Beautiful New World: Contemporary Visual Culture from Japan
美丽新世界：当代日本视觉文化
|
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Artist Information
FINAL HOME / Tsumura Kosuke (津村耕祐)
FINAL HOME as a concept began with Tumura Kosuke’s drive as a fashion designer to create a piece of clothing that will serve to protect and comfort our bodies once we are deprived of shelter and dwellings; a coat that will comfort us the same as our homes. Consisting of numerous pockets, the nylon-material coat is undoubtedly versatile, providing style and individuality, functionality, protection, requirements for survival, but yet is eco-friendly for its nature recycled material. Since the prototype first created in the summer of 1992, Tumura’s FINAL HOME has been given quick attention, leading to his first solo exhibition in November of 1993 at the YKK R&D Center. International recognition immediately arrived in March 1994 where he exhibited FINAL HOME in his first overseas solo show, “INCOMER” in Paris. Tsumura is currently based in Tokyo.
FINAL HOME（最终家园）作为一个概念起源于津村耕祐对成为一名时尚设计师的向往，他希望创造一种衣服，在我们被剥夺遮蔽物和住所的时候保护我们并且令身体感觉舒适，这是一种令我们感觉像家一样舒适的衣服。由大量的口袋组成的尼龙质地的衣服毫无疑问是万能的，可以为求生提供方式和个性、功能、保护以及必要条件，但同时由于是自然再循环材质，因此它也属于环境友好型物品。自从1992年夏天首次创造了雏形，津村耕祐的最终家园迅速受到关注，致使他的首个个展在1993年11月于YKK 研发中心举办。1994年3月在巴黎“INCOMER”举办了最终家园的第一个海外个人独展，他迅速受到国际认可。津村耕祐目前在京都。
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|Artist Information
Fuji Hiroshi (藤浩志)
Born 1960, Kagoshima, Japan. Although a graduate of the Kyoto City Arts University majoring in dyeing and weaving, Fuji had a keener interest in the theatre arts which led him to pursue performance productions and installations. Establishing a performance unit, “Kyoto Information Company in 1983 upon entering the graduate degree of the same university, his ardent experimenting with various spaces began in these years. His representative works include, Koinobori Swimming in Kamogawa River (1983) for which he was by the Kyoto City Civil Engineering Department, The Marriage Problem Between Haniwa and Godzilla (1985-86) for which he earned his master’s degree, Vinyl Plastics Connection (1999), Walk with the Dog 2000, Kaiko Bazaar in an M1 (2004) and Kaeru Caravan (2005 ~ ). Involved in many workshops that focus on environmental issues, Fuji explores with the diverse spaces and pre-existing conventions, occasionally provoking reactionary responses from audiences of all range. His achievement in winning the grand-prix at the 2006 Bangladesh Biennale should also be noted for his participation in promoting the diversity in contemporary Japanese art. Fuji currently lives and works in Fukuoka.
1960 年生于日本鹿儿岛。虽然毕业于京都城市艺术大学，主修染织，但是藤浩志对剧场艺术产生了浓厚兴趣，这也促使他继续追求表演作品和装置的创作。 他筹建了名为“1983年京都信息公司”的表演机构，公司招募了同一所大学的大学生，并在此后的几年间在各种空间积极地进行实验。他的代表作品包括为京都城市土木工程学院创作的《Koinobori Swimming in Kamogawa River》 (1983)；为他赢得了硕士学位的《The Marriage Problem Between Haniwa and Godzilla 》(1985-86) ；《Vinyl Plastics Connection》（《乙烯基塑料连接》） (1999)； 《Walk with the Dog》（《与狗同行》） 2000；《Kaiko Bazaar in an M1》 (2004) 和《Kaeru Caravan》 (2005 ~ )。由于藤浩志与很多关注环境问题的工作室合作，探究各种空间和现存的惯例，因此有时会引起所有观众的强烈反对。他的成就在于赢得了2006孟加拉国双年展的重大奖项，此外，他参与推动当代日本艺术多样性的贡献也是不可忽略的。藤浩志目前在福冈生活和工作。
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|Artist Information
Oshii Mamoru (押井守)
Ｔokyo Scanner
Supervisor: Oshii Mamoru
Duration: ca.20min.
Specification: aerial shooting (partially use CG)
(c) Mori Building Co., Ltd.
