项目团队，开发上市的新玩具。鴻池朋子因设计洋娃娃状的面部表情而成名，这也可以被视为她加入这个团队工作生涯的开始。鴻池朋子要求参观者用他/她全 部的感觉去体验作品。她并不宣讲这个作品的概念，而是声称她的兴趣和目标更多是放在二者之间的“碰撞”上。当二者相遇时，就不再需要艺术家多更多的工作 了。鴻池朋子认为那种不允许任何事物靠近，或者是与实物必须保持距离的透明度是美的。匕首、色狼或雪是她表达这种多样性的主要图形。鴻池朋子目前在东京生 活和工作。
Kusama Yayoi (草間彌生)
Dots Obsession
1998
Installation,Mixed Media
Collection:Les Abattoirs,Toulouse,France
Yayoi Kusama
Born 1929, Nagano, Japan. Kusama is considered one of the leading artists of contemporary Japanese art, where she is actively creates works of various genres such as sculptures, books, performance art, installations and photo collages. Her move to the United States in 1958 allowed her to gain quick recognition as an artist and became acquaintances with the American avant-garde artists. Her obsession with infinity and death, originating from her childhood abuse and hallucinations, are manifested in her use of polka dots which soon became her trademark for her works. Kusama currently lives in Tokyo, voluntarily in a psychiatric hospital.
1929年生于日本长野。草間彌生被认为是日本当代艺术领域的一位重要艺术家，她积极创造各类作品，例如雕塑、著作、表演艺术、装置和照片拼贴。 1958年她搬到美国后，艺术家身份迅速被认可，也逐渐与许多美国先锋艺术家熟识。由于小时候经历的虐待和幻觉，她对无限和死亡概念十分痴迷，这也集中体 现在她运用圆点花样的布料创作，并很快就成了她的注册商标。草間彌生目前住在东京，并自愿住进精神病院。
Murayama Ruriko (村山留里子)
Untitled,2005
Photo: Taku Saiki
Courtesy 21st Century Museum of Contemporary Art, Kanazawa
Murayama’s Clumps of Beauty series that the artist started in 2000, are three-dimensional works made from materials such as beads, feathers, artificial flowers, pearls, sequins and such. She condenses these materials that captivate women’s attention with their glittery shine, colors, and textures in her works. Materials, which usually decorate only the surfaces, are used to construct the entire sculpture, covering the internal parts as well as the surface, making the work truly a “clump.” Moreover, this work does not have a front face, commonly identified in a traditional sculpture, and makes visible the result of the random omnidirectional burst of the artist’s intuition. Murayama’s such object deviates from the conventional notion of beauty, and fluctuates on the border of the grotesque or the uncanny. Additionally, in her lacquer ware series, a new venture that she started last year, a fragment of her own body is molded and reproduced with lacquered surface, as if to substitute the warmth of human body for the humidity needed by Japanese lacquer ware; “beautiful” materials are embedded along the line of the veins. The new direction of interweaving the bodily elements with her Clumps of Beauty is manifest in her latest work for this exhibition where she manipulates the motif of a traditional doll. That is, the doll is clothed in a dress that consists of an upper body fitted with clothes, and the bloated skirt with its perimeter reaching 4 meters and the height, 1.2 meter. Used in various traditional activities such as festivals, bunraku theatres (traditional puppet play), children’s play, and fine art, dolls often function as the manifestation and embodiment of the human desires and fantasies. However, here, the fictitious lives and bodies are clothed in Murayama’s pure yet plethoric “beauty.” It is this embellishment of the non-existent, as it were, that is expected to push through towards boundaries which are yet to be realized.
村山自2000年开始的“美丽之块”（奇麗の塊，Clumps of Beauty）系列，是用诸如珠子、羽毛人造花、珍珠、亮片之类材料制作的三维作品。作品中凝聚了这些以其光亮、色彩和质地魅惑女性的材料。这些通常用于 装饰表面的材料被用于建构整座雕塑，满覆从里到外，构成一个真正的“块”。而且，这一作品并无传统雕塑可辨识的正面，呈现的是艺术家直觉随机所为、全方位 增殖的结果。村山这样的创作从习常的“美丽”观念中脱逸而出，摇弋于“怪诞”与“离奇”的边界。此外，在她去年新试的漆器系列中，仿佛要用人的体温取代日 本漆器所需的湿气，她自己身体的一部分被翻模，其表面为漆器造就，沿血管嵌入了“美丽”的材料。将身体元素交织入她的“美丽之块”的新方向，在她为本次展 览做的最近作品中亦有显露，在作品中，她巧妙地处理了传统偶人。这个着装偶人，上装合身，鼓起的裙子1.2米长，下摆周长过4米。在多样的传统活动中，诸 如节庆、文乐、童玩和艺术中，偶人们常作人们愿望与妄想的表现与化身，然而，在这里，假想的生命与身体包被于村山纯粹却过剩的“美丽”中。正是这种对不存 在事物的美化，期翼推向未知领域的边界。