江上越倫敦個展"對話400年"開幕 --千葉成夫，近藤成一學術主持 Antonia Huber，Julia von Meiss策展
市長的賀電
江上越 女士
衷心祝賀江上越個展《對話400年》在倫敦開幕。
江上越女士的作品給予人們感動，我真誠期待江上越女士作為日本和世界的橋梁的藝術家取得更高的成就！
千葉市長 熊谷俊人
2018年2月16日
Dear Ms. Etsu Egami
I sincerely cerebrate the holding of "Dialogue beyond 400 years - Etsu Egami solo exhibition"
I hope that Ms.Etsu Egami's works will inspiring people as the artist who become the bridge between Japan and the world .
Mayor of Chiba city Toshihito Kumagai
江上越的"誤聽游戲"――一種感覺和另一種感覺
千葉成夫 美術評論家
江上越嘗試的"語音"作品，準確地講不是"誤解"而是"誤聽"的問題。當然"誤聽"會導致"誤解"，日常習慣或者是語義的擴展，說成是"誤解"也沒什么關系。但如果這樣就感覺有些走味了。說到"誤解"，例如像Albert Camus的著名戲劇作品《誤解（Le Malentendu）》往往感覺很深刻。而日常生活中，用同音異義詞調(diào)侃，還能給會話增添不少精彩。例如日語中 "誤解"的發(fā)音，也可以聽成是"五階"、"碁會"、" ゴカイ"、"五戒"等等。
值得注意的是，江上越本人用了"mis-hearing"，而不是"mis-understanding"也不是
" mis-apprehension"。就是說，她是把感覺（這里是聽覺）層面的錯位作為創(chuàng)作的切入點。人通常說"五感"，除此以外應該還有兩種，一個是比"觸感"范圍更廣的"身體感覺"，一個是廣義的通過想像產(chǎn)生的所謂"想象感覺"（包含預感、妄想等等）。理所當然，這里的"感覺"并不是指到達大腦的生理刺激，而是大腦綜合判斷的行為，實際上是指形成的"認識"。
還有，即使人只使用聽覺，其實，其他的感覺也不是在睡大覺。例如閉著眼睛聽音樂的時候，聽覺（除了視覺）和其他所有的感覺一起在共感。畫畫的時候也是，視覺和其他所有的感覺一起都在起作用。人的"感覺"或多或少是綜合性的產(chǎn)物。好像人的大腦天生就是這樣的。而且，不要忘記江上越首先是一個畫家，或者說也是一個畫家。
可以說江上越"語言游戲"的嘗試至少和視覺是連動的。她的幾乎所有的"誤聽游戲"作品，或者說常常是充滿了想象，伴隨這種裝置的展示是有理由的。她好像是在強調(diào)通過聽覺產(chǎn)生"誤聽"，但又不盡然。因為產(chǎn)生（錯誤＝誤動作）一個感覺會波及人的所有感覺。
江上越創(chuàng)作"誤聽游戲"作品的契機是來自她在北京留學時的個人體驗。盡管日本和中國同是使用漢字，但到了21世紀的現(xiàn)在，同一個漢字同一個單詞，如果單從發(fā)音來判斷，就很難知道雙方的本義了，這里產(chǎn)生的誤解和齟齬觸發(fā)了她的創(chuàng)作靈感。如果僅僅是這樣，也只是語意上的誤解和齟齬問題罷了。漢字是象形文字，對一個一個的漢字在不同的歷史時期不同的地域產(chǎn)生了多種不同的讀音。傳出中國本土改變了讀音也是理所當然的事。
這里產(chǎn)生的"誤解"問題，今后也解決不了吧，還會繼續(xù)醞釀出各種悲喜劇。同時，謀求解決和緩和的努力也會繼續(xù)下去吧。但是，世界語也好英語也好都不可能征服世界，也不需要這樣的世界。土地、水、風土、空氣的差異必然導致人的差異、語言的差異。這是有理由的，必然的，自然的，多樣性好。
作為美術家的江上越，馬上意識到這一點，從"語言的誤解和齟齬"的課題把問題放大，向著更根本的方向延展她的探索。
其中一個方向，就是國家和地域的差異，也就是浮現(xiàn)出來的文明?文化的差異。也可以說她是在主動地認識"誤聽"所產(chǎn)生的多樣性。既然"誤聽"不可避免，她就試圖如何捕捉其中更多的正面能量。
隨便提一句，她的繪畫作品"人顏"系列，就是嘗試將這種想法放進視覺藝術中去。人的臉不斷地產(chǎn)生細微的變化，這就是所謂的"表情"。出入海關時，海關人員要用自己的眼睛核對護照上的照片和眼前的本人，因為即使是完全如實地記錄對象的相機，也很難捕捉盡表情的細微變化。照片只能抓住一個瞬間，而繪畫卻能表現(xiàn)出表情的多樣性。江上越的繪畫好像是夸張了對象的特征和表情，其實不然，她是把一張畫面捕捉不盡的表情綜合地畫進去。對應于"誤聽"她是把"誤視"作為褶裥編織入內(nèi)，刻畫進作品。所以，從本質(zhì)上講她是用了與"誤聽游戲"同樣的方法，但表現(xiàn)的卻是繪畫作品。
還有一個我認為有可能的方向，就是嘗試把"聽覺"和"視覺"綁在一起（或連動、或并置、或背道而馳）表現(xiàn)同樣的主題。也許是夢想，我仍然期待著。
Etsu Egami's "Mis-hearing Game" - One Sensation and Another Sensation
Shigeo Chiba (Japanese Art Critics)
To be accurate, what Etsu Egami is trying in her work of "words (language)" is not a "misunderstanding" but a problem of "mis-hearing". Of course, "mis-hearing" can be the source of "misunderstanding", so it can be said that it doesn't matter if you expand it to "misunderstanding" in general, but then it seems that the story will be slightly misguided. "Misunderstanding", for example, could be serious understood as a prominent drama work "Le Malentendu" by Albert Camus. But it is common to add coloring to a conversation in everyday life, using homonyms sometimes with puns. For example, if you pronounce the word "misunderstanding" in Japanese only by sound,"Five Levels", "Go Session", "Gokai (Roswell)," "Five Commandments" can be the same sound either.
