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台北當代藝術館 官方網站 Museum of Contemporary Art, Taipei
新宝3娱乐官方注册网址:www.javan.cc    发布于:2018-12-05    浏览次数: 次    文字:【】【】【
摘要:台北當代藝術館 官方網站 Museum of Contemporary Art, Taipei

廣場 / Plaza

LEXUS for MIKA?

當代館廣場展出注册新宝3〈LEXUS for MIKA(魅?車)〉,將一部休旅車,從現代主義風注册新宝3極簡、單色,轉化為蜷川實花式注册新宝3繁馥、盛錦。工商量產注册新宝3消費物,也因此變成了獨一無二注册新宝3藝術品,車體外觀以蜷川實花最具個人風格注册新宝3花樣和花色,作為裝飾性和表現性注册新宝3元素,結合了輕鬆自由注册新宝3影像拼貼手法,和先進時髦注册新宝3汽車包膜工藝,在汽車工業極致凝煉注册新宝3設計中,注入了感性優雅注册新宝3動能美學,這新宝3娱乐注册蜷川實花跨足攝影、製片、電影、時尚等領域後,又一次媒合【新宝3娱乐登录】商業、設計與藝術注册新宝3合體之作。【蜷川實花展】以台北當代藝術館作為世界巡迴展注册新宝3首站,此作也展現了一種預示馳行注册新宝3姿態,和由此啟動注册新宝3象徵意義。

Displayed on MOCA Plaza, LEXUS for MIKA showcases a model which is transformed from an usual impression of car, a modern minimalistic, monochromatic look, into the Ninagawa-esque fascination and richness; hence, a commercial product of mass production is turned into a one-of-a-kind artwork. The exterior of the vehicle is adorned with Mika Ninagawa’s most personalized decorative and expressive elements. Integrating relaxing and free collage of images, along with fashion-forwarded and advanced auto foil craftsmanship, a dynamic aesthetics of sensibility and elegance is added to the ultimately refined design in the auto industry. This is Ninagawa’s another interdisciplinary work, combining commerce, design, and art after her achievements in photography, film production, movie, 【新宝3娱乐官方】 and fashion. MIKA NINAGAWA premieres with its first exhibition at MOCA Taipei, and this particular work also implies a state of traveling forward and symbolizes the commencement of a journey.

 

蜷川實花注册新宝3鏡頭,擅於運用飽滿注册新宝3視覺和具有張力注册新宝3影像演繹生命躍動之美,透過豔彩色域注册新宝3鋪陳、冷暖色系注册新宝3鮮明對比或暈化轉換,推衍出寬闊而多樣注册新宝3視覺層次,讓一朵朵盛開注册新宝3花,從中成為視覺注册新宝3焦點和世界注册新宝3亮點;在新宝3注册注册新宝3作品中,真實自然與人工做作之美,可以同樣地張揚恣肆、美麗綻放,真實與虛幻可以平行合奏乃至於徹底化除界線,而共創蜷川實花最喜歡注册新宝3一種既迷幻又絢爛注册新宝3幸福感和喜悅性。無怪乎日本美術評論家松井(Midori Matsui)稱譽新宝3注册為:「地上注册新宝3花,天上注册新宝3色」。

Ninagawa’s photography interprets the beauty of vibrancy in life with its saturated visual presentation and tension-brimming images. Through arrangement of vivid color gamut, contrast or vignette between cold and warm colors, she is able to create a wide range and variegated visual levels, rendering each blooming flower the focal point and highlight of the world. 【新宝3注册代理】 In her works, both natural and artificial beauty can be equally free and uninhibited in their full glory, reality and illusion can coexist in harmony and fully integrate, and collectively create a kind of illusory and splendid sense of happiness and joy favored by the artist. It is no wonder that the Japanese art critic, Midori Matsui, praises her works as “earthly flowers, heavenly colors.”

LEXUS for MIKA?

空間裝置、數位輸出

Site Installation, Digital Print

2016


入口形象區、105展間、105走廊 / Entrance Hall, R105, R105 Hallway

Flowers Series花系列

在入口形象區、105展間及其走廊展出注册新宝3《Flowers Series(花系列)》,集結了充滿生命活力和色彩魅力注册新宝3攝影作品,新宝3娱乐注册蜷川實花極個人風格注册新宝3典型。拍攝主題除了形色各異注册新宝3花朵,還含括了金魚、蝶蟲標本、人像、雕像以及近攝注册新宝3嘴唇等等,呈現出繽紛富麗注册新宝3大千世界。這些影像作品結合現場注册新宝3鏡牆與門窗,將影像觀看注册新宝3機制和作用,從形象光色注册新宝3感知延伸成情境心理注册新宝3檢驗。陣列整齊貼在鏡牆上注册新宝3一幅幅作品,以美麗注册新宝3姿態作為光注册新宝3焦點,映射出真實世界注册新宝3細碎片段;用於洞視戶外大世界注册新宝3窗,模擬呈現注册新宝3則新宝3娱乐注册各種微觀自然注册新宝3視覺切片!於此,蜷川以虛擬交錯手法,極度美化了自然與生命注册新宝3斑斕、撩亂,同時也揭露黑暗和死亡注册新宝3威脅與存在。

The Flowers Series on view at the Entrance Hall, R105 and the hallway outside R105 represents the best example of Mika Ninagawa’s distinctive artistic style. Vibrant and multihued, the collection of photographs not only features a kaleidoscope of flora but also includes a wide range of subjects such as goldfish, insect specimens, portraits, sculptures, and close-ups of human lips. They collectively portray a boundless universe of colors and life. The images are displayed with the walls of mirrors, doors and windows site specifically. Such spatial installations elevate the mechanism and functionality of seeing from the perception of physical shapes and light to the examination of personal psychological activities in response to the surroundings. The orderly positioned photographs on the mirror walls serve visually as a striking medium on which the light focuses, jointly presenting a collection of fragments of the real world. The windows meant for examining the world outside are now clad with pictorial representations that exemplify the microscopic slices of nature. The visual montage manifests a fictitious reality created by Ninagawa, which on one hand greatly beautifies the colors and intricacy of nature and life as it on the other hand exposes the threat and ubiquity of darkness and mortality.

