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奈良美智 Yoshitomo Nara b.1959 無題(誰搶走了寶寶們?) Untitled (Who Snatched the Babies?)
香港
2024年04月07日 开拍 / 2024年04月05日 截止委托
拍品描述
鋼筆 彩色鉛筆 紙本
Ink pen and coloured pencil on paper
二〇〇一至二〇〇二年作
Painted in 2001-2002
29 × 20.5 cm. 11 3/8 × 8 1/8 in.
出版 2011年,《奈良美智作品全集1984-2010(卷II:紙上作品)》,東京株式會社出版社,東京,第185頁
LITERATURE 2011, Yoshitomo Nara: The Complete Works 1984-2010, Volume 2: Works on Paper, Bijutsu Publishing House, Tokyo, p. 185
展覽 2002年6月2日至9月20日,「誰搶走了寶寶們?」,國立版畫與印刷藝術中心,沙圖 2003年9月12日至2004年1月4日,「什麼都沒發生」,克利夫蘭當代美術館,克利夫蘭 2004年1月24日至4月4日,「什麼都沒發生」,賓州大學當代藝術中心,費城 2004年7月24日至10月24日,「什麼都沒發生」,聖荷西藝術博物館,聖荷西 2004年12月3日至2005年2月26日,「什麼都沒發生」,聖路易當代美術館,聖路易 2005年3月25日至5月22日,「什麼都沒發生」,當代博物館,檀香山 來源 紐約Marianne Boesky?畫廊 2015年3月4日,紐約富藝斯春季拍賣會,拍品編號146 2020年7月12日,香港保利春季拍賣會,拍品編號155 現亞洲私人藏家直接購自上述來源 註:畫背貼有紐約Marianne Boesky?畫廊標籤 誤入凡間的精靈 奈良美智筆下的治癒天使 「確實有想要傾訴的對象,但懂你的這人不存在於我們的世界,所以我們才需要把它畫出來。」 ——奈良美智 作為日本重要當代藝術家代表,奈良美智的創作以風格獨具、純真自然的奇異魅力,在國際藝壇上大放異彩,他夢幻般輕逸的色彩和精練的筆調沁入人心。在創作中,他常以帶有「孤獨與疏離感」的造型,描繪出相貌奇異的孩童或動物,其中「大頭小孩」尤為惹人喜愛,在顯示其無邪天性的同時,帶有一種玩世不羈的意味。奈良以極具日本風格及個人特色的新波普藝術,帶起一場自省的風潮與人性的暗湧。 突破傳統的奈良語言 在德國生活 12 年後,奈良美智於2001年回到日本,在其後的兩年間創作了《誰搶走了寶寶們》系列,該系列作品脫離傳統的畫布或用紙,全以明信片、信封、信紙等生活中信手拈來的紙材創作,意在於畫材上突破傳統,也讓他筆下的「孩子」跳脫窠臼,走入並貼近我們的生活,並如日記般反映奈良日常的所思所想。而該系列的大頭人物主角的面部特徵均採用了日本傳統的大福和岡梅戲劇面具,奈良將畫中人視為自我的化身,並確立了其創作的經典構圖與造型風格——以平面化的空間和獨特的孩童表情,構成典型的「奈良符號」。是次呈現的《無題》,即是藝術家該系列與該時期的經典之作。 閃閃發光的溫暖 畫面中,雌雄莫辨的少年以其《夢遊娃娃》系列的經典造型出現:他身著長袍、頭戴護帽,露出一截柔軟的劉海,乘著腳下蓬鬆綿軟的雲朵而來,暗示了其溫柔、無害的身份。靈敏的雙眼,微啟的嘴唇與面頰的紅暈流露對世界的崇敬與期盼。他手指前方,若施展魔法般地射出金色的光暈,猶如正在發散生命的光與希望,照亮周圍的世界。其身後的星星點點環繞全身,令主角有如「誤入凡間的精靈」,自外太空而來,懷揣善意為人世間來帶來治癒的溫暖。 堅定真我、追夢向前 畫面的下半部分刻意留白,營造出一種超越時空、現實場景的環境,更似超越塵世,在雲端與世界對話,展現了一種「分不清夢境還是現實」的虛擬感。而人物夢幻而清新的形象,正如藝術家在2001年甫自德國搬回日本的心境,在面對闊別已久的日本,希冀通過自己的創作,為故鄉的藝壇注入新風。在《無題》中,他畫下自己心目中可以傾訴的、真正懂得自己的對象——時而反叛不羈、挑戰傳統,卻總是鼓勵我們遵從本心、追夢向前。奈良美智筆下的孩童彷彿一把記憶的鑰匙,一面映照初心的明鏡,讓人隨著她們嘟起的嘴巴會心一笑,攥起拳頭,心生一股堅定真我、義無反顧的前行力量。
EXHIBITED 2 Jun-20 Sep 2002, Who Snatched the Babies?, Centre National de l’Estampe et de l’Art Imprimé, Chatou 12 Sept 2003-4 Jan 2004, Nothing Ever Happens, Museum of Contemporary Art Cleveland, Cleveland 24 Jan – 4 Apr 2004, Nothing Ever Happens, Institute of Contemporary Art, University of Pennsylvania, Philadelphia 24 Jul-24 Oct 2004, Nothing Ever Happens, San Jose Museum of Art, San Jose 3 Dec 2004-26 Feb 2005, Nothing Ever Happens, Contemporary Art Museum St. Louis, St. Louis 25 Mar-22 May 2005, Nothing Ever Happens, Contemporary Museum, Honolulu PROVENANCE Marianne Boesky Gallery, New York 4 Mar 2015, Phillips New York Spring Auction, Lot 146 12 Jul 2020, Poly Hong Kong Spring Auction, Lot 155 Acquired directly by present Asian collector from the above Note: A label of New York Marianne Boesky Gallery is affixed on the reverse Lost Sprite in the Mortal Realm A Healing Angel by Yoshitomo Nara "There is someone I wanted to talk to, but people who really understand me may not exist in our universe. That’s why I want to create them." ——Yoshitomo