ヤン フードン 「将軍的微笑」

原美術館(東京)

poster for ヤン フードン 「将軍的微笑」

このイベントは終了しました。

このたび東京の原美術館にて、近年国際的な活躍が目覚しい中国の映像作家、ヤン フードン(楊福東)の日本における初個展を開催いたします。35ミリフィルムに愛着を持つヤン フードンの作品は、細かい粒子が残る独特の質感、完璧な構図を用いた格調高い映像美を特徴とし、目まぐるしいスピードで変わり行く中国現代社会の断片と、そこで暮らす人々を、ときにドキュメンタリー調に、またときに演劇調に表現しています。本展では、老将軍を囲む祝宴の情景を通して、人間の普遍的な在りようを描いた大型の映像インスタレーション「General’s Smile」(「将軍の微笑」2009年)、世俗を避け竹林で清談する賢人たちの故事を模して、現代の知識階級の若者像の内面に迫るシリーズ作品「Seven Intellectuals in Bamboo Forest Part 3」(「竹林の七賢人 パート3」2005年)など、本邦初公開の珠玉の映像作品の数々により、魅力溢れるヤン フードンの世界をご紹介いたします。

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2009年12月19日 ~ 2010年05月23日

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Reviews

postnearlyman: (2010-02-23)

The Intriguing Ambiguity of Yang Fudong

I’m delighted to be back in the company of one of China’s leading contemporary artists Yang Fudong since his impressive first solo exhibition No Snow On the Broken Bridge in 2006 at The Parasol Unit, England, London.

Indeed, The Hara Museum of Contemporary Art presents The General’s Smile, Yang Fudong’s first solo exhibition in Japan. The selection of works on display span the past ten years of Fudong’s audiovisual practice including short films, a feature length film and multiple-channel video installations.

The tumultuous noise of a 35mm film projector beckons the viewer into a small room showcasing Fudong’s black and white short film Backyard – Hey, Sun is Rising! (2001). Men in suits carry out numerous preposterous acts as the slapstick humour and in-camera editing recall the early films of Charlie Chaplin and Buster Keaton. It quickly becomes evident, however, we’re witnessing Fudong’s idiosyncratic perception of modern China rather than archive footage from a bygone era.

In fact, this dichotomy between tradition and modernity is continually revisited throughout Fudong’s practice and the exhibition’s centerpiece work, The General’s Smile (2009), is no different. The huge video installation, complete with long dining-room table, presents an absurdly opulent ‘western’ banquet. Multiple monitors behind the diners and two larger projections fill the gallery space, depicting scenes of public acclamation and private withdrawal.

An ageing military General features in numerous instances throughout. On one screen he’s with a breathless young woman, in others he plays his piano alone or is sleeping alone. His personal account expresses optimism for the future of his country whilst contemplating the hardships of the past. Yet scenes of sex, sleaze and lust featuring the youth (and future) of China juxtapose these sentiments. Does Fudong suppose newfound wealth and power has led China on a course of grotesque consumerism and dubious morality?

Film short The Half Hitching Post (2005) and the stunning feature length Seven Intellectuals in a Bamboo Forest Part 3 (2005) continue Fudong’s propensity for intriguing ambiguity. Although there is little to no spoken narrative throughout the films, the compelling use of sound and (particularly the latter’s) mysterious, dream-like cinematography hypnotises its audience.

In contrast, the social realism of video installation Blue Kylin Part 1 (2009) highlights the multifaceted approach to Fudong’s practice. Multiple monitors present a dusty and somber Chinese work site portraying the hardships of everyday working life. Numerous video ‘portraits’ of workers stand face-to-face with the viewer, emotionless and silent.

The artist, who lives and works in Shanghai, defies definitive ‘readings’ of his works and rather opens up to the viewer a multitude of possible meaning. Unraveling the (admittedly overly at times) complex political and social commentary of Fudong’s homeland, however, reveals the video installations to lack the piquancy of the films on display. Yet, be in no doubt, the intriguing ambiguity of Yang Fudong is wonderful place to be.

jinno: (2010-05-17)

「中国の現代アートを観る前に、中国を知らなければならない」、と痛感。
http://ameblo.jp/jinjin0116/entry-10518374866.html

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