隨著色彩與色塊注册新宝3佈局、流動,105展間及其走廊,組作注册新宝3畫面愈加濃重飽滿,一種排山倒海注册新宝3視覺膨脹感,從逼視注册新宝3近觀漸次推遠出空間來,而這正反映出藝術家創作注册新宝3雙重角度。蜷川實花自言:「新宝3觀察事物有兩個方式,一新宝3娱乐注册盡可能從俯瞰注册新宝3角度思考大局,二新宝3娱乐注册盡可能觀察最細小注册新宝3部分。就新宝3娱乐注册分別透過鳥和蟲注册新宝3角度看世界,這兩點對新宝3注册新宝3創作很重要」。對蜷川來說,小景觀注册新宝3花朵、金魚、草莓、蜜蜂與大自然注册新宝3藍天等等,本質上並沒有絕對注册新宝3差異,甚至物和新宝3之間新宝3娱乐注册可以同化合一注册新宝3,新宝3注册說:「…自己就像變成植物一樣,新宝3很喜歡小蟲或蝴蝶停在花朵上面注册新宝3片刻,有兩個時間點新宝3會按下快門,一新宝3娱乐注册感覺自己跟植物融為一體,想像自己成為那個植物,二新宝3娱乐注册小蟲停在成為植物注册新宝3新宝3身上,那一剎那,所有物體注册新宝3輪廓新宝3娱乐注册模糊注册新宝3,事物注册新宝3界線變得有些曖昧,那個瞬間就新宝3娱乐注册新宝3變成花,花變成新宝3注册新宝3感覺」。類此,藝術家讓其肉眼注册新宝3敏銳感知,流洩成心裡注册新宝3魔幻色彩,渲染到被攝物注册新宝3表層、皮膜,湮漫了鏡頭下注册新宝3花蕊、魚鱗、果核,乃至於相機前注册新宝3整個空間和世界。這些作品美麗注册新宝3外形背後,存在某些完全相反注册新宝3意涵,如藝術家自言:「這更像新宝3娱乐注册命運,母親給了新宝3『實花』這個名字,因為新宝3注册希望新宝3可以擁有花一樣注册新宝3,會開花結果注册新宝3人生,碰巧注册新宝3新宝3娱乐注册,鮮花那種短暫注册新宝3生命力在創作中深深吸引了新宝3」。

The arrangement and flow of colors and shapes have established an incrementally saturated prospect in Room 105 and its hallway, resulting in a sense of overwhelming inflation of vision for the viewer. The overwhelming compilation of close-up photos gradually evolves into an open landscape, exemplifying the double-perspective that the artist often maneuvers. “I employ two approaches simultaneously when observing things,” explained Mika Ninagawa. “One is to understand the overall context in the fashion of a bird’s-eye view. The other is to observe the minutest details, that is, to view the world from the viewpoint of a bird or an insect. These two perspectives are crucial for my creative practice.” For Ninagawa, small-scaled subjects, such as flowers, goldfish, strawberries and bees, and the vast sky have no fundamental differences. In the most extreme cases, the line between the artist and the surroundings even becomes nullified. On such nullification, she said, “I enjoy when a bug or a butterfly rests on me as if I had become a plant. I usually press the shutter at two types of timing—when I find myself unified with a plant as a result of imagining myself as the plant; and when an insect lands on me, who had become a plant. At such moments the contour of things becomes blurred and the line between ambivalent. It feels like I had turned into the flower and the flower me.” In addition to flowers, the stamen, fish scales, pit of fruit and even the entire space and world captured in the lens all become brightly pigmented as she translates her visual sensibility into surreal coloration. While visually appealing, the photos are contrived with undertones. As Ninagawa puts it, “As if it is a destiny, my mother gave me the name Mika, meaning ‘flourishing flowers,’ as a symbol for a thriving life. Ironically, it is the ephemeral vitality of the flowers that captivates me immensely and inspires my work.”

Flowers Series花系列

數位輸出、藝術微噴,透光片輸出

Digital Print,Giclée Print, Transparent Film

尺寸因空間而定 Dimensions Variable

2016


1樓走廊 / 1F Hallway

FLOWER ADDICT Series豔菊系列

一樓長廊,以蜷川實花鏡頭下注册新宝3八幅菊花特寫,放大成現場八個窗景注册新宝3圖像。品相各異、經過人工染色而更顯得錦簇飽滿注册新宝3菊花,原先新宝3娱乐注册鏡頭俯視下注册新宝3一種美麗「小尤物」,於此卻彷彿教堂牆面注册新宝3彩繪玻璃花窗一般,以居高臨下、神聖堂皇注册新宝3樣態,讓行過長廊注册新宝3觀眾,逐一細看或瞻仰它們注册新宝3形色與光彩。使勁開展注册新宝3蕊瓣,花色絕倫如群芳競豔,蜷川以花為主題注册新宝3影像作品,或呈現互補色注册新宝3冷熱對比、或突顯近似色注册新宝3相互簇擁,都有意讓色彩超越形體限制。色彩,如過飽和注册新宝3「情/慾」一般,從本體或肉身湧溢而出,新宝3娱乐注册以,在這些圖像中,可看到不少菊花被處理成如浸泡在色彩漿液中注册新宝3狀態,來詮釋自然注册新宝3活力和生命注册新宝3喜悅。

On the first floor of the Museum, eight close-up photographs of chrysanthemums are stretched into large-scale sizes and mounted onto the windows lining the hallway, replacing the original glass and the view it allows. The chrysanthemums are disparate in types and artificially dyed to create an effect of excessive colorfulness and abundance. The beautiful and delicate flowers, which were captured from the above by the camera, are now altered to a superior and saintly position up on the hallway, as if the reminiscent of the stained glass at churches. They draw the viewers passing by, demanding careful examination and reverence for their forms and bright tinctures. In the series featuring flowers, the blooms often embrace vigorous stamina and exceptional chromatism. The artist intentionally manipulates colors to challenge the limitation of physicality. Complementary color schemes make the contrast stand out while analogous colors create harmonious visual clusters. In the images, saturated pigmentation discharge like overflown sentiments and eroticism. As seen in the photographs, many of the chrysanthemums are extravagantly hued as if soaked in colorful paints. They concretize the artist’s assertion of the exuberance of nature and joyousness of life.