It should be noted that Etsu Egami herself uses the word "mis-hearing" rather than "mis-understanding" or "mis-apprehension". In other words, she has a theme of "mistakes" at the level of sense (hearing at now). People's sense is usually said to be "five senses". However, it is obvious that there are at least two other things, "body sensation" which is more extensive than "tactile" and a feeling arising from imagination in a broad sense, so to speak and "imagination feeling" (such as premonition or delusion) I think that should be added I think. Also of course, here also, "sensation" is not a physical stimulation up to the stage where it reaches the brain, but it It refers to becomes a (total) judgment by the brain and it becomes behavior, that is, "recognition" what it is.
And, for example, do not forget the fact that other feelings are not asleep while one hears. Even if I close my eyes and listen to music, other senses except vision are also working. So hearing is working with all senses (except vision). Even when drawing a picture, vision works with all other senses. Human "sense" is always more or less comprehensive. Apparently, the human brain seems to be made like that. Besides, do not forget that Etsu Egami is a painter first, or is also a painter.
In other words, Etsu Egami's "Mis-hearing of words" should be linked with at least vision. There is a reason why her "mis-hearing games" work is an exhibit , mostly or often image wise, or with such installations. It also sometimes emphasizes "Mis-hearing" that occurs in the sense of hearing, but that is not all. "Mistake = malfunction" that occurs in one sense exerts its effect on the whole human sense.
The inspirations for Etsu Egami's "mis-heariing game" works comes from her personal experiences when she was studying in Beijing. Japan and China share the same kanji, but at the present in the 21st century, even if the same kanji or the same word is pronounced as "sound", there are circumstances in which both sides do not have the same meaning. She was inspired by the misunderstandings and discrepancies of that. But only that, it is only a misunderstanding of the meaning of words and a matter of discrepancies. Hieroglyphics called kanji form a lot of different readings historically and locally for each character (kanji), and it is of course that once you leave the mainland of China its reading will be changed.
