江上越倫敦個(gè)展"對(duì)話400年"開(kāi)幕 --千葉成夫，近藤成一學(xué)術(shù)主持 Antonia Huber，Julia von Meiss策展
市長(zhǎng)的賀電
江上越 女士
衷心祝賀江上越個(gè)展《對(duì)話400年》在倫敦開(kāi)幕。
江上越女士的作品給予人們感動(dòng)，我真誠(chéng)期待江上越女士作為日本和世界的橋梁的藝術(shù)家取得更高的成就！
千葉市長(zhǎng) 熊谷俊人
2018年2月16日
Dear Ms. Etsu Egami
I sincerely cerebrate the holding of "Dialogue beyond 400 years - Etsu Egami solo exhibition"
I hope that Ms.Etsu Egami's works will inspiring people as the artist who become the bridge between Japan and the world .
Mayor of Chiba city Toshihito Kumagai
江上越的"誤聽(tīng)游戲"――一種感覺(jué)和另一種感覺(jué)
千葉成夫 美術(shù)評(píng)論家
江上越嘗試的"語(yǔ)音"作品，準(zhǔn)確地講不是"誤解"而是"誤聽(tīng)"的問(wèn)題。當(dāng)然"誤聽(tīng)"會(huì)導(dǎo)致"誤解"，日常習(xí)慣或者是語(yǔ)義的擴(kuò)展，說(shuō)成是"誤解"也沒(méi)什么關(guān)系。但如果這樣就感覺(jué)有些走味了。說(shuō)到"誤解"，例如像Albert Camus的著名戲劇作品《誤解（Le Malentendu）》往往感覺(jué)很深刻。而日常生活中，用同音異義詞調(diào)侃，還能給會(huì)話增添不少精彩。例如日語(yǔ)中 "誤解"的發(fā)音，也可以聽(tīng)成是"五階"、"碁會(huì)"、" ゴカイ"、"五戒"等等。
值得注意的是，江上越本人用了"mis-hearing"，而不是"mis-understanding"也不是
" mis-apprehension"。就是說(shuō)，她是把感覺(jué)（這里是聽(tīng)覺(jué)）層面的錯(cuò)位作為創(chuàng)作的切入點(diǎn)。人通常說(shuō)"五感"，除此以外應(yīng)該還有兩種，一個(gè)是比"觸感"范圍更廣的"身體感覺(jué)"，一個(gè)是廣義的通過(guò)想像產(chǎn)生的所謂"想象感覺(jué)"（包含預(yù)感、妄想等等）。理所當(dāng)然，這里的"感覺(jué)"并不是指到達(dá)大腦的生理刺激，而是大腦綜合判斷的行為，實(shí)際上是指形成的"認(rèn)識(shí)"。
還有，即使人只使用聽(tīng)覺(jué)，其實(shí)，其他的感覺(jué)也不是在睡大覺(jué)。例如閉著眼睛聽(tīng)音樂(lè)的時(shí)候，聽(tīng)覺(jué)（除了視覺(jué)）和其他所有的感覺(jué)一起在共感。畫(huà)畫(huà)的時(shí)候也是，視覺(jué)和其他所有的感覺(jué)一起都在起作用。人的"感覺(jué)"或多或少是綜合性的產(chǎn)物。好像人的大腦天生就是這樣的。而且，不要忘記江上越首先是一個(gè)畫(huà)家，或者說(shuō)也是一個(gè)畫(huà)家。
可以說(shuō)江上越"語(yǔ)言游戲"的嘗試至少和視覺(jué)是連動(dòng)的。她的幾乎所有的"誤聽(tīng)游戲"作品，或者說(shuō)常常是充滿了想象，伴隨這種裝置的展示是有理由的。她好像是在強(qiáng)調(diào)通過(guò)聽(tīng)覺(jué)產(chǎn)生"誤聽(tīng)"，但又不盡然。因?yàn)楫a(chǎn)生（錯(cuò)誤＝誤動(dòng)作）一個(gè)感覺(jué)會(huì)波及人的所有感覺(jué)。
江上越創(chuàng)作"誤聽(tīng)游戲"作品的契機(jī)是來(lái)自她在北京留學(xué)時(shí)的個(gè)人體驗(yàn)。盡管日本和中國(guó)同是使用漢字，但到了21世紀(jì)的現(xiàn)在，同一個(gè)漢字同一個(gè)單詞，如果單從發(fā)音來(lái)判斷，就很難知道雙方的本義了，這里產(chǎn)生的誤解和齟齬觸發(fā)了她的創(chuàng)作靈感。如果僅僅是這樣，也只是語(yǔ)意上的誤解和齟齬問(wèn)題罷了。漢字是象形文字，對(duì)一個(gè)一個(gè)的漢字在不同的歷史時(shí)期不同的地域產(chǎn)生了多種不同的讀音。傳出中國(guó)本土改變了讀音也是理所當(dāng)然的事。
