Destruction－川俣正個展
Destruction-Tadashi Kawamata Solo Exhibition

自年輕時期即活躍於國際藝壇，作品頻頻受邀參與大型國際機構及重要雙年展展出的日本藝術家川俣正，於非畫廊舉辦他在台灣的首次個展，呈現他2017-2021年創作的一系列名為《Destruction》的作品。

此次於非畫廊展出的《Destruction》系列，可以溯及2016年川俣正在龐畢度梅斯分館現地創作的《Under the Water》，只是將觀眾從仰視上方的視角，拉回正面的直視。在接受《Paris Art》的採訪時，川俣正提到：2011年當日本遭受311海嘯浩劫時，他人在日本正準備返回巴黎；當時他就一直思考著自己回到定居的巴黎後，應如何再與那些在災區面臨困境和挑戰的人們維持著某種聯結，於是產生了Under the Water的創作契機，這件作品直白地反映出他腦海中所留下的災區殘影，從此再延伸出一系列題名Destruction的作品。

川俣正的創作並不是一種控訴，僅是客觀地陳述他對裝置場域環境的敏銳觀察；他總能準確的找到該場域隱藏的特質，並以不夾帶極端情緒的方式提出問題、引導人們看見問題。如同他自己聲明的：自己並非環保異議人士，也和反核及社會運動者不同；他的作品精神正反射了社會情境和人類關係之間的無常與恆變。

從更積極的角度來看，川俣正的藝術形態是種當下的掌握，與此時此刻相遇的「一期一會」（いちごいちえ）。雖然他現地創作的作品，宛若曇花一現——展覽過後，作品被拆除、材料被回收，一切回歸日常；但正是這種不著痕跡的駐留，為觀者提供了靈光的閃現，與無限遐想和反思，汲汲營營的人世執念和貪戀都如夢幻泡影，惟有把握當下的心念才是開拓人生價值的關鍵。

Tadashi Kawamata is a Japanese artist that has been active in the international art scene since a young age, and has frequently been invited to exhibit his works at major international institutions and important biennials. His first solo exhibition in Taiwan, at Taipei’s Beyond Gallery, showcases a series of works titled Destruction created between 2017 and 2021.

The Destruction series exhibited at Beyond Gallery can be traced back to Tadashi Kawamata’s on-site creation of Under the Water in the Centre Pompidou-Metz in 2016, except that it shifts the viewers’ perspective back from looking upward to a direct frontal view. In an interview with Paris Art, Tadashi Kawamata mentioned that when the devastating March 11 tsunami hit Japan in 2011 he was just about to head back to Paris. He kept thinking about how he could maintain certain connections with the people facing hardships and challenges in the disaster-affected areas after his return to Paris. This led to the creation of Under the Water, a work that starkly reflects the haunting images of the disaster etched in his mind and subsequently spawned a series of works titled Destruction.

Rather than accusing, Kawamata’s artworks objectively portray his keen observations of the settings around his installations. He is always able to accurately identify the hidden qualities of a particular space, and dispassionately raise questions and guide people to see problems. As he himself states, he is not an environmental activist, and he is different from anti-nuclear and social activists. The essence of his work reflects the impermanence and constant change between social contexts and human relationships.

From a more positive perspective, Tadashi Kawamata’s artistic model represents a grip on the present, an encounter with “once in a lifetime” chance (ichigo ichie). Although his on-site artworks are fleeting – after each exhibition the artworks are dismantled, and the materials are recycled, returning everything to normal – it is precisely this traceless stay that provides viewers with flashes of inspiration, infinite imagination, and reflection. The worldly attachments and desires that consume people’s lives are like illusions; only by embracing the present moment can one access the keys to the value of life.