展覽序言

平面與立體之間

Between Surface and Dimension

松枝悠希終于來(lái)了。

Yuki MATSUEDA has finally arrived.

十幾年前，在一個(gè)日本朋友策劃的藝博會(huì)上，我遇見(jiàn)最讓我動(dòng)心的作品（雞蛋黃竟然從雞蛋里跳出來(lái)了），一秒鐘就決定把它帶回家了。

從那時(shí)起，作為他的粉絲到與他合作，已經(jīng)走過(guò)了十多個(gè)春夏秋冬，他的作品依然保持著打破界限，勇往直前的態(tài)度，總能帶你開(kāi)啟新的思維。在他的藝術(shù)世界里，你可以自在如初，不迎合，不妥協(xié)，不受世俗條框的束縛，依舊保持年輕的心境。

Over a decade ago, at an art fair curated by a Japanese friend, I came across a work that truly moved me—a piece in which the egg yolk appeared to jump right out of its shell. In that instant, I decided to bring it home.

Since then, from being his fan to collaborating with him, I’ve witnessed over ten springs, summers, autumns, and winters, yet his works remain boundary-breaking and forward-looking, always sparking new ideas. In his artistic world, you can be as free as you once were—no pandering, no compromising, and unburdened by society’s constraints—retaining a youthful spirit.

秋天是我最喜歡的季節(jié)。由于松枝的展覽預(yù)約近乎飽和，這個(gè)個(gè)展我們已經(jīng)等待了兩三年。期待這一次的展覽，有全新的好玩作品出爐。

今年的諾貝爾文學(xué)獎(jiǎng)?lì)C發(fā)給一個(gè)韓國(guó)的作家韓江，那條橫穿在首爾的江的名字，很意外，也不偶然。我在紐約暴走兩萬(wàn)步，遍尋全城的書(shū)店，才發(fā)現(xiàn)她的作品《素食主義者》《少年來(lái)了》《白色》等均已售罄。我深刻反省自己是為什么在她得獎(jiǎng)時(shí)才開(kāi)始關(guān)注她，跟大部分的人一樣。

Autumn is my favorite season. Due to nearly full bookings, we have waited two or three years for this exhibition. I look forward to the new and playful works that will be unveiled this time.

This year, the Nobel Prize in Literature was awarded to a Korean author, Han Kang. The coincidence of her name with the river running through Seoul felt surprising yet fitting. After walking nearly 20,000 steps around New York to locate her books, I found that all copies of The Vegetarian, Human Acts, The White Book , and others were sold out citywide. It led me to reflect on why I only took an interest in her after she won the prize, as so many others do.

羞愧自己還不夠脫俗，在松枝悠希的新作里，希望自己可以更自在，逍遙，如他的人，如他的作品。

這幾天，上海一位三十出頭的女孩兒在病痛之下選擇到瑞士安樂(lè)死，引起了很多關(guān)于生死觀與孝道的議論。社會(huì)在進(jìn)化，也不一定不斷進(jìn)化，疫情期間很多觀念迂回退化了一些，社會(huì)斷層及分裂很多意義上是退化的，如陳丹青先生在《退步集》中談到的。

Ashamed that I haven’t yet risen above the ordinary, I hope to find greater freedom and peace in Yuki MATSUEDA’s new works, to be as he is and as his works are.

Recently, a woman in her early thirties from Shanghai chose euthanasia in Switzerland to end her suffering, which sparked widespread debate on the concepts of life, death, and filial piety. Society evolves, but not always forward, and during the pandemic, some views regressed. The social gaps and divisions we witness can signify this regression, as Chen Danqing discusses in Reflections on Decline .

而科學(xué)技術(shù)的進(jìn)化，Web3、4、5、AI及其奇點(diǎn)的到來(lái)，卻不一定讓人類社會(huì)的觀念可以擺脫宗教、國(guó)籍、民族、地域間的偏見(jiàn)，相互的仇恨從未消逝過(guò)。正如，小說(shuō)《Pachinko》（中文名《柏青哥》）里面作者李珉真（Min Jin Lee）描繪的百年史。

在松枝作品里，我們可以暫時(shí)忘卻自己的身份、地位等作為人的各種條件，去接受它，去欣賞它，進(jìn)而讓自己不由自主地會(huì)心一笑 。如此，是否足矣？這就是我對(duì)松枝作品的感受，很直觀，很感性，很主觀。不帶任何有色眼鏡，用你自己的眼睛看這個(gè)不尋常的世界。

Meanwhile, the advancement of science and technology—Web 3, 4, 5, AI, and the advent of the singularity—does not necessarily free humanity from prejudice based on religion, nationality, ethnicity, and geography. Hatred endures, as vividly portrayed in the century-long saga captured by Min Jin Lee in her novel Pachinko .

In Matsueda’s work, we can temporarily forget our identities, status, and the many labels we wear as people, simply accepting and appreciating them and, in doing so, finding ourselves smiling from the heart. Is this not enough? This is my experience with Matsueda’s works—intuitive, emotional, and personal. Without any tinted glasses, you can see this extraordinary world through your own eyes.

關(guān)于藝術(shù)家/ About the Artist

松枝 悠希

Yuki Matsueda(b.1980)

松枝悠希(b. 1980) 出生于日本茨城縣水海道市，2001年畢業(yè)于東京藝術(shù)大學(xué)藝術(shù)設(shè)計(jì)系，2010年獲得東京藝術(shù)大學(xué)藝術(shù)設(shè)計(jì)系博士，現(xiàn)為東京藝術(shù)大學(xué)客座講師。松枝悠希以其獨(dú)特的 3D 立體裝置藝術(shù)而聞名，這些作品既有趣且發(fā)人深省。松枝悠希的實(shí)踐誕生于一個(gè)意外，在 2007 年第一件作品“超級(jí)雞蛋”打破了傳統(tǒng)的二維作品的平面，迸發(fā)出破局而出的無(wú)限能量。他的創(chuàng)作包括制作背襯版畫(huà)，然后通過(guò)對(duì)PET材料的鑄造和成型等復(fù)雜工藝，將物體從靜態(tài)世界中拉出來(lái)。藝術(shù)家將普通物品從無(wú)聊中解放出來(lái)，在其中融入詼諧與幽默，并且打破了藝術(shù)與設(shè)計(jì)之間的界限。

Yuki Matsueda is known for his unique three-dimensional pop-out sculptures that are amusing and thought-provoking. Yuki Matsueda's practice was born of an accident, his first work Super Egg in 2007 broke the plane of his traditionally two-dimensional work and unleashed the infinite energy of the egg escaping its shell. His practice involves making backing prints and then drawing the object out of its static world through a complex process involving PET casting and shaping. Through his art of liberating ordinary objects from boredom, and integrating witty humor in it, Matsueda hopes to break the barrier between fine art and design.