這里產(chǎn)生的"誤解"問(wèn)題，今后也解決不了吧，還會(huì)繼續(xù)醞釀出各種悲喜劇。同時(shí)，謀求解決和緩和的努力也會(huì)繼續(xù)下去吧。但是，世界語(yǔ)也好英語(yǔ)也好都不可能征服世界，也不需要這樣的世界。土地、水、風(fēng)土、空氣的差異必然導(dǎo)致人的差異、語(yǔ)言的差異。這是有理由的，必然的，自然的，多樣性好。
作為美術(shù)家的江上越，馬上意識(shí)到這一點(diǎn)，從"語(yǔ)言的誤解和齟齬"的課題把問(wèn)題放大，向著更根本的方向延展她的探索。
其中一個(gè)方向，就是國(guó)家和地域的差異，也就是浮現(xiàn)出來(lái)的文明?文化的差異。也可以說(shuō)她是在主動(dòng)地認(rèn)識(shí)"誤聽(tīng)"所產(chǎn)生的多樣性。既然"誤聽(tīng)"不可避免，她就試圖如何捕捉其中更多的正面能量。
隨便提一句，她的繪畫(huà)作品"人顏"系列，就是嘗試將這種想法放進(jìn)視覺(jué)藝術(shù)中去。人的臉不斷地產(chǎn)生細(xì)微的變化，這就是所謂的"表情"。出入海關(guān)時(shí)，海關(guān)人員要用自己的眼睛核對(duì)護(hù)照上的照片和眼前的本人，因?yàn)榧词故峭耆鐚?shí)地記錄對(duì)象的相機(jī)，也很難捕捉盡表情的細(xì)微變化。照片只能抓住一個(gè)瞬間，而繪畫(huà)卻能表現(xiàn)出表情的多樣性。江上越的繪畫(huà)好像是夸張了對(duì)象的特征和表情，其實(shí)不然，她是把一張畫(huà)面捕捉不盡的表情綜合地畫(huà)進(jìn)去。對(duì)應(yīng)于"誤聽(tīng)"她是把"誤視"作為褶裥編織入內(nèi)，刻畫(huà)進(jìn)作品。所以，從本質(zhì)上講她是用了與"誤聽(tīng)游戲"同樣的方法，但表現(xiàn)的卻是繪畫(huà)作品。
還有一個(gè)我認(rèn)為有可能的方向，就是嘗試把"聽(tīng)覺(jué)"和"視覺(jué)"綁在一起（或連動(dòng)、或并置、或背道而馳）表現(xiàn)同樣的主題。也許是夢(mèng)想，我仍然期待著。
Etsu Egami's "Mis-hearing Game" - One Sensation and Another Sensation
Shigeo Chiba (Japanese Art Critics)
To be accurate, what Etsu Egami is trying in her work of "words (language)" is not a "misunderstanding" but a problem of "mis-hearing". Of course, "mis-hearing" can be the source of "misunderstanding", so it can be said that it doesn't matter if you expand it to "misunderstanding" in general, but then it seems that the story will be slightly misguided. "Misunderstanding", for example, could be serious understood as a prominent drama work "Le Malentendu" by Albert Camus. But it is common to add coloring to a conversation in everyday life, using homonyms sometimes with puns. For example, if you pronounce the word "misunderstanding" in Japanese only by sound,"Five Levels", "Go Session", "Gokai (Roswell)," "Five Commandments" can be the same sound either.
