展期 Period：
2024.8.3—2024.10.13
艺术家 Artist：
策展人 Curator：
地点 Venue：
前言 Introduction：
宁波汇港美术馆将于2024年8月3日至10月13日期间举办日本艺术家铃木隆太的个人展览“怀旧的未来”，届时将向公众展示这位艺术家在2022至2024年间创作的21件新作，深入探讨日常与回忆、过去与未来的精神索引与隐秘联系。
展览主题“怀旧的未来”获感于俄裔美国文化理论家斯维特兰娜·博伊姆（Svellana Boym）在2001年出版的同名著作。博伊姆认为，怀旧不仅仅是对过去的回溯，更是对未来的预示，这种感受是由空间和时间的距离共同塑造的。铃木隆太自2012年起，作为一位远离家乡的游牧者，先后在北京和苏州生活。他在北京生活了6年半，尽管时间不短，但他对中国其他地区却知之甚少，正如他所说的：“东京并不是日本的全部，北京也并不是中国的全貌。我想了解中国的其他地域。”因此，他从北京的日本人学校转职到苏州的日本人学校。选择苏州不仅是因为其作为长三角重要的经济、文化链接枢纽，还因为作为一个日本版画家，他对浮世绘和苏州木板年画的关联颇感兴趣。
铃木隆太的艺术实践将传统浮世绘技艺与现代摄影元素相结合。他将摄影融入传统水性木刻技法，通过自研的“水性木板写真制版”技术（日语“写真”，即中文“照片”），这种技法是他在多摩美术大学学习期间摸索出来的。铃木最初与美术相遇就是通过摄影这一媒介，透过摄影器械、菲林胶片所看到的美景总是让他异常兴奋。他的艺术创作不仅继承浮世绘传统技艺，如颜料和雕刻刀，更是在制版方式进行自己的思考：他将“浮世”解读为“此刻”按下快门所照射的世界是相通的。并将拓印后的原版进行第二次创作，使原版也成为独立的艺术作品。本次展览将展出版画与原版并置，从铃木对自身文化身份的思考出发，将“学习（Manabu）”和“模仿（Maneru）”用作原版和版画两个相对立的隐喻载体，探讨在文化浪潮中“原创”和“模仿”之间的文化关系。
在2022至2024年期间，铃木隆太在苏州拍摄了大量当地照片和影像资料，这些对生活的采摘与拾趣都成为了他日后的创作素材，他将不同的照片素材进行重叠，剥离出现实中隐匿的细节，赋予它们回忆的面纱。正如在《从前的夏天，音乐与天空》中所寻迹的东京第一间黑胶唱片行（Tower Records），现实中鲜明的红色和黄色标志转换成作品中矩阵的色块，对当下生活的趣点此刻被记录和戏仿，转化为抽象、运动的线条以及富于感官效果的渐变色，并以蜂蜡覆着出宣纸半掩的疏透质感.....日常的诗性与回忆的光泽随着矿物色洇染在中国古纸的褶皱上。
铃木隆太深受野田哲也（Tetsuya Noda）“日记”式版画的创作方法，注重个人经历与传统技艺的融合，以私摄影的方式遵循天野淳二（Amano Junji）对于平面和图像表达的批判性创作理念：摆脱理想范式的美化；追求日常里的普遍，注重生活化的体验。同时包含了对李禹焕（Lee Ufan）、元永定正（Sadamasa Motonaga）等物派艺术家对于物质的感悟，以解构的方式重新编织和意义赋予，创作出以宣纸为主要媒介的《2022 19th June》系列作品。铃木近年来的新作呈现出大量的留白、简趣的造型、淡雅的色调，无不透露出日本美学意境中“幽玄”和“侘寂”。这种含蓄而深邃、抑或质朴自然的美学不仅反映了铃木在中日两国文化之间的游走，也体现了在不同现代化城市之间身份转变和记忆怀想的复杂碰撞。这种探讨不仅局限于个人文化认同的流动，更涉及到个人和群体记忆、身份与他者、传统与现代等概念问题，揭示了全球化背景下个体如何在多重文化身份中寻求平衡与定位。
The Ningbo HKE Art Museum will host a solo exhibition of Japanese artist Ryuta Suzuki titled "Nostalgic Future" from August 3 to October 13, 2024. The exhibition will showcase 21 new works created by the artist between 2022 and 2024, exploring the spiritual index and hidden connections between the everyday and memories, the past and the future.
