Tetsuya Ishida -

TETSUYA ISHIDA
Waiting for a Chance, 1999
Acrylic on board
57 5/16 x 81 1/8 inches (145.6 x 206 cm)
© Estate of Tetsuya Ishida

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Opening reception: Thursday, November 7th, from 6:00 to 8:00pm


At first, it was a self-portrait. I tried to make myself—my weak self, my pitiful self, my anxious self—into a joke or something funny that could be laughed at…It was sometimes seen as a parody or satire referring to contemporary people. As I continued to think about this, I expanded it to include consumers, city-dwellers, workers, and the Japanese people.
—Tetsuya Ishida

Gagosian Hong Kong is pleased to announce an exhibition of paintings by Tetsuya Ishida, the gallery’s first presentation of his work. This is the first exhibition of Ishida’s paintings outside of Japan.

Ishida came of age as a painter during Japan’s “lost decade,” a time of nationwide economic recession that lasted through the 1990s. In his afflictive paintings, he captured the feelings of hopelessness, claustrophobia, and emotional isolation that burdened him and dominated Japanese society. From his early career until his untimely death in 2005, Ishida provided vivid allegories of the challenges to Japanese life and morale in paintings and graphic works charged with dark Orwellian absurdity.

In nightmarish scenes, suited figures made in Ishida's own likeness but possessing machine or animal parts are depicted being boxed and repaired, like helpless objects. Foreground and background are rendered in equally meticulous detail and this intricate compression of layers intensifies the sense of entrapment. The stoic male subjects seem accustomed to their cyborg limbs and dreary surroundings as they carry on in their shared routine. Some men are fully merged with household objects, reduced to little more than functional but inanimate tools and furniture.

Waiting for a Chance (1999) depicts young men in a hospital room, anxiously awaiting their fate as they rest on scrapped auto bodies in place of hospital beds. The striking allegory Descendant (1999), also set in a hospital, portrays a group of surgeons surrounding a child who has been birthed by prehistoric reptiles. In Exercise Equipment (1997), a recurring suited subject is pictured running on a treadmill, monitored by men positioned to hook his ankles should he slow down. These disturbing scenes are consistent with the surreal melancholy of contemporary Japanese authors such as Mahoko Yoshimoto and Haruki Murakami, whose novels propose a society of individuals debilitated by neurosis and traumatic dysfunction.

Tetsuya Ishida was born in Yaizu, Shizuoka, Japan in 1973, and died in Tokyo in 2005. Solo museum exhibitions include Sumpu Museum, Shizuoka, Japan (2006); “Tetsuya Ishida: Canvas of Sadness,” Shizuoka Prefectural Museum of Art (2007); CB Collection, Tokyo (2007); and “Tetsuya Ishida: Self-portraits,” Nerima Art Museum, Tokyo (2008). Selected group exhibitions include “Asian Avant-garde,” Christie’s London (1998); “dis-communication,” Sungkok Art Museum, Seoul (2007); “Chaosmos ‘07: In the Face of Sadness,” Sakura City Museum of Art, Chiba, Japan (2007); and “Tetsuya Ishida and Shizuoka-related Artists,” Hamamatsu Municipal Museum of Art, Shizuoka (2009). A survey exhibition of Ishida’s work, “Notes, Evidence of Dreams,” was on view at Ashikaga Museum of Art this fall, and will travel to Hiratsuka Museum of Art; Tonami Art Museum, Toyama; and Shizuoka Prefectural Museum of Art (through 2014).

For further information please contact the gallery at [email protected] or at +852.2151.0555. All images are subject to copyright. Gallery approval must be granted prior to reproduction.

Please join the conversation with Gagosian Gallery on Twitter (@GagosianAsia) and on Instagram (@gagosiangallery) via the hashtag #TetsuyaIshida.

 



開幕酒會: 11月7日(星期四)從下午6時至晚上8時


最初只是自畫像。我想把懦弱可憐和不安的自己變成笑話或可笑的東西……有時被視為嘲弄或諷刺富代人的作品。後來我不斷思索,決定把角式延伸至消費者、城市人、勞工和日本人。
—石田徹也

香港高古軒畫廊欣然宣布舉行石田徹也畫作展覽,並且為高古軒首次展出石田徹也的作品。是次展覽亦是石田徹也在日本以外的首個畫展。

石田徹也在日本「失落的十年」期間在畫壇冒起,當時日本深陷於90年代的經濟衰退之中。他充滿悲傷苦難的畫作,展現了畫家負擔着和整個日本社會籠罩着的無助感、壓迫感及孤立感。由開始創作之初至2005年離世,石田徹也的畫作及繪圖皆充滿喬治‧歐威爾(George Orwell)筆下陰深荒誕的味道,傳神地諷寓日本人在生活及精神上的考驗。

如夢魘般的場景中,貌似石田徹也的人物身穿西裝,長有機械或動物的四肢或軀體,塑造出像壞掉的物件一樣被裝箱及修理。前景與背景的細節同樣鉅細靡遺,錯綜複雜的層次擠壓彰顯身陷困境的無助感。面無表情的畫中人對機械肢體及枯燥陰鬱的環境似乎經已習以為常,並繼續進行他們的日常事務。有些人物與家居用品融為一體,幾乎變成只有功能而無生命的工具和傢具。

《等待機會》(Waiting for a Chance)刻畫了在一間醫院病房內的年輕男子們於本為病床的廢舊車身上,焦慮地等待著他們的命運。場景同樣是醫院的作品《後代》(Descendant)逞現出觸目驚異的寓言故事,描繪了一群醫生圍繞著一個由史前爬行動物生育的孩童。在作品《健身器材》(Exercise Equipment)中,畫中人以西裝革履的形象再次出現,於跑步機上奔走,被後方一排排手持鉤子的人物監視著,以待他放慢速度即可鉤住其腳踝。這些離奇的場景與吉本真秀子及村上春樹等當代日本作家描寫的超現實憂鬱情懷如出一致,其著作均描寫於社會過度抑壓下人民精神飽受創傷。

石田徹也1973年生於日本靜岡縣燒津市,於2005年東京的火車平交道事故中身亡。曾於博物館展出的個人畫展包括日本靜岡縣駿府博物館(2006)、靜岡縣立美術館的「石田徹也:憂傷的畫布」(2007)、東京CB Collection (2007)以及東京練馬區立美術館的「石田徹也: 自畫像」(2008)。他的作品亦於多個聯展中展出,當中包括倫敦佳士得的「亞洲前衛藝術展」(1998)、首爾省谷美術館「dis-communication」(2007)、日本千葉縣佐倉市立美術館「Chaosmos ‘07: In the Face of Sadness」(2007),以及靜岡縣濱松市美術館的「石田徹也和靜岡相關的藝術家」(2009)。今年秋天於足利美術館舉行的石田徹也作品研究展「Notes, Evidence of Dreams」將巡展至平塚美術館、富山勵波市美術館和靜岡縣立美術館(至2014年)。

如欲查詢,請電郵至[email protected]或致電+852 2151 0555與高古軒畫廊聯絡。所有圖片皆受版權保護,複製前必須取得畫廊許可





 


Gagosian Gallery was established in 1980 by Larry Gagosian. / 高古軒畫廊由拉里•高古軒(Larry Gagosian)於1980年創立