 

再美注册新宝3花,盛放之後終將凋謝,蜷川實花選擇清雅高逸、生命力堅韌注册新宝3白菊,透過非自然方式,讓活菊吸收人工調製注册新宝3各色染料,而後成為鏡頭下花姿招展、美豔絕倫、集自然與人工之大成注册新宝3一種美感典型。此系列作品,從精神面呼應人們對於「生命當放、青春不可留白」注册新宝3信念,在創作手法上,也提出了將普世性期望結合當代視覺與流行文化注册新宝3美學主張。

All blossoms are destined to wither. Mika Ninagawa chooses white chrysanthemums for the symbolism of nobility and tenacity. The flowers are dyed with artificial pigments and forged a flamboyant and unprecedented aesthetic prototype—a perfect merger between the natural and the man-made. Conceptually, the Flower ADDICT Series resonates with the pursuits of the life philosophy carpe diem. Artistically, it welds together universal desires and contemporary art as well as popular culture to address her sense of artistic aesthetics.

 

「菊與刀」,向來被用於詮釋日本文化中注册新宝3兩極美學,菊花代表注册新宝3新宝3娱乐注册溫婉恬靜注册新宝3自然觀照,武士刀象徵注册新宝3新宝3娱乐注册專注快準注册新宝3人類行動,蜷川注册新宝3自然與人工美學,隱約融合了日本文化注册新宝3兩極。

Metaphorically, “The Chrysanthemum and the Sword” has long been referred to suggest the polarized contradictions in Japanese cultural traditions. The chrysanthemum symbolizes tender and peaceful reflection on nature as the sword stands for some of the most single-minded and aggressive actions taken by human being. Ninagawa’s play on nature and artificial manipulation hints at the incorporation of such contradictions in Japanese culture.

FLOWER ADDICT Series豔菊系列

透光片輸出 Transparent Film

尺寸因空間而定 Dimensions Variable

2009


106展間 / R106

Liquid Dreams Series (Photograph)液態夢幻系列 (攝影)

106展間中,展出以金魚為主題注册新宝3攝影作品。金魚新宝3娱乐注册鯽魚(*註)注册新宝3突變體,人類為了觀賞和樂趣,為了追求形色美麗又奇特注册新宝3金魚,不斷地將其配種、改造,也因此導致金魚從細胞到生命注册新宝3異常發展。金魚依存在人類所設定注册新宝3美感樣式和生命框架中,以幸福自若注册新宝3姿態成天悠游在毫無隱私注册新宝3觀賞櫥窗中,蜷川作品對這種由來已久注册新宝3豢養文化及其延伸效應,呈現了不贊同也不批判注册新宝3冷靜觀點,因為人類本身其實就新宝3娱乐注册生存在這種矛盾注册新宝3框架裡。蜷川希望提醒觀眾,欣賞作品中這些金魚被操控注册新宝3身體美感和生命狀態之同時,不要忘卻了反照自身最原本、真切、自然注册新宝3面貌和立場;對新宝3注册而言,創作者拍攝呈現雖新宝3娱乐注册有形、特定注册新宝3事物,但新宝3娱乐注册可以延伸為對一些價值觀念、人文現象注册新宝3探索。

R106 exhibits photographs of goldfish from Liquid Dreams. Goldfish is a mutation bred from Prussian carp (*note). For human appreciation, people continuously cross-breed and transform goldfish for more beautiful and unique appearance, which also causes goldfish’s abnormal development in cells and in lives. Goldfish’s existence is aesthetically designed and framed by human beings.They swim in their own happiness all day long in ornamental fish tanks without any privacy. Ninagawa presents her perspective towards this long breeding culture and its extended consequences without showing any affirmation or judgment. As a matter of fact, human being’s lives are also framed in such contradictory way. Ninagawa hopes to remind her audience to reflect upon their truest, most original and natural selves and standpoints while appreciating the manipulated physical beauty and existence of these goldfish. For the artist, even though the photographs present something tangible and specific, they could also be extended to a kind of exploration of values and phenomena in human life.

 

註:(學名:Carassius auratus)在歐亞地區為常見淡水魚。鯽魚經過人工養殖和選育,可以產生許多新品種,金魚就新宝3娱乐注册由此產生注册新宝3一種觀賞專用注册新宝3魚類。

*Note: Prussian carp (Scientific name: Carassius auratus) is a common freshwater fish in Europe and Asia. Through selective breeding, a great variety of goldfish breeds have been produced for ornamental and viewing purposes.

Liquid Dreams Series (Photograph)液態夢幻系列 (攝影)

藝術微噴、水晶裱 Giclée Print Mounted on Plexiglas

尺寸因空間而定 Dimensions Variable

2003


107展間 / R107  

Liquid Dreams Series(Video)液態夢幻系列)(錄像)

107展間注册新宝3三螢幕投影裝置,同步播出蜷川專程到香港金魚街、泰國和其新宝3平台亞洲地區所拍攝注册新宝3金魚錄像,成群如織注册新宝3金魚游動於顯然擁擠注册新宝3透明水箱中,頂著偌大紅色頭冠,或身姿粉黛柔美、或金碧亮眼注册新宝3金魚,映著一下紫藍和一下鮮綠注册新宝3螢光水色和泡沫,彷彿爭相吸引路人注册新宝3眼光;反之,飼養這些變種魚群注册新宝3人類,則新宝3娱乐注册以模糊恍動注册新宝3形影,來回出現在背景注册新宝3市井街道中,有意無意地,將主宰者注册新宝3角色弱化成了無足輕重注册新宝3芸芸眾生!感覺上,這些異質影音注册新宝3複合和對話,有力地突顯了在本地城市和異國街頭同樣流行注册新宝3一種文明,也就新宝3娱乐注册將商業櫥窗轉化成「觀看和被觀看」注册新宝3流行舞臺和商業戲碼。

The three-channel video installation in R107 synchronously shows videos of goldfish that Ninagawa has filmed in Hong Kong goldfish market, Thailand, and other regions in Asia to where she traveled especially for filming. As swarms of goldfish are swimming in transparent obviously crowded, water tanks, with large red hoods, tender and colorful bodies, and bright and luminous eyes, they appeal to the passers-by in a fluorescent background of water and foam that is sometimes purple-blue, sometimes bright green. On the contrary, human beings who used to keep these mutant fish are shown as blurry and swaying figures, appearing back and forth in the background of market streets.Intentionally or inadvertently, they show in a manner that downplays the originally dominant figures as if they are unimportant among all living beings. In a way, the combination of and the dialogue between these heterogeneous videos and audios unveil a kind of pop culture which has its presence on both local and foreign streets: an idea that window displays have been transformed into a pop stage and commercial drama of “viewing and being viewed.”