It should be noted that Etsu Egami herself uses the word "mis-hearing" rather than "mis-understanding" or "mis-apprehension". In other words, she has a theme of "mistakes" at the level of sense (hearing at now). People's sense is usually said to be "five senses". However, it is obvious that there are at least two other things, "body sensation" which is more extensive than "tactile" and a feeling arising from imagination in a broad sense, so to speak and "imagination feeling" (such as premonition or delusion) I think that should be added I think. Also of course, here also, "sensation" is not a physical stimulation up to the stage where it reaches the brain, but it It refers to becomes a (total) judgment by the brain and it becomes behavior, that is, "recognition" what it is.
And, for example, do not forget the fact that other feelings are not asleep while one hears. Even if I close my eyes and listen to music, other senses except vision are also working. So hearing is working with all senses (except vision). Even when drawing a picture, vision works with all other senses. Human "sense" is always more or less comprehensive. Apparently, the human brain seems to be made like that. Besides, do not forget that Etsu Egami is a painter first, or is also a painter.
In other words, Etsu Egami's "Mis-hearing of words" should be linked with at least vision. There is a reason why her "mis-hearing games" work is an exhibit , mostly or often image wise, or with such installations. It also sometimes emphasizes "Mis-hearing" that occurs in the sense of hearing, but that is not all. "Mistake = malfunction" that occurs in one sense exerts its effect on the whole human sense.
The inspirations for Etsu Egami's "mis-heariing game" works comes from her personal experiences when she was studying in Beijing. Japan and China share the same kanji, but at the present in the 21st century, even if the same kanji or the same word is pronounced as "sound", there are circumstances in which both sides do not have the same meaning. She was inspired by the misunderstandings and discrepancies of that. But only that, it is only a misunderstanding of the meaning of words and a matter of discrepancies. Hieroglyphics called kanji form a lot of different readings historically and locally for each character (kanji), and it is of course that once you leave the mainland of China its reading will be changed.
The problem of "misunderstanding" that came from there will not be solved in the future, it will continue to produce tragicomical stories. Conversely, efforts to solve or mitigate will also continue. However, Esperanto and English cannot conquer the world, and I want to say sorry to such a world. If land, water, culture and air are different, naturally humans and their languages are different. There is a reason ,necessity and nature in that, diversity is a good thing.
As an artist, she immediately noticed that. And from the level of "the misunderstanding and discrepancy of the meaning of the words", She is trying to extend the problem to a bigger, more fundamental direction.
One of them is the direction of bringing out differences between countries and regions, that is, differences in civilization and culture. It can be said that it is a direction to positively recognize the diversity that "mis-hearing" occurs. Since "mis-hearing" is inevitable, it is a way of thinking that it is positive.
By the way, her painting work depicting "human face" can be said to be an attempt to bring that idea visually. People 's face are changing constantly and constantly. That is what is said to be an "expression". The immigration officer has to compare the face photograph on a passport with the face of the person in front of the his eyes, even with a machine that proposes to reflect reality as it is like a photograph. It is because they can't catch the delicate changing of facial expression of a person. Photographs can only catch a little moment, but paintings can describe the diversity of human facial expressions. It may seem that Etsu Egami's painting exaggerates features and expressions, but it is not. She was trying to draw the face of a person who can not be caught in one shot as comprehensively as possible. It is a work drawn by incorporating "mis-seeing" corresponding to "mis-hearing" as a fold. So basically it stands in the same way as a "mis-hearing game", but it is a painting work.
