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présentation - 展览介绍 :
Critic: Toshiaki Minemura
Artists: Wang Shuye, Wu Qiang, Zhu Jianzhong, Hang Chunhui, Yoo Taek-Geun, Elizabeth Allison, Hirohiko Nakano , Yasue Kodama, Miyazawa Danshaku
Tokyo Gallery + BTAP (Beijing) is pleased to announce its special exhibition Neo-Mōrōism, or in Chinese articulation, Neo-Menglongism. This exhibition is scheduled to run through September 14th to October 13th, 2013. Taking mōrō-tai (literally, vague or hazy style), a particular Japanese painting style that emerged a century ago as its premise, the exhibition gathers nine artists from four different countries, with hopes to give rise to a new global discourse regarding the meaning of painting. Participating artists in the exhibition are Wang Shuye, Wu Qiang, Zhu Jianzhong, Hang Chunhui, Yoo Taek-Geun, Elizabeth Allison, Hirohiko Nakano, Yasue Kodama and Miyazawa Danshaku. In addition, a major support is made by the Palace Museum, Beijing, as Song and Yuan dynasties’ painting reproductions from the museum will be presented in the exhibition.
Roughly one hundred years ago, Japanese painters practicing Nihonga (or Japanese-style painting) under the direction of art critic and philosopher Okakura Tenshin began to seek for innovative stylistic means to modernize Japanese paintings that resonated with their contemporary needs. Finding inspiration from western oil painting, specifically Impressionism, these artists eliminated the descriptive lines, which were the main component and most intrinsic expressive tool of Nihonga. Through subtle gradation of color and shade and misty execution of all form covering the entire picture, their new techniques depicted climatic conditions and nuances of light that were difficult to portray through traditional methods. While critics of the time condemned these works to be too Western-influenced, unrecognizable as Japanese, and bestowed the pejorative name mōrō-tai, which ironically stuck as the styles certified term, these artists’ efforts to integrate Western aesthetics to that of Japan in search for a new visual expression is considered today as an important art historical turning point.
Neo-Mōrōism does not intend to simply showcase works by contemporary artists, whose visual expressions and formal styles are similar to those accomplishments made by these old masters. However, more important is our awareness to painting's historical development that emerged outside of western culture and has yet to receive sufficient attention within in the art community worldwide. The reference to mōrō-tai is an attempt to establish a fixed ground where discussion on paintings can rise differently from the history of painting that has been theorized and promoted by the west. By extending the horizon far beyond East Asia, we hope to provide a perspective for a new understanding and perhaps reveal historical commonalities shared by paintings from different cultures and regions.
In conjunction with the exhibition, Tokyo Gallery + BTAP will publish a exhibition catalogue that features all participating artists and new essays written by art critic Toshiaki Minemura and artist Wang Shuye. In addition, the gallery will host a symposium on September 14th from 14:00.
评论家: 峯村敏明
艺术家: 王舒野 杭春晖 呉强 朱建忠 Elizabeth Allison 柳根泽 児玉靖枝 中野弘彦 宫泽男爵
2013年9月14日（周六）至10月13日（周日），东京画廊＋BTAP将于北京荣幸推出年度特别策划艺术展——“新•朦朧主义”群展。
提起“朦胧体”这一特殊的日本绘画风格，狠多人可能并不陌生，其起源可追溯到一个世纪前之久，指明治时代后期出现的一种不使用传统线描或无明确轮廓线的日本绘画风格。本展览即是以此类历史风格构想为前提，集结了来自4个国家的当代艺术家作品，旨在对“朦胧主义”绘画进行一次具世界意义的新探讨。本次参展艺术家包括王舒野、杭春晖、呉强、朱建忠、Elizabeth Allison、柳根泽、児玉靖枝、中野弘彦、宫泽男爵这9位艺术家。同时，包括部分宋元时期的作品（由故宫博物馆提供的复制品）。
约在一百多年前，日本的艺术家们在美术评论家的指引下进行着日本绘画（日本风格的绘画）的创作实践，其中哲学家冈仓天心开始寻求一种风格的革新、一种能带给现代日本绘画深刻意义也满足其发展需求的新风格。他们在西方油画，特别是在印象主义绘画中找到了灵感。在这些艺术家的笔下，原本日本绘画中占据有力表现地位的线条不复存在，更多地是巧妙利用颜色渐变来制造各种层次感，阴影或雾状效果来突出整体画面。应该说，这种微妙的光线变化和别具一格的气氛是难以通过传统绘画技法来表现的。然而，对于这类新风格的作品，被当时的评论家们认为过于西化，不愿将其认同为日本绘画，甚至是带着讽刺意味地称其为“朦胧体”。但时至今日，当时这些艺术家的努力已得到了应有的肯定，正是他们将西方美学融入日本绘画并提供了一种新的视觉表现方法，为日本绘画发展开启了历史性的新篇章。
但此次展览之所以称之为“新”，其意图显然并非只是简单地将当代“朦胧”作品做一个集合展示，更重要的目的是以此唤起人们对绘画历史性发展的重新审视，那些出现在西方文化以外的艺术发展也应得到全世界的关注与支持。而展览之所以提及“朦胧体”是希望借此建立一平台，摆脱西方艺术理论与既定思维模式的同时，也不拘泥于东方理念，对绘画倾注更广更深地理解与探讨。本次“新朦朧主义”展，期待通过不同文化背景下诞生的绘画作品，结合过去与现在向人们展示世界各地在历史文化发展进程中所有的一些共性。
作为本次展览特辑，东京画廊＋BTAP将出版包括展览作品在内的画册，其中还会有日本著名评论家峯村敏明和艺术家王舒野为此次展览特别执笔的评论专文。关于“新朦胧主义”的专题探讨将于9月14日下午2点举行，届时将有评论家，艺术家们在现场与观众们直接对谈。
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