香港地区白石画廊举办江上越个展“一期一会”

这些小失误，例如像素加剧或从过热打印机单单现的错误涂抹墨渍。一些摄影家仍未在想法表达出来这种新的美学，因为这些新新闻媒体包括的褶皱线条的完美性比那些用软件和apps制作者的画面格外加有乐趣。

浦江就越艺术创作“一期一会”彩排 和龙摄影艺术馆澳门-3 ⒸEtsu Egami 在2020年写作的几部复刻版《彩虹》中的，纯粹色彩的粗狂的笔触在两条线的或多或少中的显现单单面部的特征，如同单单了过热的投影仪。或者在她的几部复刻版《SNS间距》中的，胸部从柔和的云雾中的显现单单而成为近期。在几部复刻版《其他》中的可以看到享有盛誉的女诗人但却是简洁，仿佛他们的影响力已随星期而逝。这些繁多基本的小失误是为了表达出来在此期间的星期和瞬间即逝的美。诚然，不能一种手段是相符的或限定的。在几部复刻版《彩虹》中的，转瞬即逝的第一次遇见从来不会被重提或保留。在几部复刻版《SNS间距》中的，依据一句老话“不相见，倍相思”，展品着人们密切关系的技术交流受到影响，以及从间距中的产生的渴望。在几部复刻版《其他》中的，名气和重要意义经不起星期的流逝，无论几部成就是多么光辉和荣耀。实际上，这也是耐人寻味之处，浦江就越选择了这些看作广泛全球化评论者以戏剧化而闻名的作者。摄影家本人也在想法着去订下一些类似于佐拉或托尔斯泰的成就。

所有这些几部都是在北平第一波的非典中的写作，之后周游世界是不有可能的，特别是它们是归入封城这段之后，其实也是我们不得不“活在思绪”的时期。非典基本单单这些几部，忽略我们对“一期一会”这个俗语最初始的思考。死亡的光环飞来在这些几部的表面，不曾要求我们去概述它的影响而这个影响是显然如此。相当一以外几部是上周写作的。浦江就越的几部展品了一些关键因素意义的。也许是因为极深根植于她的DNA，样子浦江就越在追寻SNS间距——母语或文化背景的间距——并纵贯于她的摄影艺术生涯。她却是是随波逐流或者格外最糟，来利用这场21世纪范围的灾难。在她的面部画作中的，我们观测到了理智。这些画作让我们想去青梅竹马这些领袖人物并开始一段交谈，也许是为了持续性格外多的厌烦，或者也许是为了寻找单单我们有能够去跨就越彼此密切关系的异同并彼此思考。

浦江就越艺术创作“一期一会”彩排 和龙摄影艺术馆澳门-4 ⒸEtsu Egami Ichi-go ichi-e or Once in a Lifetime

Whitestone Gallery， Hong Kong

Whitestone gallery Hong Kong announced that curate Etsu Egami first solo show in Hong Kong。 The curator is Barbara Pollack， professor at the School of Visual Arts in New York City and she loves Etsu Egami art work， that wrote the texts for solo show。

“I like cherry blossoms that bloom for a short period of time。 I cherish the faces of people passing by。 Although there are more misunderstandings and dislocations， they are （after all） an opportunity and a beginning to understand life and exchange information，” Etsu Egami。

Ichi-go ichi-e， the title of this wonderful collection of paintings by Etsu Egami， loosely translates （from Japanese to English） from a spiritual dictum to accept the transience of life to the more colloquial “Once in a Lifetime。” In Japanese， this phrase is as deep as Zen Buddhism， elevating appreciation of the fleeting moment to the ideal approach to life。 In English， Once in A Lifetime is the theme of a rock band’s anthem， as singer David Byrne of Talking Heads repeatedly asks， “Is this not my beautiful house？ Is this not my beautiful wife？ How did I get here？” The difference between the tone of each language is a perfect example of the mistranslation， miscommunication and misunderstanding that this artist has been exploring since school， or perhaps throughout her life。

Etsu Egami is a leading representative of the third generation of postwar Japanese contemporary artists。 Born in a suburb of Tokyo in 1994， Egami spent many of her childhood years in the United States and Europe， which partially explains her natural inclination to explore mis-translation。 She is currently pursuing her Phd at the Central Academy of Fine Arts in Beijing， where she completed her BFA （2016） and MFA （2019）， spending a year in between at the Karlsruhe University of Arts and Design。 Her choice of professors also illuminates her outlook on art， now working with Liu Xiaodong， the leading narrative painter in China today and in Germany， with Omar Fast， a conceptual filmmaker whose works challenge the notion of linear story-telling and the belief in the artist’s capability to tell the truth。 Combined， these mentors have taught Etsu Egami well； she now has mastered painting and portraiture as a kind of ephemeral truth and developed an approach to painting that deconstructs and rearranges the traditional depictions of faces in art history。