Another direction that I think might be possible , would be the direction to try the same thing with a work that combines "auditory" with "visual" (linked, juxtaposed, dressed) . It may be a dream, but I am thinking about that. ■
江上越作品《Dialogue beyond 400 years》作品現(xiàn)場(chǎng)-1
江上越作品《Dialogue beyond 400 years》作品現(xiàn)場(chǎng)-2
近藤成一 歷史學(xué)家
東京大學(xué)名譽(yù)教授
放送大學(xué)教授
千葉市藝術(shù)文化新人獎(jiǎng)評(píng)委主席
歐亞大陸的中部，汽車(chē)和列車(chē)都是走右側(cè)。被大海遙遙相隔的東方日本和西方英國(guó)卻是左側(cè)通行，因?yàn)槿毡镜慕煌w系是效仿英國(guó)的。英國(guó)的交通體系與歐洲大陸不同，是因?yàn)榇蠛５母綦x，而英國(guó)的交通體系傳到日本卻又是大海的溝通。
1600年，英國(guó)人威廉亞當(dāng)斯（William Adams, 1564-1620)作為航海士，上了荷蘭的商船De Liefde號(hào)，漂流到日本，他應(yīng)該是第一個(gè)來(lái)到日本的英國(guó)人。他得到了統(tǒng)治日本260余年的德川家的重用，后半生在日本度過(guò)，參與了在日本開(kāi)設(shè)英國(guó)商館，后來(lái)死在日本。
1980年，美國(guó)NBC以威廉亞當(dāng)斯為原型拍攝了電視劇"Shōgun"，劇中的主人翁最初不懂日語(yǔ)，覺(jué)得日本的事情遠(yuǎn)遠(yuǎn)超出他的理解。后來(lái)漸漸習(xí)慣語(yǔ)言，才理解日本。這個(gè)電視劇也是通過(guò)這個(gè)過(guò)程讓不懂日語(yǔ)的視聽(tīng)者體驗(yàn)當(dāng)時(shí)的情景。
江上越的作品中，背景通過(guò)投射海的映像， 探索人類(lèi)交流的可能性。作品中的海是江上的故鄉(xiāng)千葉的海。最近，江上獲得了千葉市藝術(shù)文化新人獎(jiǎng)，授獎(jiǎng)儀式上千葉市長(zhǎng)贊嘆江上的作品著眼于千葉的海域，并強(qiáng)調(diào)千葉的東南西三方都是被大海環(huán)繞。事實(shí)上，這個(gè)地域與其他地域的交流，海上交通起到了很重要的作用。
江上的創(chuàng)作主題中"誤認(rèn)"是一個(gè)重要部分。交流的最初，誤認(rèn)是無(wú)法避免的?；蛘哒f(shuō)，認(rèn)識(shí)"誤認(rèn)"也許是達(dá)到正確認(rèn)識(shí)的唯一途徑。江上提示的"誤認(rèn)"應(yīng)該說(shuō)是這種意義上的誤認(rèn)吧。但也許，是我誤認(rèn)了江上的創(chuàng)作意圖。盡管如此，我還是想基于這個(gè)認(rèn)識(shí)來(lái)鑒賞江上的作品。
What the sea plunges, things that connect
Prof. Dr. Shigekazu Kondo
Emeritus Professor University of Tokyo
Chiba City Arts and Culture New Award Selection Committee Chairperson
Professor of The Open University of Japan
In the middle of the Eurasian continent, both cars and trains run on the right side, but Japan and the UK , which are floating across the sea over the east and west side of the continent ,are driving on the left side. Traffic on the left side in Japan was due to upgrade the modern transportation system following to the UK. It seems that the sea, which separated the transportation system between the UK and the continent , made them different, but it was also the sea that conveyed the British transportation system to Japan.
In 1600, the British William Adams (1564-1620) had gotten on to the Dutch merchant ship Releafde (De Liefde) as a navigator, but as the ship was drifting in Japan, he became the first British who landed in Japan . Adams was heavily used in the Tokugawa family who will dominate Japan for just over 260 years from that year. He spent the rest of his life in Japan, where he was involved in opening a British trading house in Japan, and died in Japan.