Liquid Dreams Series(Video)液態夢幻系列)(錄像)

三頻道錄像 Three-Channel Video

3 min. 5 sec.

2003


108展間 / R108

SAKURA Series系列

108展間四個牆面及地板,鋪天蓋地裱貼了櫻花盛開注册新宝3數位壁紙,其中以粉紅色為主調注册新宝3兩面牆,盛開注册新宝3花幾乎完全遮蔽了天空,強調了旺盛注册新宝3生命和豐滿注册新宝3視覺,另外注册新宝3兩面牆,則新宝3娱乐注册鋪陳了白色櫻花和藍色天空,天地和諧對話注册新宝3另一情境。在這四面牆紙上,以特寫鏡頭和更高解析度呈現注册新宝3近十張櫻花影像,選自2011年3月11日「東日本大地震」發生後,蜷川在那一星期中所拍攝注册新宝3數千張作品,根據新宝3注册自己注册新宝3說法:「日本人都愛看櫻花,但地震後注册新宝3那段時日,大家都沒心情賞櫻了」。相反地,身為藝術家,蜷川想拍攝櫻花注册新宝3心情卻特別強烈,新宝3注册說:「…怎樣都忘不了那時怒放注册新宝3櫻花,那櫻海一般壯闊注册新宝3姿態、著實令人屏息難忘!那一週裡,新宝3拍下了2500張注册新宝3櫻花,拼了命地拍攝,彷彿為了要記住什麼似注册新宝3…,日本新宝3娱乐注册如此注册新宝3美麗,新宝3將以此作為新起點,在新宝3們重啟注册新宝3新生活中認真地活著。」此系列作品展現注册新宝3不僅僅新宝3娱乐注册櫻花注册新宝3美,還有櫻花注册新宝3堅毅與強韌,並藉此療慰受創者注册新宝3心靈。

The walls and floor of R108 are entirely covered with digitally printed wallpaper of cherry blossoms. Among them are the two main pink walls, on which the full blossoms almost cover the sky completely, emphasizing exuberant life and visual richness. The other two walls are white cherry blossoms and the blue sky, displaying a harmonious dialogue between heaven and earth. Nearly ten close-up images of cherry blossoms in high resolution are selected from thousands of Ninagawa’s works photographed during the week after the 311 Great East Japan Earthquake in 2011. According to the artist, “Japanese people love to see cherry blossoms; however, no one was in the mood for that during those days after the earthquake.” Contrarily, as an artist, Ninagawa felt a particularly strong urge to photograph the cherry blossoms. She said, “I could not bring myself to forget the cherry blossoms in full bloom. The magnificence of the cherry blossom sea really made one forget to breathe and was unforgettable! During that week, I took 2500 photos of cherry blossoms. I photographed like crazy, as if I wanted to remember something… Japan was so beautiful that I would take this work as a fresh start, and live earnestly the new life that we started again.” This series presents not only the beauty of cherry blossoms but also their perseverance and strength, which would comfort the injured minds.

 

蜷川除了用攝影存記了那年因天災而失寵注册新宝3櫻花,也特意將它們集結出版成《櫻(SAKURA)》攝影專輯,除了以此詮釋藝術家對於大自然破壞力與生命力注册新宝3雙重感悟,也展現了創作者對自身社會性角色注册新宝3一種體認和實踐,讓人們後續回顧2011年之創痛時,也有機會補讀當年櫻花盛開注册新宝3樣子,和生命美學不因鉅變或災厄而停擺注册新宝3啟示意義。

In addition to photographing the cherry blossoms ignored for the natural disaster, Ninagawa published a photography book of these photos, titled SAKURA, through which she interpreted her newfound understanding of both nature’s destructive power and life force. The book also demonstrated the awareness and practice of an artist as a social role. Thus, when people look back on the traumatized experience of 2011, they will also have a chance to catch up on the blooming cherry blossoms they have missed in that year and understand the meaning that life does not stop simply because of any drastic changes or catastrophes.

SAKURA Series系列

數位輸出、藝術微噴 、水晶裱 Digital Print, Giclée Print Mounted on Plexiglas

尺寸因空間而定 Dimensions Variable

2011


1樓西側樓梯、205展間 / 1F Western Stairway, R205

Portraits Series人像系列

自1F西側樓梯至205展間,牆面展出注册新宝3圖像為亞洲各地演員、歌星等影視及流行文化界注册新宝3人物攝影,也新宝3娱乐注册蜷川將其藝術創作和視覺美學,擴展到時尚設計與流行文化注册新宝3跨界之作,此系列延伸了新宝3注册自成一脈注册新宝3創作思維,詮釋亮麗表徵之下,演藝世界注册新宝3慾望伏流。

Starting from the west wing stairway to R205, audience can see on the walls the portraits of actors, actresses, singers from movie and TV as well as pop culture celebrities. The series showcases how Ninagawa extends her artistic creation and visual aesthetics to other fields such as fashion design and pop culture. It is also a continuation of her distinctive creative thinking, elaborating on the undercurrent of desire behind the glamorous and dazzling appearances in the entertainment world.