The exhibition title "Nostalgic Future" is inspired by the book of the same name published in 2001 by Russian-American cultural theorist Svetlana Boym. Boym believes that nostalgia is not just a retrospection of the past, but also a foreshadowing of the future, a psychological feeling caused by the distance of space and time. Since 2012, Suzuki has been a nomad living away from his hometown, living in Beijing and Suzhou. He first lived in Beijing for six and a half years. Although Suzuki has lived for a long time, he is completely unfamiliar with China outside of Beijing. As he said, "Tokyo is not all of Japan, and Beijing is not the whole picture of China. I want to understand other regions of China." He transferred from a Japanese school in Beijing to a Japanese school in Suzhou as a teacher. The reason for choosing Suzhou is its role as an important economic and cultural link in the Yangtze River Delta. Secondly, as a Japanese printmaker, Suzuki is also very interested in the connection between Ukiyo-e and Suzhou woodblock New Year paintings.
Suzuki's artistic practice combines traditional Ukiyo-e techniques with modern photographic elements. He incorporates photography into traditional water-based woodcut techniques, using his self-developed "water-based woodblock photo plate making" technology (Japanese "Shashin" means "photo" in Chinese). This technique was developed by him around 2004 when he was a student at Tama Art University. Suzuki first encountered art through photography, and the beautiful scenery seen through photographic equipment and film always excited him during his student days. In addition to inheriting the traditional Ukiyo-e techniques such as pigments and carving knives, the biggest difference is the plate-making method. The so-called "floating world" means "this moment, this world," so Suzuki also interprets it as being connected to the moment of pressing the shutter. Another difference is that Suzuki creates a second original work after the printing, making the original also an independent work of art. This exhibition will display both prints and originals, starting from Suzuki's contemplation of his own cultural identity, using the original and print works of "learning Manabu" and "imitating Maneru" as metaphors for two opposing carriers, exploring the cultural relationship between "originality" and "imitation" in the cultural tide.
The works during the 2022-2024 period of this exhibition are the local photos and images taken by Suzuki in Suzhou. These picks and interests in life have become the materials for his later creation. He overlaps different photo materials, stripping the hidden details from the reality and giving them the veil of memory. At the same time, he transforms the interesting points filled in life into the matrix color blocks in the work, using the silk screen layer printing technology, achieving the texture of water print woodcut through the superposition of mineral pigments in Chinese painting, and covering the semi-transparent Xuan paper with beeswax. The pattern is a record and parody of the moment, with abstract movement lines and rich sensory gradient... The poetic nature of the daily and the luster of memory are dyed on the folds of Xuan paper with mineral colors.
Suzuki is deeply influenced by Noda Tetsuya's "diary" style of printmaking, focusing on the integration of personal experience and traditional skills, following Amano Junji's critical creative concept of plane and image expression in private photography: getting rid of idealized beautification; pursuing the commonality in the daily; focusing on the experience of life; at the same time, it includes the perception of materials by artists like Lee Yuhuan and Yuan Yong Dingzheng, deconstructing and re-weaving and giving meaning to create a series of works with Chinese Xuan paper as the main medium titled "2022 19th June". Suzuki's recent works show a lot of white space, simple and interesting shapes, and light colors, all revealing the Japanese aesthetic conception of "mystery" and "wabi-sabi". This kind of implicit and deep, or simple and natural aesthetics not only reflects Suzuki's wandering between Chinese and Japanese cultures, but also embodies the complex collision of identity transformation and memory nostalgia between different modern cities. This discussion is not only limited to the flow of personal cultural identity, but also involves individual and group memory, identity and others, tradition and modernity, and other conceptual issues to respond one by one, revealing how individuals seek balance and positioning in multiple cultural identities under the background of globalization.
