展览序言

平面与立体之间

Between Surface and Dimension

松枝悠希终于来了。

Yuki MATSUEDA has finally arrived.

十几年前，在一个日本朋友策划的艺博会上，我遇见最让我动心的作品（鸡蛋黄竟然从鸡蛋里跳出来了），一秒钟就决定把它带回家了。

从那时起，作为他的粉丝到与他合作，已经走过了十多个春夏秋冬，他的作品依然保持着打破界限，勇往直前的态度，总能带你开启新的思维。在他的艺术世界里，你可以自在如初，不迎合，不妥协，不受世俗条框的束缚，依旧保持年轻的心境。

Over a decade ago, at an art fair curated by a Japanese friend, I came across a work that truly moved me—a piece in which the egg yolk appeared to jump right out of its shell. In that instant, I decided to bring it home.

Since then, from being his fan to collaborating with him, I’ve witnessed over ten springs, summers, autumns, and winters, yet his works remain boundary-breaking and forward-looking, always sparking new ideas. In his artistic world, you can be as free as you once were—no pandering, no compromising, and unburdened by society’s constraints—retaining a youthful spirit.

秋天是我最喜欢的季节。由于松枝的展览预约近乎饱和，这个个展我们已经等待了两三年。期待这一次的展览，有全新的好玩作品出炉。

今年的诺贝尔文学奖颁发给一个韩国的作家韩江，那条横穿在首尔的江的名字，很意外，也不偶然。我在纽约暴走两万步，遍寻全城的书店，才发现她的作品《素食主义者》《少年来了》《白色》等均已售罄。我深刻反省自己是为什么在她得奖时才开始关注她，跟大部分的人一样。

Autumn is my favorite season. Due to nearly full bookings, we have waited two or three years for this exhibition. I look forward to the new and playful works that will be unveiled this time.

This year, the Nobel Prize in Literature was awarded to a Korean author, Han Kang. The coincidence of her name with the river running through Seoul felt surprising yet fitting. After walking nearly 20,000 steps around New York to locate her books, I found that all copies of The Vegetarian, Human Acts, The White Book , and others were sold out citywide. It led me to reflect on why I only took an interest in her after she won the prize, as so many others do.

羞愧自己还不够脱俗，在松枝悠希的新作里，希望自己可以更自在，逍遥，如他的人，如他的作品。

这几天，上海一位三十出头的女孩儿在病痛之下选择到瑞士安乐死，引起了很多关于生死观与孝道的议论。社会在进化，也不一定不断进化，疫情期间很多观念迂回退化了一些，社会断层及分裂很多意义上是退化的，如陈丹青先生在《退步集》中谈到的。

Ashamed that I haven’t yet risen above the ordinary, I hope to find greater freedom and peace in Yuki MATSUEDA’s new works, to be as he is and as his works are.

Recently, a woman in her early thirties from Shanghai chose euthanasia in Switzerland to end her suffering, which sparked widespread debate on the concepts of life, death, and filial piety. Society evolves, but not always forward, and during the pandemic, some views regressed. The social gaps and divisions we witness can signify this regression, as Chen Danqing discusses in Reflections on Decline .

而科学技术的进化，Web3、4、5、AI及其奇点的到来，却不一定让人类社会的观念可以摆脱宗教、国籍、民族、地域间的偏见，相互的仇恨从未消逝过。正如，小说《Pachinko》（中文名《柏青哥》）里面作者李珉真（Min Jin Lee）描绘的百年史。

在松枝作品里，我们可以暂时忘却自己的身份、地位等作为人的各种条件，去接受它，去欣赏它，进而让自己不由自主地会心一笑 。如此，是否足矣？这就是我对松枝作品的感受，很直观，很感性，很主观。不带任何有色眼镜，用你自己的眼睛看这个不寻常的世界。

Meanwhile, the advancement of science and technology—Web 3, 4, 5, AI, and the advent of the singularity—does not necessarily free humanity from prejudice based on religion, nationality, ethnicity, and geography. Hatred endures, as vividly portrayed in the century-long saga captured by Min Jin Lee in her novel Pachinko .

In Matsueda’s work, we can temporarily forget our identities, status, and the many labels we wear as people, simply accepting and appreciating them and, in doing so, finding ourselves smiling from the heart. Is this not enough? This is my experience with Matsueda’s works—intuitive, emotional, and personal. Without any tinted glasses, you can see this extraordinary world through your own eyes.

关于艺术家/ About the Artist

松枝 悠希

Yuki Matsueda(b.1980)

松枝悠希(b. 1980) 出生于日本茨城县水海道市，2001年毕业于东京艺术大学艺术设计系，2010年获得东京艺术大学艺术设计系博士，现为东京艺术大学客座讲师。松枝悠希以其独特的 3D 立体装置艺术而闻名，这些作品既有趣且发人深省。松枝悠希的实践诞生于一个意外，在 2007 年第一件作品“超级鸡蛋”打破了传统的二维作品的平面，迸发出破局而出的无限能量。他的创作包括制作背衬版画，然后通过对PET材料的铸造和成型等复杂工艺，将物体从静态世界中拉出来。艺术家将普通物品从无聊中解放出来，在其中融入诙谐与幽默，并且打破了艺术与设计之间的界限。

Yuki Matsueda is known for his unique three-dimensional pop-out sculptures that are amusing and thought-provoking. Yuki Matsueda's practice was born of an accident, his first work Super Egg in 2007 broke the plane of his traditionally two-dimensional work and unleashed the infinite energy of the egg escaping its shell. His practice involves making backing prints and then drawing the object out of its static world through a complex process involving PET casting and shaping. Through his art of liberating ordinary objects from boredom, and integrating witty humor in it, Matsueda hopes to break the barrier between fine art and design.