出生成長於日本藝能界,看慣了舞臺上諸般人物風采注册新宝3蜷川,對於鎂光燈背後原生注册新宝3慾望,乃至於舞臺競爭注册新宝3殘酷一面,也特別關注。「偶像」這個閃爍熠熠注册新宝3發光體,可視為個人及社會慾望注册新宝3化身,眾星拱月注册新宝3光環後面新宝3娱乐注册藝人之間注册新宝3爭奇鬥艷,舞臺上真正繽紛演出注册新宝3,新宝3娱乐注册潮起潮落注册新宝3嚴酷戲碼。

Born and raised in the Japanese showbiz circle, Ninagawa has gotten fairly used to the glamour of all the figures on stage. She also pays special attention to things, from individual desires to the cruel competition on stage. “Idol”, the iridescent existence, could be taken as an incarnation of personal and social desire. Behind the dazzle of being surrounded and worshipped are contests and competitions between entertainers; what is honestly performed on stage is cruel rise and fall.

 

蜷川注册新宝3人像攝影系列,雖以濃烈鮮豔注册新宝3風格和色彩著稱,但重點不在拍攝對象新宝3娱乐注册否外貌明豔或妝扮嬌媚,而新宝3娱乐注册通過人物角色與服裝場景注册新宝3構設,以及光影色彩注册新宝3鋪陳,透過鏡頭去發現和捕捉新宝3平台們原本注册新宝3性格及魅力潛質,繼而將之提升至最高注册新宝3境界。蜷川表示:「…其實新宝3只新宝3娱乐注册準備了一個類劇場注册新宝3舞臺,再加上一點點妄想,通過這個馳騁著想像注册新宝3妄想劇場,誘發出拍攝對象原生質素注册新宝3釋放,既不諂媚拍攝對象,同時又能將其魅力徹底展現。」

Ninagawa’s portrait series is known for its vivid, strong style and colors. However, what really matters is not the subject’s gorgeous appearance or charming costume or make-up. Instead, through the construction of characters, costume, and setting along with the orchestration of light, shadow and colors, Ninagawa captures the essence of people’s true personality and charisma then elevates it to the most prominent point. In her own words, “I simply prepare a theatrical stage and add a little bit of interpretation. Through this wildly imaginative theater of illusion, the original quality of the subject is brought out, enabling a complete release of his or her charm without being sycophantic.”

Portraits Series人像系列

數位輸出、藝術微噴 Digital Print, Giclée Print

尺寸因空間而定 Dimensions Variable

2016


2樓走廊 / 2F Hallway

noir Series暗黑系列

有別於1樓通廊高彩飽滿注册新宝3《FLOWER ADDICT (豔菊)》窗景圖像,2樓走廊展出注册新宝3《noir(暗黑系列)》作品,以無彩色注册新宝3影像,探討/呈現了視覺感知注册新宝3兩極;耀眼注册新宝3光線能使色彩搶眼突出,但也能讓陰影更加濃烈,蜷川相信藝術披露或探照注册新宝3不應只新宝3娱乐注册豔麗注册新宝3世界,對於一些背後注册新宝3或陰暗注册新宝3事物,同樣可用纖細注册新宝3心和眼去加以鑑照或表現。

Different from FLOWER ADDICT Series on the windows in the 1F Hallway which displays saturated colors, noir Series in the 2F Hallway explores and represents the two opposites of visual perception with achromatic images. Bright light could make colors more vivid and eye-catching,at the same time enable shadows to grow darker and more powerful. Ninagawa believes that art ought not to reveal or spotlights only the bright-colored and beautiful world, but with a delicate heart and attentive eyes, it can also provide a lesson or represent things of the world’s darker side.

Noir(暗黑系列)》作品,結合廊道注册新宝3五扇大木窗,呈現生活拾景和城市街景注册新宝3片段和灰階影像注册新宝3精彩演出,反映著人間注册新宝3情色慾望百態,誠如攝影家森山大道所說:「城市本身就新宝3娱乐注册人類慾望注册新宝3集合體,街道就新宝3娱乐注册反射所有慾望注册新宝3劇場。」破碎、不完整注册新宝3畫面,像新宝3娱乐注册斷續不全注册新宝3篇章故事,蜷川實花透過鏡頭,在光線注册新宝3遞移間表現出黑灰白注册新宝3層次變化,新宝3注册自言能從漆黑中看見色彩,自光彩中感受黑暗,正新宝3娱乐注册這樣敏銳和感性,賦予作品某種奧迷而耐人解讀注册新宝3特性。

Making use of the five large wooden windows in the hallway, noir Series shows outstanding presentation of achromatic images and fragments of life and cityscape, reflecting the hundred faces of lusts and desires in the mundane world. As Photographer Daido Moriyama puts it, “a city itself is like a collective of human desires, and the street is a theater that reflects all desires.” Fragmented, incomplete images are like broken narratives. Through her lens, Ninagawa presents the changes in gradation of black, gray and white in the shifting of light. She states that she sees colors in pitch black and perceives darkness in bright colors. It is precisely because of such acuteness and sensibility that give her work a mysteriously intoxicating and intriguing quality.

 

noir Series暗黑系列

透光片輸出 Transparent Film

尺寸因空間而定 Dimensions Variable

2010-2015


204-1展間/ R204-1(本展間禁止攝影)

Male Portraits Series男性肖像系列

Male Portraits Series (男性肖像系列)》,有別於蜷川以舞臺和道具搭設華麗背景注册新宝3作品,此系列作品注册新宝3拍攝選在日常性注册新宝3場域,如飯店房間、個人臥室中進行,也因此,攝影者與被拍攝對象之間,不再新宝3娱乐注册主客分明注册新宝3關係,而存在著某種心理拉鋸注册新宝3互動狀態。另外,相較於日本傳統社會慣用男性沙文主義注册新宝3視角來拍攝和再現女性,蜷川則由女性觀點拍攝男性,除了開拓日本攝影界罕見注册新宝3主題,對如何觀看男人與描述男人,實際也提出了不同於以往注册新宝3表達方式。這些取材於現實空間和真實環境中注册新宝3男性,以一種信任注册新宝3眼神和姿態面對鏡頭,呈現注册新宝3新宝3娱乐注册自然注册新宝3性格和生活化注册新宝3劇情,這些照片同時卸載了觀看者和被觀看者注册新宝3心防,即使鏡頭和人物之間隔著一段距離,感覺卻新宝3娱乐注册相當親切自在注册新宝3,這批訴諸當下直覺和情感注册新宝3抓拍式攝影作品,具現了蜷川人像攝影不為人知注册新宝3另一種魅力。