The problem of "misunderstanding" that came from there will not be solved in the future, it will continue to produce tragicomical stories. Conversely, efforts to solve or mitigate will also continue. However, Esperanto and English cannot conquer the world, and I want to say sorry to such a world. If land, water, culture and air are different, naturally humans and their languages are different. There is a reason ,necessity and nature in that, diversity is a good thing.
As an artist, she immediately noticed that. And from the level of "the misunderstanding and discrepancy of the meaning of the words", She is trying to extend the problem to a bigger, more fundamental direction.
One of them is the direction of bringing out differences between countries and regions, that is, differences in civilization and culture. It can be said that it is a direction to positively recognize the diversity that "mis-hearing" occurs. Since "mis-hearing" is inevitable, it is a way of thinking that it is positive.
By the way, her painting work depicting "human face" can be said to be an attempt to bring that idea visually. People 's face are changing constantly and constantly. That is what is said to be an "expression". The immigration officer has to compare the face photograph on a passport with the face of the person in front of the his eyes, even with a machine that proposes to reflect reality as it is like a photograph. It is because they can't catch the delicate changing of facial expression of a person. Photographs can only catch a little moment, but paintings can describe the diversity of human facial expressions. It may seem that Etsu Egami's painting exaggerates features and expressions, but it is not. She was trying to draw the face of a person who can not be caught in one shot as comprehensively as possible. It is a work drawn by incorporating "mis-seeing" corresponding to "mis-hearing" as a fold. So basically it stands in the same way as a "mis-hearing game", but it is a painting work.
Another direction that I think might be possible , would be the direction to try the same thing with a work that combines "auditory" with "visual" (linked, juxtaposed, dressed) . It may be a dream, but I am thinking about that. ■
江上越作品《Dialogue beyond 400 years》作品現(xiàn)場-1
江上越作品《Dialogue beyond 400 years》作品現(xiàn)場-2
近藤成一 歷史學家
東京大學名譽教授
放送大學教授
千葉市藝術文化新人獎評委主席
歐亞大陸的中部，汽車和列車都是走右側(cè)。被大海遙遙相隔的東方日本和西方英國卻是左側(cè)通行，因為日本的近代交通體系是效仿英國的。英國的交通體系與歐洲大陸不同，是因為大海的隔離，而英國的交通體系傳到日本卻又是大海的溝通。
1600年，英國人威廉亞當斯（William Adams, 1564-1620)作為航海士，上了荷蘭的商船De Liefde號，漂流到日本，他應該是第一個來到日本的英國人。他得到了統(tǒng)治日本260余年的德川家的重用，后半生在日本度過，參與了在日本開設英國商館，后來死在日本。
1980年，美國NBC以威廉亞當斯為原型拍攝了電視劇"Shōgun"，劇中的主人翁最初不懂日語，覺得日本的事情遠遠超出他的理解。后來漸漸習慣語言，才理解日本。這個電視劇也是通過這個過程讓不懂日語的視聽者體驗當時的情景。
江上越的作品中，背景通過投射海的映像， 探索人類交流的可能性。作品中的海是江上的故鄉(xiāng)千葉的海。最近，江上獲得了千葉市藝術文化新人獎，授獎儀式上千葉市長贊嘆江上的作品著眼于千葉的海域，并強調(diào)千葉的東南西三方都是被大海環(huán)繞。事實上，這個地域與其他地域的交流，海上交通起到了很重要的作用。
江上的創(chuàng)作主題中"誤認"是一個重要部分。交流的最初，誤認是無法避免的?；蛘哒f，認識"誤認"也許是達到正確認識的唯一途徑。江上提示的"誤認"應該說是這種意義上的誤認吧。但也許，是我誤認了江上的創(chuàng)作意圖。盡管如此，我還是想基于這個認識來鑒賞江上的作品。
What the sea plunges, things that connect
Prof. Dr. Shigekazu Kondo
Emeritus Professor University of Tokyo
Chiba City Arts and Culture New Award Selection Committee Chairperson
Professor of The Open University of Japan
In the middle of the Eurasian continent, both cars and trains run on the right side, but Japan and the UK , which are floating across the sea over the east and west side of the continent ,are driving on the left side. Traffic on the left side in Japan was due to upgrade the modern transportation system following to the UK. It seems that the sea, which separated the transportation system between the UK and the continent , made them different, but it was also the sea that conveyed the British transportation system to Japan.
