“自然可解”日本艺术家个展

龙晓

松山智一 1976年出生于日本东京，现居纽约。多元文化的经历是松山智一艺术不可或缺的一部分，其作品同时具有古典与现代气息，兼具装饰性与概念性。他在东京、洛杉矶、纽约、迈阿密、中国香港等地创作过大型公共装置雕塑和壁画。其作品被旧金山亚洲艺术博物馆、洛杉矶郡立美术馆、阿拉伯联合酋长国王室等收藏。

真实与迷幻、冰冷与温暖、抽象与具体、现代都市与自然气息……很难想象这些矛盾的感受会来自同一个展览。而无论是成年人还是儿童，专业人士还是普通观众，都能被其作品深深吸引。这就是日本艺术家松山智一（Tomokazu Matsuyama）个展“自然可解”。3月初，该展览在龙美术馆（重庆馆）展出以来，吸引各界人士慕名前去欣赏。日本驻重庆总领事渡边信之应邀参观后，也被这位长期活跃在纽约的新晋日本艺术家的作品感动。

4月24日，日本驻重庆总领事馆举办了一场“松山智一·自然可解”观展会。渡边信之总领事在现场介绍，通过作品能体会到作者在国际最前沿艺术圣地纽约的感知中，混合了日本元素后创造出的另一种新鲜感。

“自然可解”展览于2020年11月在上海首次呈现，此次在重庆展出，增加了数件新作，更加丰富了展览内容。展览展示了松山智一极具独特性的异形油画和雕塑等作品，反映出艺术家广泛多样的审美语言。他以自己独特的方式捕捉当下社会生活与文化的现状，其创作理念与重庆这座魔幻之都能碰撞出与众不同的火花。

“自然可解”主题源自于法律术语中的“不可抗力”一词，指的是自然灾害或有碍社会、经济运行的突发事件。而松山智一发现，即便身处于不稳定时期，人们仍旧拥有继续生活的力量，对未来充满期许，且努力地重建他们的生活。

展廳入口一组名为《命运之轮》与《双重危机》的作品，是松山智一尝试通过通体抛光成镜面的不锈钢雕塑，以及“鹿角”和美国矮骑手文化的“车轮”元素，形象化地呈现“救赎实际上意味着什么？”这一主题。日本古代，鹿是圣物的象征，镜子被认为是神灵居住的地方。而车轮代表了现代社会的工业消耗品，两者的组合体现了艺术家对于人们一边寻求心灵净化，一边过着物质的生活的思考，还表达出他对人类实为矛盾体的认同，“鹿角”和“车轮”又代表“成为自己”的概念。

多年来，“骑手”一直是松山智一作品中的一个重要主题。在许多历史画中，骑手通常为文化或政治象征。松山智一通过当代艺术的形式将其重新定义为一种全球语言，试图把这些骑手从历史的宣传背景中解放出来。从而也使观者感受到典型的历史主题与现在这个难以捉摸的时代之间的联系。

松山智一坚定地认为，艺术家的关键职责就是捕捉和表达当下的生活。如今，人们通过电子设备去了解外界的现况，并在数据化的世界里寻找现实，让本该存在的分界线逐渐变得模糊和不明确。他的绘画反映了当今时代里这种不稳定的分界线，如自然与数据、现实与虚拟。通过独特的处理方法，他的作品呈现出田园牧歌和乌托邦式的画面。

理解松山智一的画类似一个编辑过程，相似元素的视觉线索会吸引观者去寻找他们的轶事趣闻，从而产生新的想法和叙述。他将跨越时空的大量信息分解和精心重建，使原本不可能共存的事物共存。同时画面既不缺少也不包含多余元素，保持着精美的平衡。

看完松山智一的作品，脑海中不觉会浮现一个问题：人们身处的“现实”是否真实，何为“现实”？这也许就是艺术家想要通过作品所传递的。我们不妨在色彩缤纷的画展，在点点滴滴的生活中慢慢找寻答案。

Reality and illusion， apathy and warmth， abstraction and concreteness， modern metropolis and breath of nature... It is hard to imagine that these contradictory feelings come from the same exhibition. Adults or children， professionals or ordinary visitors， visitors are invariably deeply drawn to these works. This is the individual exhibition "Accountable Nature" by Japanese artist Tomokazu Matsuyama. Since the exhibition was exhibited at the Long Museum （Chongqing Pavilion） in early March， it has attracted people from all walks of life to visit. After Consul-General Nobuyuki Watanabe of Japan in Chongqing was invited to visit， he was also moved by the works of this rising Japanese artist who has been long active in New York.

On April 24， the Consulate General of Japan in Chongqing held a "Tomokazu Matsuyamai： Accountable Nature" viewing session. Consul-General Nobuyuki Watanabe introduced during the session that through the works of Matsuyamai， he can experience another sense of freshness created by the author's perception of New York， the world's most cutting-edge art mecca with a blend of Japanese elements.

The exhibition "Tomokazu Matsuyama-- Accountable Nature" was first presented in Shanghai in November 2020. This time， its debut in Chongqing has added several new works with enriched contents. The exhibition showcases Matsuyama's unique irregular oil paintings and sculptures， reflecting the artist's broad and diverse aesthetic language. He captures the current social life and culture in his own unique way， and his creative ideas burst into different sparks in the magical city of Chongqing.

The theme of "Accountable Nature" is derived from the legal term "force majeure"， which refers to natural disasters or emergencies that hinder social and economic operations. Tomokazu Matsuyama found that， nevertheless， even in times of turbulence， people still possess the strength to continue living with expectations for the future， and work hard to rebuild their lives.

At the entrance of the exhibition hall， a group of works named Wheels of Fortune and Double Crisis are stainless steel sculptures that Matsuyama tries to polish into a mirror surface in an overall manner， plus the "antlers" and "wheels" elements of the American low rider culture， the theme of "What does salvation actually mean？"has been intuitively presented. In ancient Japan， deer was a symbol of sacred objects， and the mirror was considered to be the place where the deities abided. The wheel， on the other hand， represents the industrial consumables of modern society. The combination of the two reflects the artist's thinking about people seeking spiritual purification while living a material life. It also expresses his identification with "mankind as a paradox"， while "antlers" and "wheels" convey the idea of "becoming oneself".

Riders have been a key theme in Tomokazu Matsuyama's works for many years. In many historical paintings， riders are more often than not a cultural or political symbol. Matsuyama redefines it as a global language through the form of contemporary art， attempting to free these riders from the historical rhetoric background. In this way， viewers could feel the connection between the typical historical theme and the elusive era.

Tomokazu Matsuyama firmly believes that the key responsibility of an artist is to capture and express the current life. Nowadays， people use electronic devices to understand the status of the outside world and search for reality in the digitalized world， blurring and equivocating the boundaries that should exist in the first place. His paintings reflect such elusive boundaries in the contemporary era， such as those between nature and data， reality and virtuality. Through a unique technique， his works take on pastoral and utopian scenarios.

Understanding Tomokazu Matsuyama's paintings is similar to an editing process， and visual clues of similar elements will lure viewers to seek their anecdotes and generate new ideas and narratives. He disintegrates and ingeniously reconstructs a large amount of information that spans over time and space， so that things that couldn't co-exist in the past can co-exist now. At the same time， the images neither lack nor contain redundant elements， maintaining a delicate balance.

After viewing Tomokazu Matsuyama's works， one can't help asking one question： is the "reality" people lives in real， and what is "reality" at all？ This may be what the artist wants to convey through his works. Let's take our time to find out answers in the colorful painting exhibition and moreover， in the fragments of our day-to-day lives.