Now a prominent movie director, Oshii began his movie-making while still a university student, and upon graduation entered an animation-production company. In 1984, he became independent, whereby after producing his famous animated films such as, Ususei Yatsura: Only You, Urusei Yatsura: Beautiful Dreamer, and Patlabor: The Movie, his 1995 GHOST IN THE SHELL became no. 1 for the Video Sales Charts in the Billboard magazine and brought him international acclaim. In 2003, Oshii supervised a short, airborne film, Tokyo Scanner to be shown at the opening of “The Global City” exhibition. First, the camera starts with a bird’s-eye view of the capital city Tokyo, to freely and meanderingly capture the vast panoramic view of the city zone swarmed with buildings and pedestrians. Then, all of a sudden it focuses sharply on an individual who is standing by the window in an office building. Owing to the fusion between sound, visual and graphic effects, the speed and scale that is unique to Tokyo are effectively depicted with much realism, enabling the viewers to virtually experience the cityscape. The production team consisted of Matsu Hiroaki (director), Haishima Kuniaki (sound effects), and Masao Yabe (producer). Oshii won the Jury Recommended Works prize in the 2003 [7th] Japan Media Arts Festival and in the following year, The One Show Interactive 2004 Bronze Pencil.
现在，押井是一位声誉卓著的电影导演。当他仍是一位大学生时，他开始自己的电影制作生涯，毕业后，他进入一家动画制作公司。1984年，他开始独立制作。通过制作其著名的动画电影，诸如《福星小子：Only You》（『うる星やつら オンリー・ユー』，Ususei Yatsura: Only You）、《福星小子：Beautiful Dreamer》(『うる星やつら ビューティフル・ドリーマー』, Ususei Yatsura: Beautiful Dreamer)、《机动po.licePatlabor》（『機動po.liceパトレイバー』，Patlabor: The Movie），之后，他1995年的《攻壳机动队》（『攻殻機動隊』，Ghost in the Shell）高踞《公告牌》（Billboard）杂志录像销售榜榜首。2003年，押井监制了一部航拍短片《东京扫描仪》（『東京スキャナー』，Tokyo Scanner），放映于“世界都市”（The Global City）展开幕式。首先，镜头始于对日本首都东京的鸟瞰，纵横无尽地摄下拥塞着建筑房舍和行人的都市区壮阔全景。接着，取景突然一变，迅速、敏锐地聚焦于一位站在高层写字楼窗边的人。缘于声画效果的融合，影片真实地了东京特有的速度和尺度，使观者虚拟地体验了俯瞰东京的感受。制作团队包括导演松宏彰（Matsu Hiroaki）、声效蓜島邦明（Haishima Kunia
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|Artist Information
Yokoyama Yuichi (横山裕一)
Yokoyama Yuichi
Travel
2006
Comic
Born 1967, Miyazaki, Japan. Having graduated the Musashino Art University, he started his career as a manga artist in 1995, and now he occasionally offers illustration works for the press and publishing houses including Comic Cue, Mizue, and Cyzo. His works are unique in his omission of speech balloons, which in<
美丽新世界：当代日本视觉文化
|
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Artist Information
FINAL HOME / Tsumura Kosuke (津村耕祐)
FINAL HOME as a concept began with Tumura Kosuke’s drive as a fashion designer to create a piece of clothing that will serve to protect and comfort our bodies once we are deprived of shelter and dwellings; a coat that will comfort us the same as our homes. Consisting of numerous pockets, the nylon-material coat is undoubtedly versatile, providing style and individuality, functionality, protection, requirements for survival, but yet is eco-friendly for its nature recycled material. Since the prototype first created in the summer of 1992, Tumura’s FINAL HOME has been given quick attention, leading to his first solo exhibition in November of 1993 at the YKK R&D Center. International recognition immediately arrived in March 1994 where he exhibited FINAL HOME in his first overseas solo show, “INCOMER” in Paris. Tsumura is currently based in Tokyo.
FINAL HOME（最终家园）作为一个概念起源于津村耕祐对成为一名时尚设计师的向往，他希望创造一种衣服，在我们被剥夺遮蔽物和住所的时候保护我们并且令身体感觉舒适，这是一种令我们感觉像家一样舒适的衣服。由大量的口袋组成的尼龙质地的衣服毫无疑问是万能的，可以为求生提供方式和个性、功能、保护以及必要条件，但同时由于是自然再循环材质，因此它也属于环境友好型物品。自从1992年夏天首次创造了雏形，津村耕祐的最终家园迅速受到关注，致使他的首个个展在1993年11月于YKK 研发中心举办。1994年3月在巴黎“INCOMER”举办了最终家园的第一个海外个人独展，他迅速受到国际认可。津村耕祐目前在京都。
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|Artist Information
Fuji Hiroshi (藤浩志)
Born 1960, Kagoshima, Japan. Although a graduate of the Kyoto City Arts University majoring in dyeing and weaving, Fuji had a keener interest in the theatre arts which led him to pursue performance productions and installations. Establishing a performance unit, “Kyoto Information Company in 1983 upon entering the graduate degree of the same university, his ardent experimenting with various spaces began in these years. His representative works include, Koinobori Swimming in Kamogawa River (1983) for which he was by the Kyoto City Civil Engineering Department, The Marriage Problem Between Haniwa and Godzilla (1985-86) for which he earned his master’s degree, Vinyl Plastics Connection (1999), Walk with the Dog 2000, Kaiko Bazaar in an M1 (2004) and Kaeru Caravan (2005 ~ ). Involved in many workshops that focus on environmental issues, Fuji explores with the diverse spaces and pre-existing conventions, occasionally provoking reactionary responses from audiences of all range. His achievement in winning the grand-prix at the 2006 Bangladesh Biennale should also be noted for his participation in promoting the diversity in contemporary Japanese art. Fuji currently lives and works in Fukuoka.
