• 2012-05-11

    Japan / May 2012 / “驀然回首”-何見平日本ggg個展

     

    This June, invited by Japan DNP Foundation for Cultural Promotion, I will have my solo exhibition “Flashback” at the ggg gallery in Tokyo, 65 pieces of my posters and publications will be exhibited. The opening will be held on June 5th, 17:30 to 19:00. There will also be a forum with honorable guest speakers including Kaoru Kasai , Hideki Nakajima, Wang Xu and  Guang Yu.

    I do hope I can have the honor of having you at the opening banquet:

    Theme: “flashback” - Jianping He Solo Exhibition by ggg
    Date: 5th - 28th June, 2012
    Time: 11:00am - 7:00pm
    Opening Ceremony: 5th June, 2012, 17:30-19:00
    Forum Speakers: Asaba Katsumi, Kaoru Kasai,  Hideki Nakajima, WangXu, Guang Yu, Jianping He
    Address: dnp ginza bldg. 7-7-2 ginza, chuo-ku tokyo 104-0061

    今年6月,我應日本DNP文化振興財團邀請,將在東京銀座ggg設計畫廊舉辦“驀然回首”個展,將展出海報和書籍設計兩個部份,共65件作品。
    本次展覽開幕式為6月5日17:30-19:00,將在期間舉辦現場論壇,論壇嘉賓為葛西熏、中島英樹、王序和廣煜。
    茲誠邀閣下參加本次開幕式酒會,信息如下:

    展覽主題:“驀然回首”-何見平日本ggg個展
    展覽日期: 2012年6月5日至6月28日開館時間: 上午11時至下午7時
    展覽開幕式:2012年6月5日17:30-19:00
    開幕式論壇:浅叶克己、葛西熏、中島英樹、王序、廣煜、何見平
    展覽地點: 東京中央區銀座7-7-2DNP銀座

    www.dnp.co.jp/foundation

    I wish to see you in Tokyo!

    Warm Regards,


    Jianping

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    ggg  〮 flashback  〮Dali

    This is my first solo exhibition in Japan. With the unstinting support of  two forerunners, Mr .Shin Matsunaga  and Mr. Katsumi Asaba and the generous help of ginza graphic gallery, over fifty select posters and book design works from my 15-year career will be exhibited.

    I set out to select the works to exhibit in my Berlin studio as I started to ponder on the theme of the exhibition. I felt the warmth of the winter sun on me, and the snow out of the window became unreal, as if part of a stage set, and I felt no cold at all. The works casually littered on the studio floor triggered many memories, difficulties, and frustrations, interspersed with friendship and love.

    To render the word ‘flashback’ more visually intelligible, one may think of flashbacks in cinematography and reverse narrative in literature. They may bring sparkles of inspiration, or simply the resurrections of the past. In the Chinese context, I would choose ‘a sudden turn of my head’, a turn of phrase already imbued with the charm of a cinematographic cut. Moreover, for a designer, it vividly captures the pursuit for creative sparks. Every piece of my work comes with struggling and bears witness to the rather strenuous process of searching and exploring. The scenario Wang Guowei (1877 – 1927) aptly described as the third stage of scholarly achievement, ‘I searched high and low in the crowd. But as I suddenly turned my head, there she was in the end of the streets where lights were the dimmest’, would be a perfect ending for a designer.

    ‘A sudden turn of my head’ is a stop motion in time, which remained immaterial until the emergence of the clock. Since then time has been fixed within the twelve sections of the disk. Time has been shaped by accuracy, science and order. The moment when a shape is created and a figure finds expression also marks the end of the expansion of fantasy. Does man also create boundaries as he gives expression to his creativity? It applies to objects. What about graphic design?

    When it comes to time, I can’t avoid mentioning Dali. This great artist has afforded me a certain valor in thinking for a graphic designer like myself. He has broken many  boundaries in relation to the figure of time and created a kind of time that is soft and distorted, just like viscose drops of liquid falling from the edge of the table or hanging on a twig.

    The process of creating the posters featured in ‘Flashback’ was filled with various representations of Dali. I have asked my assistant to take pictures of an ancient Bodhi tree in front of my studio on a sunny winter day. In the rich nakedness of its foliage, one notices the protean lines drawn by individual branches that contribute to the overall peacefulness of the tree. Slowly I hung every letter of the alphabet on the tree, in the hope that I would not disturb its wintry poise, blessed with Buddhist wisdom.

    Jianping He
    Berlin, on the eve of March 12th, 2012

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    The distant so close – Posters by Jianping He

    When you move from one culture to another you basically have two options. Either you decide to integrate or to live in a parallel world. So, what does a designer do whose first influences came from China, his second from Germany? Does he unite the two in harmony or pit one against the other in direct contrast? Jianping He's works, however, cannot be stuck in either drawer. Besides being influenced by two worlds, to me it seems the key to his success is his individual sense of creativity that goes into his posters. This freedom to use the means at his disposal gives rise to posters that would be unimaginable, both in China and in Germany, without the one or the other part. Coming from Jianping He, these works are wholly comprehensible in the way he borrows everything he needs for his final draft freely from either world. The decisive factor isn't which source he uses, it's how he uses it.

    Since the slow, but conscious approximation between western European states after the end of the Second World War, the possibility of defining a national historiography of the poster disappeared altogether in the course of the 1980s. Designers are a rambling people; one is German, studied in France, works in Denmark… Another, like Jianping He, is Chinese. He studied there and in Germany and now works in both countries. In this sense, he is at the spearhead of a new generation. Their context is no longer just their country or continent of origin; they tap potential from the contrasts between the cultures.

