Idée Fixe:Itsuki Kaito|皆藤斋 顽念

在Instagram 的个人网页上,皆藤斋看上去像个不良少女,至少,除了作品外,她选择了秀那些比较酷的,会让某些家长担心的个人照片;而在twitter上,她看上去更职业一些,适度的Fashion,有点关心这个世界,很能唠,点滴话,短句子噼噼啪啪的;在福布斯日本的某个专题报道中,她表现得对日本的现状很不耐烦,宣称“艺术家等待的时代已经结束”;但在关西艺术季的创作者奖金网页上,这显然是个体面、调皮,讨人喜欢的优秀学生。

以上信息,我不知道是否可以想见这是一个从幼儿园开始便以艺术家为职志,幻想过在网络投稿的公告栏里成为“最受欢迎的人”,但当她真正得以以艺术家身份进出展览、画廊、博览会,她最渴望的,却是通过她的艺术创作获得逃脱的可能,从人类的自我论述逃往由异物加以组织的非人世界。

作为生于1993年的日本女性,皆藤斋精熟于卡通、电玩、横尾中则、三岛由纪夫等等,而这些有的没的,也基本构成了我们关于日本的后现代神话。但所有这些,对于皆藤斋来说,非但是一种偏见,更是一种压迫。被来自外部视角的文化侧写所包围、期许、要求、赞美,是一种悲惨的体验:无论她如何表达,总是被不由自主的视同为某种文化的症候或代言,而不是艺术家个人本身。

如何在这样的时刻逃离“日本文化”、“平成时代的女性”等等这一切他人的安排?

如何在普遍的羞耻、污秽,和不道德中,不另行净化,但建立自己的真实生活?

如何在对男性身体的反缚,对宅生活的黑化,对出入人兽之际时刻的暧昧、乖张、怪诞描绘中,使我们既闻到浓浓的东洋味,又观察到一个具身之人对料理化了的东洋美学的反感与忿怼?

大概,这就是皆藤斋,或皆藤斋的顽念所在。

 

皆藤 齋
1993 出生于日本札幌;

  1. 2016  毕业于东北艺术与设计大学(TUDA)油画专业,获学士学位;
  2. 2017  考入京都市立艺术大学(KCUA)油画专业,硕士研究生在读。

个展
2019 “顽念”,Tong Gallery+Projects,北京,中国;2018 “山月记”,CLEAR 画廊,东京,日本;
2017 “七百万丛林”,MORI YU 画廊,京都,日本;

“来自大地的女人,DNA”,N’s 艺术计划,大阪,日本; “虎之技”,京都市立艺术大学,京都,日本。

部分群展
2019“Kuma Exhibition 2019”,Kuma 基金会,旋转艺术中心,东京,日本;

“果浆”,大阪,日本;

“遭遇” ,PDX 当代艺术空间,波特兰,俄勒冈,美国;
2018“Kuma Exhibition 2018”,Kuma 基金会,旋转艺术中心,东京,日本;

“开成”巡回展,Pehu,大阪,日本;P38 画廊,巴黎、法国;KG,东京,日本; 京都艺术家博览会,日本京都

2017 第 4 届当代艺术基金获奖作品展,东京,日本。 重要奖项

第 2 届 KUMA 基金会奖学金(2018);第 1 届 KUMA 基金会奖学金(2017);第 4 届当代艺术基金奖提名 (2017)。

公共收藏 东北艺术与设计大学(2016)

艺术项目
2017 参与由日本文化厅、京都市和 2017 东亚文化之都组委会联合举办的“Feldstärke 国际”项目,该项目在湖南

大学(中),大邱艺术工厂(韩)和京都艺术中心(日)举行;
2016 参与“夏之末”艺术项目, 耶鲁联合当代艺术中心,波特兰,俄勒冈州,美国。

 

 

On her Instagram page, Itsuki Kaito looks like a juvenile delinquent. With the exception of her artworks, she tends to post pictures that would make some parents concerned. She presents a more professional image on twitter, however, where she looks reasonably fashionable and expresses measured interest in this world. She can talk too-in short sentences, firing out bits and pieces here and there. In an article in Forbes Japan, she voices impatience with the current state of Japan, and claims that “The Time for Artists to Wait Is Over”. On the page of Kansai Art Beat’s website, however, she appears to be a good student-decent, playful, likable. 

I don’t know if the information above can really describe someone who has wanted to be an artist since she was in kindergarten, who dreamed of becoming “The Most Popular Person” on the bulletin boards of online forums. But when she finally gets access to exhibitions, galleries and museums as an artist, all she wants is a way to escape through her creative practice. She wants to run away from the monologues of human beings to a nonhuman world made of alien beings. 

As a Japanese woman born in 1993, Itsuki Kaito knows all about things like anime, video games, Tadanori Yokoo and Yukio Mishima, etc., which more or less make up the familiar postmodern myth concerning Japanese culture. To Itsuki Kaito, however, these things are not only prejudicial, but also repressive. Being ambushed by cultural stereotypes from external perspectives with their respective expectations, demands and praises is a miserable experience. No matter how she chooses to express herself, She wants to free art from the monologues of human beings and allows it to enter a nonhuman world made of alien beings.

How does one escape labels such as “Japanese Culture” and “Heisei Women” at a time like this? 

How does one build a real life for herself, with no process of purification otherwise, in a world of shame, filth and immorality?

How does one maintain a strong sense of oriental identity while expressing her resentment and indignation toward an overcooked idea of East Asian aesthetics, with all her depictions of tied-up male bodies, images of an alienated version of the otaku lifestyle, and the portrayal of those ambiguous, perverse and absurd moments where the line between human and beast starts to blur?

Perhaps that’s where the heart of Itsuki Kaito or her “idée fixe” lies. 

 

ITSUKI KAITO

1993 Born in Sapporo, Japan
2016 Graduated from Tōhoku University of Art & Design (TUAD), Oil painting, Japan (BA) 2017-19 Kyoto City University of Arts (KCUA), Master’s course in oil painting.

Solo Exhibition

2019 “”Idée Fixe”, Tong Gallery+Projects, Beijing, China;

2018 “”Tiger Poet”, Clear Gallery, Tokyo, Japan
2017 “”Jungle – 7,000,000″, Mori Yu Gallery, Kyoto, Japan

“The Women from The Ground, DNA”, N’s Art Project, Osaka, Japan “Tiger Technique”, KCUA, Kyoto, Japan

Selected Group Exhibition

2019 “”Kuma Exhibition 2019″, Spiral, Tokyo, Japan; “Pulp”, Osaka, Japan;

“Encounter”, PDX Contemporary Art, Portland, Oregon, U.S.; 2018 “”Kuma Exhibition 2018″, Spiral, Tokyo, Japan;

“KAISEI”, Pehu, Osaka, Japan; Galerie P38, Paris, France; KG, Tokyo, Japan;

Artist’s Fair Kyoto, Kyoto, Japan
2017 “The 4th CAF Prize Exhibition, Tokyo, Japan.

Awards

The 2nd KUMA Foundation Scholarship Student (2018); The 1st KUMA Foundation Scholarship Student (2017); Nominated The 4th CAF Award (2017).

Public Collection

2016 “Tōhoku University of Art & Design.

Artist Program

2017 ““Feldstärke International” (Organized by Agency for Cultural Affair s of Japan, Kyoto City, Culture City of East Asia 2017 Organizing Committee), Hunan University (China), Daegu Art Factory (Korea), Kyoto Art Center (Japan)

2016 ““End of Summer”, Yale Union Contemporary art center, Portland, Oregon, US.