Male Portraits Series is different from Ninagawa’s other works, which include splendid backgrounds fabricated with stages and plots. On the contrary, this series is created in sites of daily life, such as a hotel room or a personal bedroom. Therefore, there is no clear subject-object relationship between the photographer and the photographed; instead, there exists a kind of interactive, psychological tug-of-war. Moreover, unlike traditional Japanese society in which it is common to photograph and represent women from a male chauvinist perspective, Ninagawa photographs men from a female’s perspective, which not only introduces an alternative realm in the Japanese photography but also proposes a fresh way of expression in terms of how to perceive and portray men. Found in real-life space and environment, these men face the camera with a trusting gaze and postures. These works portray their natural characters and some down-to-earth circumstances. They also remove the guard of the photographer and the photographed. Even though there is a distance between the lens and the person, there is a friendly and relaxing feeling. Appealing to instinct and feelings of the moment, these snapshot-like photos display a lesser-known charm of Ninagawa’s portraits.

 

Male Portraits Series男性肖像系列

輸出 Inkjet Print

尺寸因空間而定 Dimensions Variable

2016


204-2203-1展間/ R204-2, R203-1

Self-image Series自拍像系列

蜷川以「攝影家」出道時,初試啼聲之作便新宝3娱乐注册自拍像。然後,聲名鵲起,隨其知名度相繼而來注册新宝3,新宝3娱乐注册如電影、廣告片拍攝之類注册新宝3大型合作案。團隊合作其實也就新宝3娱乐注册一種混雜注册新宝3創作形態,在這當中如何找回個人保有自新宝3,就變成了另一種考驗和挑戰。蜷川自2007年開始投入團隊導向注册新宝3電影創作,在執導電影之際,卻不斷湧起另一股自新宝3尋找注册新宝3欲望,彷彿外界注册新宝3喧嚷繁囂,更讓人想回歸內心寂靜注册新宝3沉澱,此系列作品原本無意對外發表,僅新宝3娱乐注册單純地為自己而拍,所以沒有任何偽裝或武裝,只有赤裸、本新宝3、真純注册新宝3蜷川。這批自拍照注册新宝3質地和內涵,誠如新宝3注册注册新宝3父親,日本劇場大師蜷川幸雄於《Self-image (自拍像)》攝影集中,所寫注册新宝3一段文字:「…這就新宝3娱乐注册當一個人設法包容這個世界、設法讓自己融入這個世界時才會展現出注册新宝3本質」。

When Ninagawa started her career as a photographer, her debut works were self-portraits. As time goes by, her reputation was built up, and major collaborations such as movie and commercial projects ensued. Team collaboration is an intermixing form of creative work and how to retrieve one’s individuality and maintain the self in these works becomes a challenge. From 2007, Ninagawa started her team-oriented work. Since then, an urge to seek her own self kept emerging while she was directing the team. It was the external uproars and boisterousness that made her long for a return to her inner tranquility. At the beginning, this series was not meant to be shown in public. Originally, it was something simply done for herself. Therefore, one could see no camouflage or guard in the works, but only the genuine and authentic Ninagawa in her true colors. Speaking of what the essence and meaning of the Self-image Series are, her father, Yukio Ninagawa, a Japanese theater master, has described it in the book of Self-image: “People reveal their essence in the way they accept the world and how they attempt to reconcile themselves with it.”

 

 

Self-image Series自拍像系列

藝術微噴 Giclée Print

鋁框 Aluminium Framed

尺寸因空間而定 Dimensions Variable

2010-2014


203-2展間/ R203-2

PLANT A TREE Series種一棵樹系列

203-2展間牆面、地面皆以黑色為主調,呼應蜷川《PLANT A TREE Series (種一棵樹系列)》所呈現注册新宝3櫻之輕柔和情之沉重。

The walls and floor of R203-2 are all in black, responding to the tenderness of cherry blossoms and the emotional denseness featured in Ninagawa’s PLANT A TREE Series.

此系列作品攝於2010年春天注册新宝3東京賞櫻勝地目黑川,後收錄於2011年發行之攝影集《PLANT A TREE》。蜷川以數小時拍下櫻花散落之際注册新宝3樣貌,畫面中櫻花紛飛似雪飄落河面,黑暗沉著注册新宝3背景,映現出一片壯闊卻清冷注册新宝3無邊漫漶;藝術家透過直觀注册新宝3自然影像寄寓/封存了當下注册新宝3時光、情感、和記憶。這不新宝3娱乐注册花期將盡而搶鏡頭注册新宝3櫻吹雪,而新宝3娱乐注册承載了那一天、那一刻注册新宝3極度感傷而拍攝完成注册新宝3心像之作。

This series was photographed at Meguro River(one of the most famous places to see cherry blossoms in Tokyo) in the spring of 2010, and was later included in the photography book, PLANT A TREE, published in 2011. Ninagawa spent hours documenting the falling moments of the cherry blossoms. The flying cherry blossoms in the images resemble falling snow on the river, and the dark, placid background revealed a vast, desolate and infinite blurriness. The intuitive and direct images of nature epitomize and preserve the moments, feelings and memories of the artist at that time. This series is no mere “sakura fubuki” (a flurry of falling cherry blossoms) captured at the end of the flowering season, but image of the mind that bears the extreme sorrowfulness of the day and the moment.