The TV drama "Shōgun" produced by the American / NBC in the 1980s used Adams as a model. For the hero who could not speak Japanese at first, the mentality of Japan were beyond his understanding at all, but gradually he became accustomed to the Japanese life and learned to understand the mindset of Japan. This drama is made to let the English speaking audience pursue the process.
In Etsu Egami's work, there is some her work that reflects the sea and questions the possibility of communication. It is said that the mentioned sea is Chiba's sea which is the hometown of Egami. Egami recently won the Chiba City Arts and Culture new artist Prize from Japan. The Mayor of Chiba city, is pleased about the existence of Etsu Egami's work which that raised the sea of Chiba. He emphasizes that Chiba is surrounded by the seaside in the south ,the east and the west. Indeed there was a time when maritime traffic played a major role for connecting this area with other areas.
One of Etsu Egami's themes seems to be "misunderstanding". It is inevitable to have false recognition at the beginning of communication. Rather, noticing false recognition as misunderstanding may be the only way to get the right recognition. Etsu Egami's "misunderstanding" is such a misunderstanding, isn't it? This may be also a misunderstanding of Etsu Egami, but I'd like to start seeing Etsu Egami's works from that kind of perception.
江上越作品《Dialogue beyond 400 years》作品現(xiàn)場(chǎng)-3
江上越作品《Dialogue beyond 400 years》作品局部
江上越作品《Dialogue beyond 400 years》作品局部-2
江上越作品《Dialogue beyond 400 years》作品現(xiàn)場(chǎng)-3
江上越
1587年，英軍繳獲了下加利福尼亞州的西班牙大帆船，并將兩名正在船上的日本人加入到他的船上。這兩個(gè)人成為第一次訪問(wèn)英國(guó)的日本人。如果，這個(gè)故事是日本和英國(guó)交流的開(kāi)始，
是不是可以說(shuō)從一開(kāi)始交流就伴隨著偶然和誤會(huì)。 1600年，英國(guó)的威廉·亞當(dāng)斯（William Adams，1564年-1620年）,作為荷蘭商船De Liefde號(hào)的航海士，因?yàn)榇鞯饺毡竞０?，他成為了登陸日本的第一個(gè)英國(guó)人。被德川幕府重用，后半生他在日本度過(guò)，參加了開(kāi)設(shè)在日英國(guó)商館。
日本和英國(guó)之間的交流從開(kāi)始到現(xiàn)在大約400余年。經(jīng)過(guò)四百多年的悠久歷史，回首過(guò)去，克服了許多艱辛，得到了發(fā)展。其中，有許多結(jié)果和初愿不同的事實(shí)，有偶然和誤會(huì)，也有交流障礙中的誤聽(tīng)誤解。固有觀念中誤聽(tīng)誤解往往是負(fù)面的，其實(shí)有的時(shí)侯也是導(dǎo)致進(jìn)化的正面能量。這也是我創(chuàng)作的著眼點(diǎn)。
日本從英國(guó)進(jìn)口了軍艦，蒸汽機(jī)，交通設(shè)施等，現(xiàn)在也出口高性能電子產(chǎn)品，汽車(chē)，高科技等。在西方藝術(shù)影響日本的同時(shí)，浮世繪和流行的日本可愛(ài)文化在英國(guó)也很受歡迎。從槍炮外交開(kāi)始，走向經(jīng)濟(jì)文化交流。這些轉(zhuǎn)機(jī)和錯(cuò)位的結(jié)果意味深長(zhǎng)。
我的作品以誤聽(tīng)游戲?yàn)榍腥肟冢?yàn)證交流的障礙和可能性。以日英兩國(guó)交流的史料和大海的映像為背景，在輕松詼諧的氣氛中體驗(yàn)航海時(shí)代的風(fēng)云變幻和陰差陽(yáng)錯(cuò)。提示時(shí)代變遷背后人類(lèi)交流的另一個(gè)側(cè)面。"誤聽(tīng)"感覺(jué)上是很偶然很個(gè)人的，但會(huì)不會(huì)是一種人類(lèi)的遺產(chǎn)基因呢？我這次的作品是試圖將"誤聽(tīng)"擴(kuò)大延展，擴(kuò)大到國(guó)家和地域的交流，延展到民族和文化的碰撞。
Etsu Egami
In 1587 the British seized the Spain galleon ship off Baja California and added the two Japanese who were on board to his ship. These two people became first Japanese who visited the UK. If this story is the start of exchange between Japan and the UK, communication from the beginning it can be said that accompanied by misunderstandings and accidents. Also in 1600, the British William Adams (1564-1620) was a navigator on the Dutch merchant ship Releafde (De Liefde), but as the ship was drifting in Japan, he became the first UK person landed in Japan. He was trated as important by the Tokugawa Bakufu, he spent his late life in Japan and he also involved in opening up a British Trading Post office in Japan.
