YUYA SUZUKI | Futuristic Allegory


为寻找一种新的视觉语⾔,日本艺术家铃⽊悠哉回应着周围的环境: 极简的、非晶体的, 半对称的形状和明亮、炽热的颜色代表着艺术家对世界的感知。入眼时,画作和雕塑功能如音乐元素,他们是艺术家独 的、抽象的、有趣的、难以理理解的语言,也可以描述为一个现成的文本或音乐模式。铃⽊的图像能集成⾳节, 铿锵有力,阴阳顿挫,但这个集合并不提供⼀个明确的意义。或可把它们比作笔记放在一起产生和谐。从根本上说,他的新语言是由视觉元素定义而成的。他试图使一个不熟悉的环境产生新的意义。在这里图像的意义已经下滑了。他使图像作为一个独立的存在,作为一种视觉的语言。在这个未来派的喻言里,他所呈现的是一个铃木悠哉的北京城。铃⽊的工作需要观众将看似熟悉的地方投射、想像成无限可能性的未来愿景。在北京候鸟空间他的个展里,他将展示驻留期间2个月对北京印象。艺术家曾有过各种博物馆展览和收藏,在台湾、日本、韩国,以及众多的世界各地的驻地研究项目, 我们很荣幸的邀请铃木悠哉来做他在中国的第一次个展。


In search of a new visual language, Japanese artist Yuya Suzuki responds to the environment around him: minimalist amorphous shapes, semi-symmetric patterns and bright, blazing colors represent the world as perceived by the artist. His drawings and sculptures function like phonemes or syllables in an abstract, unintelligible language that can also be described as a codified text or musical pattern. His notes proliferate endlessly, defying a harmonious melody. Suzuki’s work takes the viewer to seemingly familiar places while projecting a futuristic vision of indefinite possibilities. In his new solo-exhibition at Migrant Bird Space Beijing, he will be presenting work he created during his 3-month residency in the capital. After various museum exhibitions in Taiwan and Japan, as well as numerous shows worldwide, this is his first solo-exhibition in China.