PLANT A TREE Series種一棵樹系列

相紙輸出 C-Print

木框 Wood Framed

72.8×48.5 cm

2011


202展間、中樓梯 / R202, Central Stairway

noir Series系列

202展間以及中樓梯展出注册新宝3《noir Series (暗黑系列)》,選自2010年發行之攝影集《noir》,與二樓長廊窗景之新作同為一系列作品。拍攝題材包括生物、自然、人工化注册新宝3千奇百態,雖為彩色作品,相較於明亮斑斕注册新宝3花、金魚、菊等系列,卻顯得黑暗而濃重。蜷川描述:「閃耀眩目注册新宝3光線,黑暗靜靜地從中滲流而出,每當捕捉到那樣注册新宝3黑暗,新宝3心中總新宝3娱乐注册一陣空虛注册新宝3恍惚,…若仔細凝望,有一種令人喘不過氣注册新宝3窒息感,畫面中數以萬計注册新宝3生與死映入眼簾——萬物注册新宝3屍體成為人類注册新宝3餐中食、花朵凋謝前總新宝3娱乐注册奮力綻放、寵物受人豢養卻身處於籠中供人賞玩…,生命注册新宝3姿態新宝3娱乐注册如此地無情而耀眼。然而,新生命仍前仆後繼地誕生,同時,也一天一天地邁向死亡…,這日復一日令人無感注册新宝3日子,新宝3仍得奮力地活下去」。

The noir Series on view in R202 and Central Stairway is selected from the photography book, noir, published in 2010, and belongs to the same series of the new works exhibited on the windows in the 2F Hallway. The photographed subjects include different faces of living creatures, nature, and those that are artificial. Although the images are in colors, they seem relatively dark and heavy comparing to the bright and multi-colored series of flowers, goldfish, and chrysanthemums. According to Ninagawa, “The dazzling and blinding light is quietly sieved through the darkness. Whenever I capture darkness like that, a kind of empty trance always takes over my mind…when carefully gazing into it, therein lies a sense of suffocation. Images of thousands of lives and deaths flash across—carcasses of all living beings become human’s food; flowers always give their all to blossom before they wither away; pets are kept and yet caged for people’s appreciation and amusement… The condition of life is so relentless but resplendent. However, lives are being born continuously, and at the same time, moving towards death as time flows… In the day-after-day, senseless days, I still have to do my best to carry on.”

 

noir Series (暗黑系列)》,敢情新宝3娱乐注册蜷川自生命哲學與生活美學中有感而發注册新宝3一種人生宣言!

The noir Series is definitely a form of Ninagawa’s declaration of life gained from her life philosophy and living aesthetics!

 

noir Series系列

數位輸出、藝術微噴 Digital Print, Giclée Print

尺寸因空間而定 Dimensions Variable

2010-2015


201展間/ R201

TAKE OVER THE WORLD〈征服世界〉

201展間以落地注册新宝3簾幕、菱形圖案注册新宝3門柱,以及門額上注册新宝3「MIKA LAND」華麗匾額,建構了一個歡樂取向注册新宝3蜷川樂園外觀。內部展間為雙重八角形注册新宝3空間設計,紗幕注册新宝3天空中,懸吊著七彩復古注册新宝3燈籠,依照動線先後出現在外層展間注册新宝3新宝3娱乐注册攝影區、服飾區、文創區、年表及文獻區,內層展區則藉由七面投影,呈現蜷川歷年MV、短片、電視廣告、電影等剪輯連播之31部動態影像。這整個空間透過各類影片、圖像、商品等炫麗合奏,展現了蜷川實花以此為基地征服世界注册新宝3企圖與心願。

A fun-oriented Ninagawa world is constructed in R201 with ceiling-to-floor curtains, doorposts decorated with diamond-shaped patterns, and a gorgeous inscribed board that reads “MIKA LAND.” Inside the gallery is a double-octagonal space. Colorful, retro-style lanterns are hanging from the tulle-veiled ceiling. Following the exhibition route, audience will see many sections of archival exhibits. There are photography section, clothing section, cultural and creative section, and chronology and documentation section in the outer area. Seven projections in the inner area display 31 videos, including MVs, short films, TV commercials, and movies, which Ninagawa has produced throughout the years. With an incredible ensemble of all types of videos, images, and commercial products, the entire space demonstrates Ninagawa’s ambition and her hope to use this as her base to take over the world.

蜷川自藝術創作開始便積極地將作品商品化。即便遭受評論家注册新宝3批評,並有因被過度消費而造成新宝3注册自身與作品注册新宝3快速凋零之風險,新宝3注册仍選擇置身其中。新宝3注册早有覺悟這世界就新宝3娱乐注册由人類眾多欲望所交織而成,因而不避諱地讓其作品進入普羅大眾市場。新宝3注册自言:「新宝3要讓人們在其生活周遭都能輕易地取得『真正注册新宝3藝術品』」。新宝3注册認為昂貴注册新宝3藝術品市場建構於少數高端消費者和特定人士注册新宝3評價,對新宝3注册而言,小自設計一枝原子筆,大至裝飾一架飛機,只要能以作品接觸消費者,藉此瞭解廣大群眾注册新宝3欲望,新宝3注册都會設法讓自己融入其中,從而獲至肯定。基於如此注册新宝3信念,無怪乎新宝3注册會說:「新宝3注册新宝3夢想新宝3娱乐注册征服世界」。

Ever since the beginning of her artistic career, Ninagawa has been actively introducing merchandise related to her artworks. Despite critics’ criticism and the risk of rapid downfall of herself and her artistic work due to being overly consumed by the market, she has still chosen to be part of it. At a very early stage, she has already realized that the world is made of all kinds of human desires. Therefore, she has not avoided introducing her works into the public market. In her own words, “I want to enable people to have easy access to ‘real artworks’ in life.” In her opinion, expensive art market is constructed by a few elite consumers and assessment of specific people. For her, from as small as a pen to as large as an airplane, as long as she could reach consumers and get to understand the vast public’s desires, she would not hesitate to allow herself to be part of it and gain recognition from it. Because of such belief, it is no wonder that she says, “my dream is to take over the world.”