About 400 years since the communication between Japan and the UK started. After 400 years of long history, looking back, It have overcome many hardships and have developed. Among them, there are facts that resulted and many initial applications is different, and many of them are thought to be due to misunderstanding of communication, misunderstanding and mishearing. Misunderstanding often has negative consequences, but sometimes it leads to evolution. This is also the focus of my creation.
Japan imports warships, steam engines, tracks, etc from the UK, exports high performance electric products, automobiles, technology etc. While Western art influences Japan, Ukiyo-e and popular Japanese Kawaii culture are also popular in the UK. Beginning with gun diplomacy, progress towards economic and cultural exchange. These results of turning points and dislocation seems deeply meaningful.
In my work , Mis-hearing game is the starting point ,to verify the obstacles and the possibility of communication. Based on the historical materials exchanged between Japan and the UK and the images of the sea , we can experience the changing and overblown mistakes in the nautical era in a relaxed and humorous atmosphere. It prompted he other side of human communication behind changes in the times . "Mis-hearing" feels very casual occasionally and personal, but will it be a human genetic heritage? My current work is to try to expand the "Mis-hearing" and extend it to exchanges between countries and regions and extend the collision between ethnic groups and cultures.
江上越作品《Dialogue beyond 400 years》作品現(xiàn)場(chǎng)-4
To explain Egami Etsus installation in the context of Playground it might be good to write a bit about our concept. Unlike other galleries, Playground is a hybrid between exhibition and studio space, purposefully leaving it's definition - and use - as open as possible. Our main aim is to provide a physical platform for people with talent and initiative, regardless of discipline. The space is to be used in the most suitable way for their "art".
So our role as curator is less making decisions about set up and outcome of the installation but more that of a mentor; giving advice, drafting written concepts, providing visual communication and giving realistic deadlines.
Making culture, language and barriers of communication as a central subject of most of her work, the development of her exhibition idea within our very open concept was an important part of the outcome in my opinion. For us, it was really interesting to see how Egami Etsu developed her idea and the process of adapting it to a relatively restrictive room, both in shape and size.
Overcoming her initial idea of a classic "gallery" and realising she has got a space where she is completely free to play in and create her own exhibition was a great step.
And finally, once set up, having lots of people from different cultures, interests and professions all interacting with each other and reflecting on the installation was great to witness. Needless to say that Egami Etsus artwork seems to be visually very appealing independent of cultural
江上越作品《Dialogue beyond 400 years》作品局部-3
江上越作品《Dialogue beyond 400 years》作品現(xiàn)場(chǎng)--5
江上越作品《Dialogue beyond 400 years》作品現(xiàn)場(chǎng)-6
藝術(shù)家：江上越
學(xué)術(shù)主持：千葉成夫 （日本重要美術(shù)評(píng)論家）
近藤成一（東京大學(xué)名譽(yù)教授，千葉市藝術(shù)文化新人獎(jiǎng)評(píng)委主席）
策展人：Antonia Huber（獨(dú)立策展人，英國(guó)皇家藝術(shù)學(xué)院老師） Julia von Meiss
開(kāi)幕：2018.2.23 18：00-
展廳：Playground London Curated place
贊助：日本 SINBY