1960 年生于日本鹿儿岛。虽然毕业于京都城市艺术大学，主修染织，但是藤浩志对剧场艺术产生了浓厚兴趣，这也促使他继续追求表演作品和装置的创作。 他筹建了名为“1983年京都信息公司”的表演机构，公司招募了同一所大学的大学生，并在此后的几年间在各种空间积极地进行实验。他的代表作品包括为京都城市土木工程学院创作的《Koinobori Swimming in Kamogawa River》 (1983)；为他赢得了硕士学位的《The Marriage Problem Between Haniwa and Godzilla 》(1985-86) ；《Vinyl Plastics Connection》（《乙烯基塑料连接》） (1999)； 《Walk with the Dog》（《与狗同行》） 2000；《Kaiko Bazaar in an M1》 (2004) 和《Kaeru Caravan》 (2005 ~ )。由于藤浩志与很多关注环境问题的工作室合作，探究各种空间和现存的惯例，因此有时会引起所有观众的强烈反对。他的成就在于赢得了2006孟加拉国双年展的重大奖项，此外，他参与推动当代日本艺术多样性的贡献也是不可忽略的。藤浩志目前在福冈生活和工作。
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|Artist Information
Oshii Mamoru (押井守)
Ｔokyo Scanner
Supervisor: Oshii Mamoru
Duration: ca.20min.
Specification: aerial shooting (partially use CG)
(c) Mori Building Co., Ltd.
Now a prominent movie director, Oshii began his movie-making while still a university student, and upon graduation entered an animation-production company. In 1984, he became independent, whereby after producing his famous animated films such as, Ususei Yatsura: Only You, Urusei Yatsura: Beautiful Dreamer, and Patlabor: The Movie, his 1995 GHOST IN THE SHELL became no. 1 for the Video Sales Charts in the Billboard magazine and brought him international acclaim. In 2003, Oshii supervised a short, airborne film, Tokyo Scanner to be shown at the opening of “The Global City” exhibition. First, the camera starts with a bird’s-eye view of the capital city Tokyo, to freely and meanderingly capture the vast panoramic view of the city zone swarmed with buildings and pedestrians. Then, all of a sudden it focuses sharply on an individual who is standing by the window in an office building. Owing to the fusion between sound, visual and graphic effects, the speed and scale that is unique to Tokyo are effectively depicted with much realism, enabling the viewers to virtually experience the cityscape. The production team consisted of Matsu Hiroaki (director), Haishima Kuniaki (sound effects), and Masao Yabe (producer). Oshii won the Jury Recommended Works prize in the 2003 [7th] Japan Media Arts Festival and in the following year, The One Show Interactive 2004 Bronze Pencil.
现在，押井是一位声誉卓著的电影导演。当他仍是一位大学生时，他开始自己的电影制作生涯，毕业后，他进入一家动画制作公司。1984年，他开始独立制作。通过制作其著名的动画电影，诸如《福星小子：Only You》（『うる星やつら オンリー・ユー』，Ususei Yatsura: Only You）、《福星小子：Beautiful Dreamer》(『うる星やつら ビューティフル・ドリーマー』, Ususei Yatsura: Beautiful Dreamer)、《机动po.licePatlabor》（『機動po.liceパトレイバー』，Patlabor: The Movie），之后，他1995年的《攻壳机动队》（『攻殻機動隊』，Ghost in the Shell）高踞《公告牌》（Billboard）杂志录像销售榜榜首。2003年，押井监制了一部航拍短片《东京扫描仪》（『東京スキャナー』，Tokyo Scanner），放映于“世界都市”（The Global City）展开幕式。首先，镜头始于对日本首都东京的鸟瞰，纵横无尽地摄下拥塞着建筑房舍和行人的都市区壮阔全景。接着，取景突然一变，迅速、敏锐地聚焦于一位站在高层写字楼窗边的人。缘于声画效果的融合，影片真实地了东京特有的速度和尺度，使观者虚拟地体验了俯瞰东京的感受。制作团队包括导演松宏彰（Matsu Hiroaki）、声效蓜島邦明（Haishima Kunia
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|Artist Information
Yokoyama Yuichi (横山裕一)
Yokoyama Yuichi
Travel
2006
Comic
Born 1967, Miyazaki, Japan. Having graduated the Musashino Art University, he started his career as a manga artist in 1995, and now he occasionally offers illustration works for the press and publishing houses including Comic Cue, Mizue, and Cyzo. His works are unique in his omission of speech balloons, which in<
niu