In 1600, the British William Adams (1564-1620) had gotten on to the Dutch merchant ship Releafde (De Liefde) as a navigator, but as the ship was drifting in Japan, he became the first British who landed in Japan . Adams was heavily used in the Tokugawa family who will dominate Japan for just over 260 years from that year. He spent the rest of his life in Japan, where he was involved in opening a British trading house in Japan, and died in Japan.
The TV drama "Shōgun" produced by the American / NBC in the 1980s used Adams as a model. For the hero who could not speak Japanese at first, the mentality of Japan were beyond his understanding at all, but gradually he became accustomed to the Japanese life and learned to understand the mindset of Japan. This drama is made to let the English speaking audience pursue the process.
In Etsu Egami's work, there is some her work that reflects the sea and questions the possibility of communication. It is said that the mentioned sea is Chiba's sea which is the hometown of Egami. Egami recently won the Chiba City Arts and Culture new artist Prize from Japan. The Mayor of Chiba city, is pleased about the existence of Etsu Egami's work which that raised the sea of Chiba. He emphasizes that Chiba is surrounded by the seaside in the south ,the east and the west. Indeed there was a time when maritime traffic played a major role for connecting this area with other areas.
One of Etsu Egami's themes seems to be "misunderstanding". It is inevitable to have false recognition at the beginning of communication. Rather, noticing false recognition as misunderstanding may be the only way to get the right recognition. Etsu Egami's "misunderstanding" is such a misunderstanding, isn't it? This may be also a misunderstanding of Etsu Egami, but I'd like to start seeing Etsu Egami's works from that kind of perception.
江上越作品《Dialogue beyond 400 years》作品現(xiàn)場-3
江上越作品《Dialogue beyond 400 years》作品局部
江上越作品《Dialogue beyond 400 years》作品局部-2
江上越作品《Dialogue beyond 400 years》作品現(xiàn)場-3
江上越
1587年，英軍繳獲了下加利福尼亞州的西班牙大帆船，并將兩名正在船上的日本人加入到他的船上。這兩個人成為第一次訪問英國的日本人。如果，這個故事是日本和英國交流的開始，
是不是可以說從一開始交流就伴隨著偶然和誤會。 1600年，英國的威廉·亞當斯（William Adams，1564年-1620年）,作為荷蘭商船De Liefde號的航海士，因為船漂流到日本海岸，他成為了登陸日本的第一個英國人。被德川幕府重用，后半生他在日本度過，參加了開設在日英國商館。
日本和英國之間的交流從開始到現(xiàn)在大約400余年。經(jīng)過四百多年的悠久歷史，回首過去，克服了許多艱辛，得到了發(fā)展。其中，有許多結(jié)果和初愿不同的事實，有偶然和誤會，也有交流障礙中的誤聽誤解。固有觀念中誤聽誤解往往是負面的，其實有的時侯也是導致進化的正面能量。這也是我創(chuàng)作的著眼點。
日本從英國進口了軍艦，蒸汽機，交通設施等，現(xiàn)在也出口高性能電子產(chǎn)品，汽車，高科技等。在西方藝術影響日本的同時，浮世繪和流行的日本可愛文化在英國也很受歡迎。從槍炮外交開始，走向經(jīng)濟文化交流。這些轉(zhuǎn)機和錯位的結(jié)果意味深長。
我的作品以誤聽游戲為切入口，驗證交流的障礙和可能性。以日英兩國交流的史料和大海的映像為背景，在輕松詼諧的氣氛中體驗航海時代的風云變幻和陰差陽錯。提示時代變遷背后人類交流的另一個側(cè)面。"誤聽"感覺上是很偶然很個人的，但會不會是一種人類的遺產(chǎn)基因呢？我這次的作品是試圖將"誤聽"擴大延展，擴大到國家和地域的交流，延展到民族和文化的碰撞。
Etsu Egami
In 1587 the British seized the Spain galleon ship off Baja California and added the two Japanese who were on board to his ship. These two people became first Japanese who visited the UK. If this story is the start of exchange between Japan and the UK, communication from the beginning it can be said that accompanied by misunderstandings and accidents. Also in 1600, the British William Adams (1564-1620) was a navigator on the Dutch merchant ship Releafde (De Liefde), but as the ship was drifting in Japan, he became the first UK person landed in Japan. He was trated as important by the Tokugawa Bakufu, he spent his late life in Japan and he also involved in opening up a British Trading Post office in Japan.