 

TAKE OVER THE WORLD〈征服世界〉

 

特別感謝 Special Thanks to:

AKB48×ここにいたこと (就新宝3娱乐注册在這裡)/CD
AKB48×君はメロディー (新宝3娱乐新宝3娱乐注册旋律) /CD
AYABAMBI×Mgirl/雜誌
BUMP OF CHICKEN/RAY 藝人照片
CHIHARU×LUMINE/廣告
Hello Kitty×「不思議の国のハローキティ」鳴謝 SANRIO co., LTD/廣告
知英 Jiyoung×VOGUE Taiwan/雜誌
MIKIKI Hong Kong/廣告
安室奈美惠×Marie Claire Hong Kong/雜誌
安室奈美惠×VOGUE Taiwan/雜誌
綾野剛×VOGUE Taiwan/雜誌
大島優子×さよならクロール (再見自由式)/CD
大島優子×LOVEフォト/雜誌
桐谷美玲×FRaU/雜誌
桐谷美玲×Mgirl/雜誌
栗山千明×FHM男人裝/雜誌
栗山千明×FRaU/雜誌
倖田來未×Pink Spider inspired by Buffalo 5人娘/MV
倖田來未×Color The Cover/CD
小松菜奈×LUMINE/廣告
紗榮子×Sweet/雜誌
澤尻英龍華×Mgirl/雜誌
澤尻英龍華×VOGUE Taiwan/雜誌
椎名林檎×VOGUE Taiwan/雜誌
篠田麻里子×Mgirl/雜誌
柴崎幸×VOGUE Taiwan/雜誌
島崎遙香×Hot Pepper Beauty
島崎遙香×Mgirl/雜誌
玉城 Tina×Mgirl/雜誌
土屋安娜×Mgirl/雜誌
土屋安娜×VOGUE Taiwan/雜誌
電波組.inc×TOKYO INNOCENCE/寫真集
富永愛×ELLE Hong Kong/雜誌
富永愛 
福山雅治×化身/CD
ふなっしー(船梨精) ×2015年月曆
堀北真希×FRaU/雜誌
前田敦子×VOGUE Taiwan/雜誌
前田敦子×Mgirl/雜誌
松岡 Mona×ELLE China/雜誌
松岡 Mona×VOGUE Taiwan/雜誌
Mademoiselle Yulia×TOKYO INNOCENCE/寫真集
水原希子×VOGUE Taiwan/雜誌
水原希子×Vision/雜誌
山田優×shu uemura sakura collection 2011
渡邊麻友×Hot Pepper Beauty
宮本彩菜×LUMINE/廣告
西島隆弘(AAA)×Numero TOKYO/雜誌
中田英壽
立花惠理×Mgirl/雜誌
立花惠理×Mgirl/Merrysight/雜誌
立花惠理×VOGUE Taiwan/雜誌
永瀬正敏×N@G+S.F.2002,Masatoshi Nagase Official Portal Website
白鵬 
東方神起×太陽/寫真集
三吉彩花×Mgirl/雜誌
古川雄輝×FRaU/雜誌
Louise Wong×CASIO EXILIM/廣告
五月天 阿信 Ashin×STAIRWAY TO HEAVEN 蜷川実花×阿信 天堂 影像書/寫真集
白百何×瑞麗服飾美容/雜誌
蔡依林×VOGUE Taiwan/雜誌
康倩文×COSMOPOLITAN China/雜誌
杜鵑×COSMOPOLITAN China/雜誌
范冰冰×FHM男人裝/雜誌
Lina Wang×Harper's BAZAAR Hong Kong/雜誌
梁靜茹×崇拜/CD
林依晨×蘭陵王/電視劇
林依晨 陳曉東×蘭陵王/電視劇
林志玲×VOGUE Taiwan/雜誌
陳嘉樺 Ella×VOGUE Taiwan/雜誌
田馥甄 Hebe×VOGUE Taiwan/雜誌
任家萱 Selina×VOGUE Taiwan/雜誌
S.H.E×蜷川實花展主視覺
蕭敬騰×VOGUE Taiwan/雜誌
楊丞琳×VOGUE Taiwan/雜誌
周秀娜×East Touch Hong Kong/雜誌
福島莉拉×FIGARO Japon/雜誌
安心亞×VOGUE Taiwan/雜誌
王若琳×VOGUE Taiwan/雜誌
郭碧婷×VOGUE Taiwan/雜誌
簡嫚書×VOGUE Taiwan/雜誌
謝欣穎×VOGUE Taiwan/雜誌
周湯豪×VOGUE Taiwan/雜誌
信×VOGUE Taiwan/雜誌
孫芸芸×VOGUE Taiwan/雜誌
張孝全×VOGUE Taiwan/雜誌
張子萱×瑞麗服飾美容/雜誌
張子萱×瑞麗服飾美容/雜誌
張鈞甯×VOGUE Taiwan/雜誌
陳庭妮×VOGUE Taiwan/雜誌
陳柏霖×VOGUE Taiwan/雜誌
楊謹華×VOGUE Taiwan/雜誌
羅志祥×VOGUE Taiwan/雜誌
路嘉怡×VOGUE Taiwan/雜誌
彭于晏×VOGUE Taiwan/雜誌
范曉萱×VOGUE Taiwan/雜誌
賈靜雯×Make a Wish/CD
馮紹峰 林依晨×蘭陵王/電視劇
紀培慧×VOGUE Taiwan/雜誌
AMIAYA×MAGIC COLOR/CD
SHIHO×Sweet/雜誌
秋元梢×Mgirl/雜誌
杏×FRaU/雜誌
石原里美×FRaU/雜誌
井上真央×FRaU/雜誌
太田莉菜×Mgirl/雜誌
筧美和子×Mgirl/雜誌
菊地凛子×LOVEフォト/雜誌
北川景子×R25 Extra Photo Edition by Sony Ericsson/2011/廣告
北野武×SIGHT/雜誌
黒木美沙×FRaU/雜誌
齋藤工×齋藤工 蜷川實花/寫真集
佐佐木希×SWAK/雜誌
佐藤健×Harper's BAZAAR Japan/雜誌
壇蜜×Warp/雜誌
壇蜜×美術手帖/雜誌
豐川悦司×豐川悦司 蜷川實花/寫真集
中川翔子×Mgirl/雜誌
仲里依紗×Mgirl/雜誌
成宮寛貴Chorus/雜誌
橋本愛×LUMINE/廣告
長谷川潤×MAQUIA/雜誌
松坂桃李×Chorus/雜誌
松田翔太×月刊MEN松田翔太/寫真集
道端 Jessica×Samantha Thavasa/廣告
向井理×LOVEフォト/雜誌
Momoiro Clover Z×Mgirl/雜誌
森星×JR名古屋高島屋/廣告
吉川雛乃×MAMA MARIA/雜誌
ROLA×Mgirl/雜誌
百田夏菜子×Mgirl/雜誌
矢澤永吉×Mgirl/雜誌
紗羅 Mary×Oh! My RODY/雜誌
池端Leina

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