    The thing that fascinates me above all about posters of Jianping He is how they manage to present me with the familiar and the foreign at the same time or in a reciprocal effect – all on a single sheet of paper. For example, when the infinite bits and pieces that make up the large sum remain visible and comprehensible in their precision of execution, or if familiar messages can be read in the foreignness of the design, it seems as if two distant worlds are encountering each other and using the same formal vocabulary. And Jianping He manages to join the individual elements without ever calling their visual relationship to question.


    René Grohnert
    Director of German Poster Museum

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    ggg  〮 flashback   〮 達利

    今年在ggg的這個個展,是我第一次在日本的個展。得到前輩松永真,和淺葉克己兩位先生的提攜,ggg畫廊的鼎力支持。將選擇展出我從業15年來,50多件海報和書籍設計作品。

    我在柏林工作室裡,一邊整理參展作品時,一邊考慮著展覽的主題,冬日的陽光溫暖地撒在身上,窗外的積雪變得佈景般不真實,感受不到一絲寒冷。疏影橫斜式鋪滿工作室地板上的作品,亦不小心帶出許多往事,困難、挫折夾帶著友誼、愛情,把不同時間的作品連貫起來,心中畫面歷歷而過,切換著不同的時間。在這樣的思緒中,帶出了“Flashback”這個展覽主題。

    “Flashback”這個詞,更形象地理解:猶如電影中的鏡頭回閃、文學中的倒敘。可能帶來思緒的靈光閃耀,也可能是往日重現。而用中文語境來理解,我選擇“驀然回首”,這個詞本身就具備了電影鏡頭切換的魅力。更何況,對設計師而言,誰沒有遭遇過尋尋覓覓的艱辛過程呢。我的每件作品,幾乎沒有信手拈來的功力,反而刻錄了許多個尋尋覓覓的愚笨歷程。王靜安推為第三境的:“眾裡尋他千百度,驀然回首,那人卻在燈火闌珊處。” 對設計師而言,該是多麼美好的結局。

    “驀然回首”是時間的某個定格。時間本無形,因為鐘錶的出現,時間被形固在圓形的十二個格子裡。時間被塑形為嚴謹、科技和秩序。圖形被創造時,具象表達的此刻,也阻止了幻想的蔓延。人類在創造的同時,是否也在創造禁錮?物件如此,平面設計是否也如此?

    談到時間,我的思想無法繞開達利。這位偉大藝術家帶給我,一位平面設計師,在思考上的勇敢。他打破人類在時間上的形象禁錮,柔軟和彎曲的時間被創造出來了 - 像粘稠液體從桌沿跌落,被掛上樹杈…

    “Flashback”海報的創作中,充滿了對達利的再現,我讓助手拍下了工作室門前,冬日晴天下的一棵高齡菩提樹,在菩提樹枝杈豐富的裸露中,單一樹枝的線條潦草多變,卻形成菩提樹整體的安詳。我慢慢掛上每個字母,希望這一刻不驚動冬天中佛性的樹。

    何見平
    2012年3月12日夜,柏林

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    雖遠卻近:何見平的海報

    當從一種文化環境轉入另一種文化環境,你只有兩種選擇:或是融入,或是保持“特立獨行”。那麼,這對一位先受中國文化熏陶,後負笈從師並生活在德國的設計師而言又會怎樣呢?他能恰如其分地將兩者聯合在一起,又或是在絕對的矛盾點上令它們相鬥相爭?不過,我眼下所提到的何見平的作品,卻不能被塞入上述任何一個分類抽屜裡。除了受到兩種文化的影響,於我而言,他成功的關鍵可能還在於其設計海報時那個性化的創造力。他的如此靈活地處置那些巧妙的折中技巧和手段的能力,既在中國又在德意志,而沒有棄置任何一方,最終令其作品的效果超乎常人的想象。這些出自何見平之手的佳構都清晰地表明,他自如地從東西方的不同世界中,為最終的表現吸收了養分。而其間最具決定性意義的,並非是他到底使用了那種元素,而是怎樣使用它們。

    “二戰”後,那種歐洲各國間緩慢卻又有意識地形成的精神趨同性,最終導致在20世紀80年代的演變進程中,海報原先所呈現的國別史價值全面消失。設計者更像是位居無定所的人,比如一名德國人求學於法國卻在丹麥工作……另外,好似何見平那樣,卻是一位地地道道的中國人。他曾在祖國和德意志的首都學習,現今仍在兩地設立工作室。如此,他成了“新新人類”中的先鋒群體,他們的創作語境再也不局限於母國或本洲,而且也更能駕馭文化衝突下的種種潛在可能。

    何見平的這些作品,最令我著迷的是,它們將如何既向我展現那種親切的熟識感,同時又包藴著異國的情調,或者是將怎樣形成一種交互的視覺影響——所有的元素都只是表現在一張紙上。比如,將由無數色點、色塊組成的幅面,置於令其可視和可理解的精准的傳達技能之下;抑或是將那種本國民眾所習以為常的物事置於外來者的設計中,成為一種可讀的訊息:這似乎都表明瞭兩個遙遠國度的相遇,並使用著相同的“官方語匯”。當然,在作品裡,何見平還能毫不牽強地,加入其個性化的元素。

    勒內·格羅恩埃爾特博士
    德國海報博物館館長

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  • COOL,有风格!!
  • Nurture passes nature.