About 400 years since the communication between Japan and the UK started. After 400 years of long history, looking back, It have overcome many hardships and have developed. Among them, there are facts that resulted and many initial applications is different, and many of them are thought to be due to misunderstanding of communication, misunderstanding and mishearing. Misunderstanding often has negative consequences, but sometimes it leads to evolution. This is also the focus of my creation.
Japan imports warships, steam engines, tracks, etc from the UK, exports high performance electric products, automobiles, technology etc. While Western art influences Japan, Ukiyo-e and popular Japanese Kawaii culture are also popular in the UK. Beginning with gun diplomacy, progress towards economic and cultural exchange. These results of turning points and dislocation seems deeply meaningful.
In my work , Mis-hearing game is the starting point ,to verify the obstacles and the possibility of communication. Based on the historical materials exchanged between Japan and the UK and the images of the sea , we can experience the changing and overblown mistakes in the nautical era in a relaxed and humorous atmosphere. It prompted he other side of human communication behind changes in the times . "Mis-hearing" feels very casual occasionally and personal, but will it be a human genetic heritage? My current work is to try to expand the "Mis-hearing" and extend it to exchanges between countries and regions and extend the collision between ethnic groups and cultures.
江上越作品《Dialogue beyond 400 years》作品現(xiàn)場-4
To explain Egami Etsus installation in the context of Playground it might be good to write a bit about our concept. Unlike other galleries, Playground is a hybrid between exhibition and studio space, purposefully leaving it's definition - and use - as open as possible. Our main aim is to provide a physical platform for people with talent and initiative, regardless of discipline. The space is to be used in the most suitable way for their "art".
So our role as curator is less making decisions about set up and outcome of the installation but more that of a mentor; giving advice, drafting written concepts, providing visual communication and giving realistic deadlines.
Making culture, language and barriers of communication as a central subject of most of her work, the development of her exhibition idea within our very open concept was an important part of the outcome in my opinion. For us, it was really interesting to see how Egami Etsu developed her idea and the process of adapting it to a relatively restrictive room, both in shape and size.
Overcoming her initial idea of a classic "gallery" and realising she has got a space where she is completely free to play in and create her own exhibition was a great step.
And finally, once set up, having lots of people from different cultures, interests and professions all interacting with each other and reflecting on the installation was great to witness. Needless to say that Egami Etsus artwork seems to be visually very appealing independent of cultural
江上越作品《Dialogue beyond 400 years》作品局部-3
江上越作品《Dialogue beyond 400 years》作品現(xiàn)場--5
江上越作品《Dialogue beyond 400 years》作品現(xiàn)場-6
藝術家：江上越
學術主持：千葉成夫 （日本重要美術評論家）
近藤成一（東京大學名譽教授，千葉市藝術文化新人獎評委主席）
策展人：Antonia Huber（獨立策展人，英國皇家藝術學院老師） Julia von Meiss
開幕：2018.2.23 18：00-
展廳：Playground London Curated place
贊助：日本 SINBY
