在 Wonder Foto Day 展覽的呈現中，展現了亞洲和其他國家的新銳人才，而長谷良樹(Yoshiki Hase) 的作品更具重要意義。
長谷良樹 Yoshiki Hase來自日本，是在各領域都承襲強烈傳統觀念的國家，這種觀念既涉及傳統藝術，以及現代、後現代藝術。日本有太多可以提起的藝術家，不論是哪種表現形式，像是 Hiroshi Sugimoto、Kazuyo Sejima 等建築師，抑或是作家村上春樹，更不用說那些音樂家，黃色魔術交響樂團( Yellow Magic Orchestra )。即便在非常重視傳統觀念的環境中成長，長谷良樹的藝術細胞還是沒有被環境所壓抑。他表現出一種新的手法，而這巧妙地重新解釋傳統觀念與之前提到的那種革命性的觀點。
在他的作品中反映了許多與美國的關聯，因為他在美國幾年的生活。在長谷的作品中經常出現街頭攝影，紀錄形式的照片等等，而地景藝術( Land art ) 是最主要的。長谷以攝影作為媒介，對景觀進行紀錄，他善用虛擬場景創造社會和人類角色一個新的景觀環境，不論在何處，長谷總是能巧妙地重新描繪出屬於他的風格。
In the context of Wonderfotoday, that showcases emerging talents of Far East Asia and other countries, the works of Yoshiki Hase is of great relevance.
Indeed, these emerging talents share the desire of expression of a new generation and the ease of creative development that is permitted by new media, such as photography. There is the desire for freedom, and a new possibility for this, no matter how cheap or digital. The feeling of the event is that of the prodromal of revolution times, or the emergence of new artistic environments, with new stakeholders, interests, but also ideas. It is a very different feeling when compared to events of the kind in the European context.
Yoshiki comes from Japan, a country that has a strong artistic tradition in various fields, and this tradition concerns both the traditional arts, but also the contemporary or post-modern ones. It is enough to mention those endeavors of visual artists such as Hiroshi Sugimoto, architects such as Kazuyo Sejima, or writers as Haruki Murakami, not to mention those musicians, the like of the Yellow Magic Orchestra components. So, it would be easy to consider his work in the wake of this tradition. Anyway, it should be not. He rather manifests a new approach, and this subtly rewrites, reinterprets, Japanese themes with that revolutionary take that we have previously addressed.
The work somehow reflects life ties with the United States, where he spent several years. Aspects of street photography, documentary investigation, emerge in some of his works, but first and foremost Land art, including the intervention in the landscape, the photography as a documentary medium, but also some ways to portray fictitious scenes as journalistic investigation of society and human characters in the context of the landscape where they belong. Anyway, these aspects are also subtly rewritten, reinterpreted by Yoshiki’s work.
It is probably the encounter of these different tensions, i.e. the Land art or American culture and the Japanese culture or landscape, into the elective medium of photography that makes Yoshiki’s work to stand out and hint at new artistic possibilities. Indeed, if the American tradition elaborated on the contrast of human intervention and the sidereal scale of the suburbs, agricultural areas, and national parks, where the topic of the monument comes to the fore, no matter if this has to be dedicated to the everyday, the human civilization, or the geological ages, in the work of Yoshiki, a different topic comes to the fore against the apparent similarity of the artistic gaze. It is like a different concern has suddenly sprung out of the imagery of Land art. As aforementioned, part of the novelty must be ascribed to the elective medium of photography, rather than the sculpture, that brought in the problems of composition, against those of contrast. Indeed, all the installations that we see in Yoshiki’s imagery are temporary ones; they are declared to be so, and they are all subservient to the composition of the artistic image. Due to this, Yoshiki’s things seem somehow to be embedded into the landscape, to become part of it, no matter how geometric and abstract they are. They are temporary, but they are composed into and with the landscape, so they seem somehow to be the product of landscape dynamics, more than human. They float into the landscape, driven into shape by the water currents, the wind, the telluric rhythms, the crowds or the solitary passers-by that have just left the scene.
And this has something Japanese, too. Let’s think about the work of an architect like Junya Ishigami, where natural elements and architectural ones are treated in the very same way, so that an environment as much natural as artificial is finally made. Nature in Japan is challenged by man, as much as nature challenges man, there. Japanese nature has to be nurtured, and this is the source of Japanese landscape and its agricultural soul, but it is also the nature of the big earthquakes, eruptions, and tsunami’s, that threaten human existence. It is also a nature that has to fear man and its impact. Let’s just think about the size and density of a mega-polis the like of Tokyo against the closed insularity of Japan.
It is these many things that mix into Yoshiki’s work and give reasons to his art as an aesthetic experience and cultural commentary, but also provide reasons to the award that he was given by Listlab’s director, a publisher specialized in the arts and architecture that favors international exchange and critical reflections on the landscape where we live today.
Critical review by Massimiliano Scaglione and Alessandro Martinelli.
Listlab – www.listlab.eu