策展人：阳昕

展览时间：2023年12月10日–2024年4月7日

展览地点：H5，临展厅

展览规划及平面设计：协调亚洲

支持单位：上海市对外交流协会

Curator: Cathye Yang

Duration: Decembe 10, 2023 –April 7, 2024

Venue: H5 Temporary Exhibition Hall

Exhibition Planning and Graphic Design: COORDINATION ASIA Ltd.

 Support Organization: Shanghai International Culture Association

在此次展览中，艺术家松藤孝一为中国观众带来了近三年的新作。脱胎于过往艺术家对于“婴儿”这一不知是纯善又或是邪恶的原生力量的思考，松藤孝一将视野投注于更广泛的疆域：自然与人类。观者将置身于“自然”与“人类”交织出的复杂力量之中，被引领走向一个令人震撼的时空交汇点。那里是对于“自然”与“人类”之间关系的无尽辩证沉思。

人类的活动被限制后，“自然”兀自生长，日复一日，不为人力所限。穿越海峡万里而来的大绢斑蝶、容器中封存着的脉脉生机、孩子祈求雷电之神庇护的喃喃低语……艺术家松藤孝一巧妙地捕捉到了自然的呼吸，山水间的余音和生灵的心跳。在那里，我们漫游于自然的宇宙诗歌中，时空被凝固成光斑的粒子，流淌的山川风景，沉静又深邃。

另一方面，人类发现、攫取了蕴含于自然的力量和秘密，以核能为代表“人类之力”为当今社会带来了便捷与发展，力量之勇猛堪比神魔。人类却又无法忽视滥用此种力量的凶险后果，并正在为之付出代价。“光明”与“黑暗”的转化只在一线之间，随之而来的碰撞冲突就像“矛”与“盾”这对难以调和的悖论般无解。在深深的反思之下，又隐藏着新的可能性：“终结”或许是“自然”新的开始，而“世界”的终结从来只是“人类”的终结。

自然和人类的关系，犹如永恒的生命之舞。在这无垠的宇宙中，只有归寂和新生，终结和将要终结。“死者归于圆满，生者则立于出航船只的甲板上合掌祈祷。船，顺利地离岸而去。”

我们无法预估彼岸，但潘多拉的匣子已被打开。

Following the restrictions on human activities, “nature” continues to grow autonomously, day by day, unrestricted by human efforts. The artist Koichi Matsufuji skillfully captures the breath of nature— the distant journey of butterfly Parantica sita crossing the straits, the pulsating vitality sealed within containers, the murmured prayers of children seeking the protection of the thunder god. Here, we wander through the cosmic poetry of nature, where time and space solidify into particles of light, and the flowing landscapes of mountains and rivers exude a serene yet profound atmosphere.

On the other hand, humanity has discovered and harnessed the powers and secrets inherent in nature, with nuclear energy symbolizing the “power of humanity,” bringing convenience and development to contemporary society, a strength comparable to that of gods. However, humanity cannot ignore the perilous consequences of abusing this power and is paying a price for it. The transformation between “light” and “darkness” exists on a thin line, and the ensuing clashes resemble an unsolvable paradox, like the eternal conflict between the “spear” and the “shield.” Beneath profound reflection lies new possibilities: “end” may perhaps be a new beginning for “nature,” while the end of the “world” has always been the end of “humanity.”

松藤孝一，1973年出生在日本长崎。1995年毕业于爱知教育大学后，他在Pola艺术基金会海外研究员奖助下前往美国留学。他于2001年获得伊利诺伊州立大学艺术学院的美术硕士学位。松藤孝一以玻璃为主要材料，结合自然物体、昆虫标本和古董物品，探索光与影的关系，探讨人类与自然之间的关系、土地和物质的潜在力量，以及源自想象的祈愿。目前他居住在日本富山地区。

Koichi Matsufuji was born in Nagasaki, Japan in 1973. After graduating from Aichi University of Education in 1995, he studied in the United States on a Researcher Overseas Grant from the Pola Art Foundation.

He received his Masters of Fine Arts degree from Illinois State University School of Art in 2001. Utilizing glass as the main material, together with natural objects, insect specimens and antique items, Matsufuji explores light and shadows, in the context of the relation between humanity and nature, the potential power of land and substance, and the prayer that originates in imagination.

At present he resides in Toyama, Japan.

此次展览始于冬季12月。在我所居住的日本富山县冬季风物诗一般的“𫚕鱼起”现象正当其时。所谓“𫚕鱼起”意指冬雷响起，此时洄游至日本海域的𫚕鱼到了捕捞季。惊涛拍岸云雷滚滚，每年的这个时节，我的孩子们总是在惊恐中度过黑夜。但风雪过境后，周遭霎时变作银装素裹的世界。自然也好人造物也好，世间一切皆被皑皑白雪所覆盖。

受新冠疫情影响的三年里，我离群索居，远离人群与闹市，更多地与自然对话，而这样的体验也给我带来了全新的价值观，若观众能从作品《苍穹之旅》和《宇宙吟咏》中体会到这种新的世界观必将不胜欣喜。事实上，只有人类会东奔西走焦虑不安，余物则亘古不变地遵循着由生到死，向死而生的自然循环安然度日。如此美好的天理自然，人类应当如何与之共存共生？这是当下我们共同面临的问题。

最后，玻璃是把光具像化的最佳素材。无论自然光还是人造照明光，透明的玻璃在光照的加持下存在感得以增强，但它实则亦如生命一般脆弱且无常。世上不存在绝对的事物，万物在时间的洪流中循环着生死的历程。

注：风物诗是指以文学化的方式表达在季节中具代表性、能让人联想到这个季节的事物。

This exhibition commenced in the winter of December. In Toyama, Japan, where I reside, the “Fubutsushi” the “Yellowtail Fish Mobilization,” is at its peak. The term “Yellowtail Fish Mobilization” refers to the occurrence of winter thunder, signaling the season when yellowtail fish, migrating to the Sea of Japan, enter their fishing season. Roaring waves crash against the shore, thunderclouds roll, and every year during this season, my children pass through the night in a state of fearful anticipation. However, after the wind and snow pass, the surroundings instantly transform into a world blanketed in a silver, pristine landscape. Whether natural or man-made, everything in the world is covered in pure white snow.

In the three years affected by the COVID-19 pandemic, I have lived in seclusion, distancing myself from crowds and bustling cities, engaging in more conversations with nature. This experience has given me a new perspective, and I believe that viewers can derive joy from this novel worldview through the works “Journey in the Sky and “Song of the Universe” In reality, only humans rush anxiously in all directions, while the rest of creation steadfastly follows the natural cycle of life and death, born into life and returning to death. In the face of such a beautifully natural order, how should humanity coexist and thrive? This is the question we collectively confront in the present.

Note: “Fubutsushi” refers to the literary expression of seasonally representative elements that evoke associations with the specific season.