1990年代初至今，高嶺格是日本最活躍的當(dāng)代藝術(shù)家之一。從雕塑、行為藝術(shù)、單頻道錄像、大型多媒體裝置作品到劇場(chǎng)設(shè)計(jì)，他的許多作品以共同制作、跨領(lǐng)域?yàn)樘厣?，不拘泥於任一種風(fēng)格。作品內(nèi)容往往質(zhì)疑常識(shí)，討論倫理，在涉及當(dāng)下社會(huì)議題的同時(shí)，也認(rèn)真思考美術(shù)的問題。他從不放棄視覺效果，但亦不局限於審美階段，而是不斷更新美術(shù)的地平線。日本311東北大震災(zāi)與福島核災(zāi)後，高嶺格的作品嘗試反映日本社會(huì)的集體潛意識(shí)，充滿著嚴(yán)苛的批評(píng)性與敏銳度。近期的創(chuàng)作更明確地貼近他一向注重的「生命」本身的神秘與力量，本展呈現(xiàn)的主題也與此有關(guān)。

「兄弟：高嶺格個(gè)展」是高嶺格在臺(tái)灣的首次個(gè)展，展出作品包括使用燈光與聲音的裝置作品《兄弟─共感》、引導(dǎo)觀眾進(jìn)入裝置作品的攝影系列《兄弟─關(guān)懷》，以及兩件錄像藝術(shù)作品包含其代表作《God Bless America》（2002）與過去引起許多爭(zhēng)議的《木村先生》（1998）。

主要裝置作品《兄弟─共感》延伸自高嶺格為2015年京都國(guó)際藝術(shù)祭Parasophia，於京都市立美術(shù)館地下室發(fā)表的作品《地球的凹凸》：與音樂同步閃爍的三個(gè)發(fā)光體，懸空在模擬海底地表的上方，以同樣的速度、畫著等大的圓圈反覆旋轉(zhuǎn)。在整場(chǎng)演出的高潮，空間突然流瀉出悠閑如同白日夢(mèng)的音樂，充滿明亮的鈉蒸氣燈光。藝術(shù)家透過燈光極限運(yùn)動(dòng)的戲劇性變化，企圖誘發(fā)觀眾以為空間溫度升高的錯(cuò)覺及情緒之變化。

高嶺格認(rèn)為燈光回旋的系列作品象徵著種種關(guān)聯(lián)性的系統(tǒng)。其旋轉(zhuǎn)的光源，以他來說，是一種乙太（Aether），或就像有機(jī)體能有無限的表情，其聲音的組合也能夠表達(dá)復(fù)雜的情感。藝術(shù)家表示，此次TKG+ Projects 的展出，將減少光源，希望呈現(xiàn)比京都《地球的凹凸》更簡(jiǎn)潔、直接且純粹的作品。

展覽名稱「兄弟」可代表裝置中的兩個(gè)光源，也是首次發(fā)表的攝影作品的主題之一，將與裝置作品產(chǎn)生一些對(duì)話。此外， 2003年威尼斯雙年展展出的代表性錄像作品《God Bless America》及他與殘障表演藝術(shù)家朋友長(zhǎng)年交流後制作的錄像作品《木村先生》也會(huì)一同展出。

高嶺格自2015年到2016年，受邀擔(dān)任國(guó)立臺(tái)北藝術(shù)大學(xué)新媒體系客座教授。這段期間，他延續(xù)311福島核災(zāi)後創(chuàng)作的作品《日本癥候群》的概念，并監(jiān)於臺(tái)灣食安問題，與學(xué)生們合作制作《臺(tái)灣癥候群－食安篇》，預(yù)計(jì)在關(guān)渡美術(shù)館7月22日至9月18日的聯(lián)展「失調(diào)和諧」中展出。相信藝術(shù)家於臺(tái)灣四個(gè)月的授課經(jīng)驗(yàn)，將使同期的兩個(gè)展覽展現(xiàn)不同樣貌。於TKG+ Projects發(fā)表的「兄弟：高嶺格個(gè)展」，可視為藝術(shù)家為現(xiàn)今臺(tái)灣創(chuàng)作的「定點(diǎn)藝術(shù)」，讓我們看見藝術(shù)家的心中風(fēng)景。（文：策展人巖切澪）

