威尼斯双年展的日本馆展示了岩崎贵宏的作品
japan pavilion presents takahiro iwasaki's solo exhibition at the venice art biennale

由专筑网李琪，杨帆编译

在第57届威尼斯双年展中，艺术家岩崎贵宏（Takahiro Iwasaki）将代表日本举办个展。此次名为“反转森林”的展览是由日常普遍物品组成的三维作品，它传递了一个重要的理念——认知万事万物取决于欣赏它的角度，展览鼓励游客用不同的方式去欣赏艺术作品。

for the 57th edition of the venice art biennale, the japan pavilion presents a solo exhibition of hiroshima-born artist takahiro iwasaki. featuring a selection of three-dimensional works made with everyday familiar objects and entitled ‘turned upside down, it’s a forest’, the show conveys the importance of understanding that everything depends on perspective and invites the visitors to embrace different ways of looking.
   

image © designboom

岩崎贵宏将与策展人Meruro Washida合作，呈现一场名为“反转森林”（Upside-down Forest）的展览。岩崎贵宏以擅长运用其精妙的手工艺将普通物体变废为宝而闻名，此次展览展示了用从毛巾抽出的丝线做成的铁塔和连接在书上的起重机书签。艺术家岩崎贵宏总是通过作品映射日本历史与文化，采用形象化的手法进行小的干预，从而给人强烈而持久的印象。正如广岛遭受原子弹的经历，这些艺术作品都展现出微型原子能摧毁整个城市的强大力量。

curated by meruro washida, the japan pavilion includes a comprehensive take on takahiro iwasaki’s work. known for transforming common objects with his fine handiwork, the exhibition showcases steel towers made from the threads pulled out of towels and construction cranes from bookmark strings attached to books. always referencing his birthplace, the japanese artist uses figurative representation to make small interventions that result in a strong and long lasting impression. as well as hiroshima’s experience of the atomic bomb, these art pieces know that the power of miniature atoms is so strong that it can destroy a whole city.
   

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放置在展厅中间的是“反射模型（特修斯之船）”，作品反映了日本沿海地区的一个神社。“然而，由于模型并没有像实际物体反射那样使影像发生形变，作品更像在时空中捕捉一个转瞬即逝的静止瞬间，一个不现实的存在。岩崎贵宏有意将神社以一个台风过后的破碎状态呈现出来，” meruro washida说，“岩崎贵宏想借此着重表达神社的结构，展现其在外力的影响下，是如何通过故意使部分节点破坏来保护重要的区域，从而规避任何实质性的损坏。”

sitting in the center of the pavilion is ‘reflection model (ship of theseus)’, a new work that takes a shrine in the coastal region of japan and reflects it. ‘however since the reflected image is conveyed without fluctuation, it appears as an unrealistic representation that captures a fleeting and stationary moment in time and space. the fact that the shrine is depicted in its broken state after the typhoon is a conscious decision on iwasaki’s part, who focuses on how its structure is made to protect its important areas by enabling sections of it to be intentionally destroyed when inflected with external force, thus eluding any substantial damage,’ says meruro washida.

image © designboom

image © designboom

以日本文化与历史为主题，同时包括化学污染和自然资源问题的日本展览馆，在威尼斯艺术双年展是不容错过的。

with themes regarding japanese culture and history, as well as chemical pollution and natural resources, the japanese pavilion at the venice art biennale is one that must not be missed.
     

image © designboom

image © designboom

image © designboom

image © designboom

image © designboom

image © designboom

©takahiro iwasaki, courtesy of urano

©takahiro iwasaki, courtesy of urano

©takahiro iwasaki, courtesy of urano

©takahiro iwasaki, courtesy of urano

©takahiro iwasaki, courtesy of urano

©takahiro iwasaki, courtesy of urano
         

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