Nara Yoshitomo Nara lived in Germany for 12 years before returning to Japan in 2001. During the following two years, he created a series called Who Snatched the Babies. Unlike traditional artworks, they used materials from daily life, such as postcards, envelopes, and stationery. This series aimed to transcend conventional artistic mediums, allowing Nara's "children" to become a part of our lives. The artworks resemble a diary and reflect Nara's daily thoughts and musings. The prominent characters in this series feature facial features inspired by traditional Japanese dango and Noh theater masks. Nara regards the characters in his paintings as embodiments of himself, establishing his work's classic composition and stylistic elements – characterized by flattened spaces and distinctive childlike expressions, forming the iconic "Nara symbols." The piece, Untitled, exemplifies the artist's classic paper-based works from this series and period. Glistening Warmth In the scene, A youth of indeterminate gender appears in the iconic style of his Little Wanderer series. He is dressed in a robe, adorned with a protective cap, and reveals a soft fringe. Riding on a soft cloud, he implies his gentle and harmless identity. The perceptive dual eyes, slightly parted lips, and the rosy blush on the cheeks reveal reverence and anticipation for the world. Extending his fingers forward, he releases a golden halo as if casting a magical spell. This golden glow disperses the light and hope of life, illuminating the surrounding world. Stars behind him dot and encircle his body, making the protagonist appear like a "sprite lost in the mortal realm." He seems to arrive from outer space, carrying goodwill to bring healing warmth to humanity. Firmly Embracing the True Self, Chasing Dreams Forward The lower part of the artwork is intentionally left blank to create an environment that transcends time, space, and reality. It seems to go beyond the ordinary world and engages in a dialogue with the clouds, conveying a virtual sense of uncertainty between dream and reality. The character's fantastical and refreshing image reflects the artist's thoughts upon returning to Japan from Germany in 2001. When faced with a long-awaited reunion with Japan, he aimed to inject new vitality into the local art scene through his creations. In Untitled, he depicts the subject he truly understands and can confide in —— at times, rebellious, challenging traditions, yet always encouraging us to follow our hearts and pursue our dreams. The children in Yoshitomo Nara's art seem like keys to memories, reflecting the mirror of one's original intentions. As we witness the mischievous smiles of the children in his paintings, it elicits a heartfelt smile, clenches our fists, and inspires a relentless force to move forward, firmly embracing the true self with unwavering determination.

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