浦江就越艺术创作“一期一会”彩排 和龙摄影艺术馆澳门-5 ⒸEtsu Egami Faces are a primary subject matter for Etsu， who must have spent years staring into another’s eyes to try to figure out what they were saying to her as she traveled through the US， Europe and later China。 In these places where her native Japanese is neither spoken or readily understood， she personally encountered an inability to communicate。 Those moments where there was a total lack of communication—or understandings reach through voice tone and facial expression—are deeply rooted in this artist’s psyche。 So we encounter face-after-face， not a legacy of historic figures or a roster of contemporary celebrities， but ordinary folks that Etsu encounters along the way of preparing a show。

Depictions of faces are controversial and even dangerous these days。 There is a great deal of animosity towards facial recognition technology， for example， which people fear as a means of controlling activity and invading the subject’s privacy。 At the same time， people are posting an unlimited stream of “selfies” on social media， relinquishing any rights to privacy without care。 This pervasiveness of face-time is inspiring to Etsu， but also worthy of further investigation。 As opposed to Richard Prince who merely appropriated posts from Instagram， Etsu has reinvented how to approach a face， how to see a face and how to paint a face。 Most of all—as any of us looking at baby pictures or drivers’ licenses know—the face is ever-changing and ephemeral。 It ages， it acts out emotion， it may even reveal a kind of truth about the person。 But it is， unlike art， impermanent。 How to capture this quality without destroying portraiture？

Etsu Egami has been incorporating portraits into her installations since her graduation work， This is no a Mis-hearing Game （2016）。 Trying to capture the “sound” of communication as expressed on the face of her subjects， she started an interactive， socially engaged performance。 In it understanding among the participants deteriorates as they try to repeat the words said to them by the previous player。 In its completion， Etsu created a series of portraits of each of the participants。 These pictures are the beginning of rendering the face in broad strokes and sheer layers of paint， quite unlike Old Master paintings or contemporary realists。

In these loose interpretations of humanity， Etsu cleverly creates a “glitch” or visual white noise。 Images created by computer often have these glitches， e.g。 a deterioration into pixels or an erroneous smear of ink from a faulty printer。 Several painters have been trying to approach this new aesthetic because the fault lines of perfection offered by new media are much more interesting than the images produced seamlessly by software and apps。

In the Rainbow series from 2020， broad strokes of sheer colors emerge as features of a face against a backdrop of parallel lines， like a monitor on the fritz。 Or in her Social Distancing series， bodies come into focus from a haze of pastel clouds。 And in the series， Autre， famous authors are seen but not seeable， as if their power and influence has waned over time。 These various forms of “glitch” are meant to convey the ephemerality of time and the beauty of that impermanence。 Yet， no one approach is definitive or finite。 In Rainbows， there is the fleeting moment of a first encounter that never can be reenacted or preserved。 In Social Distancing， there is the mis-communications between human beings， the longing and desire that comes from distance， which according to the old phrase， “makes the heart grow fonder。” In Autre， fame and significance cannot always endure the passage of time， no matter what the glory and greatness of the subject’s achievements。 In fact， it is fascinating that Etsu has chosen authors who are known for their narratives packed with social commentary。 The artist herself is trying to achieve something akin to Zola or Tolstoy， simultaneously reinventing narrative as a metaphor for meaning。

All of these works were made in Beijing during the first wave of the pandemic when travel was impossible and their emphasis on time is particularly suited to the period of lockdown when we all had to live “one day at a time。” The pandemic frames these works and alters our initial understanding of the phrase， Ichi-go ichi-e 。 The aura of death hovers on the surface of these works， never requiring us to see its impact but the impact is there nonetheless。 Of the many paintings created in the past year。 Etsu Egami’s are some of the most meaningful。 Perhaps because it is embedded in her DNA， it seems that Etsu has been investigating a kind of social distancing—distance due to language or cultural differences—throughout her career。 She is not jumping on a bandwagon or worse yet， capitalizing on a worldwide disaster。 In her panopticon of faces， we see humanity。 These paintings make us want to meet those figures and start a conversation， maybe to perpetuate more confusion or maybe to find out that we are capable to bridge our differences and understand each other。

澳门鉴赏家林伟而（William Lim）在浦江就越的艺术创作中的 浦江就越艺术创作“一期一会”彩排 和龙摄影艺术馆澳门-7ⒸEtsu Egami 《一期一会 ——浦江就越艺术创作》

展品两处； 和龙摄影艺术馆澳门 H Queens

7-8/F， H Queen’s， 80 Queen’s Road Central， Hong Kong

展品星期： 8月初5日 — 8月初24日

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