關(guān)於高嶺格（Tadasu Takamine）

1968年出生於日本鹿兒島，目前居住日本秋田。1990年代就讀京都市立藝術(shù)大學(xué)美術(shù)系漆藝組時(shí)，與表演團(tuán)體 Dumb Type 合作。後進(jìn)入日本 IAMAS （Institute of Advanced Media Arts and Sciences，應(yīng)用媒體藝術(shù)及科學(xué)學(xué)院），開始制作時(shí)基裝置藝術(shù)（time-based installations）。高嶺格的作品皆具有表演的性質(zhì)，他探索表演作為即時(shí)反應(yīng)今日世界的可能性。遑論作品文本 ，他偏好考量展演空間限地制作，并讓作品隨時(shí)間逐步變化。高嶺格有許多作品是與舞者、舞團(tuán)共同制作。近年的主要個(gè)展包括「太遠(yuǎn)看不太到」（橫濱美術(shù)館、廣島市現(xiàn)代美術(shù)館、英國(guó)伯明翰IKON Gallery、霧島藝術(shù)之森美術(shù)館，2011-2012），「高嶺格的酷日本」（水戸藝術(shù)館當(dāng)代藝術(shù)中心，2012）等。2013年受邀德國(guó)DAAD（德國(guó)學(xué)術(shù)交流總署）駐柏林一年。2014年， 他參加HAU（Hebbel am Ufer， Berlin）的活動(dòng)「日本癥候群－福島後的藝術(shù)與政治」。2015-2016年，受邀擔(dān)任國(guó)立臺(tái)北藝術(shù)大學(xué)新媒體學(xué)系客座教授。過去出版包括《在日情人》（河出新房新社，2008年）。

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TKG+ Projects is pleased to present Brothers： Tadasu Takamine Solo Exhibition， curated by Mio Iwakiri. Takamine‘s first-ever exhibition in Taiwan， Brothers comprises a light and sound installation Brothers-Synesthesia with a photography series that acts as a preamble， as well as his important video installation God Bless America (2002).

Since the 1990s up until now， Takamine has been one of the most active artists in Japan. Distinguished by collaboration and interdisciplinarity， Takamine ’s diverse body of work — from sculpture to performance art， from single-channel video to large-scale multimedia installation and theater design — defies categorization. He questions common sense and probes ethics， at the same time pondering aesthetics in his investigation of the current social fabric. Visual effects and asethetics are equally important to him as he strives to broaden the horizons of contemporary art. After the 311 Earthquake and Fukushima nuclear disaster in 2011， Takamine has been focused on portraying the Japanese collective subconscious in his work that is both steeped in critique and keen in observation. The inherent mystery and power of life has been the focal point in his recent body of work， as well as the theme of the current solo exhibition.

Brothers-Synesthesia， the centerpiece of the exhibition， is an extension of Bumps on the Earth (2015)， which debuted at the Kyoto Municipal Museum of Art for Parasophia， Kyoto International Festival of Contemporary Culture. Three luminous spheres that glint in synchronization with music， suspended above simulated seafloor， rotate repeatedly in identical circles at the same speed. In the climax， dreamy music permeates the space lit up by sodium-vapor lamps. Through the dramatic change in lighting， the artist evokes an illusion of a rising temperature while finessing viewers’ emotions.

Takamine’s circling light series illustrates an interconnected system. The circling light source for him embodies aether， or an organism with boundless expressions. The combination of sounds in the installation represents complex emotions. For the exhibition at TKG+ Projects， the artist re-envisions the piece with diminished lighting， conjuring a version of Bumps on the Earth (2015) that is more simple and direct.

The exhibition title Brothers not only refers to the two light sources in the installation， but is also one of the themes in Takamine’s photography work that debuts at this exhibition， resonating with the installation. Video work God Bless America (2002)， which showed at the 2003 Venice Biennale， is on view as well.

Tadasu Takamine was a visiting professor at the Department of New Media Art， Taipei National University of the Arts between 2015 and 2016. During this time he continued to explore a similar concept to his work Japan Syndrome (2014)， which was made after the 311 Fukushima nuclear disaster. In light of the food safety issue in Taiwan， the artist collaborated with students on a work titled Taiwan Syndrome： Food Safety， which is expected to debut at Discordant Harmony， a group exhibition at the Kuandu Museum of Fine Arts in Taipei from July 22 to September 18. As the four months of teaching allows Takamine to approach the two exhibitions in different ways， Brothers： Tadasu Takamine Solo Exhibition can be viewed as a form of site-specific art the artist creates for Taiwan today， inviting viewers on a journey through the mind of the artist. (Text by Mio Iwakiri)

About Tadasu Takamine

Born in Kagoshima in 1968， Tadasu Takamine currently lives in Akita， Japan. While studying lacquer at the Kyoto City University of Arts and Music， he worked with the artist collective Dumb Type in the 1990s. He later did graduate work at the Institute of Advanced Media Arts and Sciences (IAMAS) in the Gifu Prefecture and began making time-based installations. Takamine has been exploring possibilities of performance as an agent to instantly respond to today’s society. Regardless of the context of presentation， his works have been incorporating the space and evolving in time. He has developed many works in collaboration mainly with dancers and dance companies. His recent solo shows include Too Far to See (Yokohama Museum of Art， Hiroshima City Museum of Contemporary Art， IKON Gallery， Birmingham， U.K.， and the Kirishima Open-Air Museum， 2011-2012)， and Tadasu Takamine‘s Cool Japan (Art Tower Mito， 2012). In 2013， he was invited by the German Academic Exchange Service (DAAD) to do a one-year residency in Berlin. In 2014， Takamine participated in Japan Syndrome — Art and Politics After Fukushima， an event held at the HAU (Hebbel am Ufer， Berlin). From 2015 to 2016， he was a visiting professor at the Department of New Media Art at the National Taipei University of the Arts. His published works include A Lover from Korea (Kawade Shobo Shinsha， 2008).