目［mé］
目［mé］，《“目”之廊》，2019上海城市空间艺术季，图片由欣稚锋艺术机构提供，图片摄影：田方方 / Mé, Gallery of Mé, 2019 SUSAS, image courtesy: Art Pioneer Studio, Photography: Tian Fangfang.
2020年10月，艺术小组目［mé］创作的特定场域作品《“目”之廊》完成安装工作。《“目”之廊》是2019年上海城市空间艺术季永久公共艺术作品之一，位于杨浦滨江南端北侧，上海工部局电器处新厂旧址内的“攀岩场”。这件作品也是2019年上海城市空间艺术季永久公共艺术作品中唯一一件位于“地下”的作品。In October 2020, the installation of the site-specific work "Gallery of Mé" by the artist collective Mé was completed. This piece is one of the permanent collections of the 2019 SUSAS (Shanghai Urban Space Art Season), located in the north side of the south Binjiang section of the Yangpu River, in the "Climbing Gym" inside the former site of the new Shanghai Ministry of Industry and Commerce Electrical Appliances Factory. It is the only permanent public artwork of the 2019 Shanghai Urban Space Art Season installed "underground."
目［mé］，《“目”之廊》，2019上海城市空间艺术季，图片由欣稚锋艺术机构提供，图片摄影：田方方 / Mé, Gallery of Mé, 2019 SUSAS, image courtesy: Art Pioneer Studio, Photography: Tian Fangfang.
《“目”之廊》共有五部分组成，由丙烯酸玻璃制成的圆形雕塑《丙烯酸气体大》、《丙烯酸气体小》、由远方海洋景色转化而成的《接触》、荧光管构成的《线》以及由两块完全相同的巨石组成的《分离物》。五部分错落分布在深坑状的“攀岩场”内，艺术家借“攀岩场”的大动态之势，以微观视角呈现了现代城市的脉动。从地面望向坑内，《分离物》伫立在空间中，在卷入我们每个人记忆的同时似乎在静静地释放着来自地质深处的能量；红色的“丙烯酸气体”和《线》并置其中，深坑内部空间环望，旧记忆与新场景交织；而当遇见迎面而来的《接触》——一个接近目标而失去的风景，又再一次触动了我们的视觉经验，震撼如巨浪般侵袭而来。The Gallery of Mé consists of five parts, Acrylic Gas Big and Acrylic Gas Small, circular sculptures made of acrylic glass; Contact, transformed from a distant ocean view; Line, made of fluorescent tubes; and Respective Object made of two identical boulders. All of which are scattered in the cavernous "Climbing Gym," where the artists take advantage of the dynamic momentum of the location to present the pulse of the modern city from a microscopic perspective. Looking into the pit from the ground level, Respective Object stands in the space and seems to be quietly releasing energy from the geological depths while engaging each of us to dig in our memories; the crimson "acrylic gas" and Line are juxtaposed in the space inside the pit. Looking around the pit, old memories twist with the new sight; and when one encounters Contact - a lost landscape approaching the goal triggers our visual experience as if a shock invades like a giant wave.
在这里，每一件作品似乎都在呼吸，来自地质、来自海洋……作品的呼吸和脉动也在激活着有着自身历史烙印和场地肌理的工业遗产，作品与场域的气息互相交织。Here, each work seems to be a fresh breath from the earth layers, from the sea, and their breath and pulse activate an industrial heritage site that embraces its history and texture, allowing the works' energy to inhabit the site.
目［mé］，《“目”之廊》，2019上海城市空间艺术季，图片由欣稚锋艺术机构提供，图片摄影：田方方 / Mé, Gallery of Mé, 2019 SUSAS, image courtesy: Art Pioneer Studio, Photography: Tian Fangfang.
目［mé］是由三位年轻人组成的艺术小组——艺术家荒神明香、艺术总监南川憲二和现场制作经理増井宏文。目［mé］在日语中意为眼睛，［mé］是其日语发音，简单而富有力量，亦暗示着他们的艺术作品是对“观看”这一行为的彻底讨论。这使得他们的作品耐人寻味——目［mé］作品的魅力不在于第一眼初见时的视觉冲击，而在于调动起观者的纤细感知，从而令观者得到在日常风景中非日常的体验。目［mé］成立于2012年，《“目”之廊》是他们于海外的作品首秀。工业遗迹特有的粗犷风貌和目［mé］的细腻而敏锐的目光相碰撞，在这个独特的工业遗迹场地之中阐释他们的观看哲学。Mé (Eye) is an artist collective consisting of three young individuals - artist Hakuka Kojin, art director Kenji Minamigawa, and production manager Hirofumi Masui. Mé, meaning eye in Japanese, is a simple and powerful Japanese pronunciation suggesting that their art practice addresses the act of "looking" from their thorough discussions. Their works are intriguing - the appeal does not lay in the visual impact at first sight, but their provocation in the viewer's subtle perception, allowing the viewer to experience the extraordinary in the everyday landscape. Mé was founded in 2012. Gallery of Mé is their debut presentation overseas. An industrial site's inherent ruggedness collides with the delicate and acute sight of Mé, expounding their philosophy of "looking" amid this unique industrial site.
不久前，我们特意连线了目［mé］的艺术总监南川憲二和艺术家荒神明香，跟他们聊聊了《“目”之廊》的创作概念以及他们一直以来的工作方式。南川憲二也在采访中回应到，“我们的作品是建立在‘理解了’和‘不理解’之间的名为“感知”的领域。我们想通过作品让观者站立在感知领域，深入地在感知领域中探究下去。”Recently, we caught up with Mé's artistic director Kenji Minamigawa and artist Hakuka Kojin to talk about the concept behind Gallery of Mé and their ongoing work approach. In the interview, Kenji Minamigawa pointed out, "Our work is based on the "perception" between "understood" and "not understanding." We want to urge the viewer standing in a perceptive field and through our work to further the exploration of such perception."
与目［mé］（左起：艺术家荒神明香、艺术总监南川憲二）的连线采访 / Online interview with Mé art collective (from left to right: artist Hakuka Kojin, artistic director Kenji Minamigawa).
Q：
三人艺术组合非常少见，请问是出于什么样的契机组成团队的呢？三位在团队中有明确的职能分工么？能不能简单和我们介绍一下目［mé］的工作方式？
我叫南川，原本是和増井宏文两人进行艺术活动。在进入大学院学习后，才遇到荒神。荒神身为艺术家的才华对我影响很大。虽然我当时同样以艺术家的名义在工作，但是和荒神的相遇让我重新考虑艺术家究竟为何。开始反思，自己是不是称不上是艺术家呢？自己的才能又是什么呢？现在我是作为艺术总监（Art Director）开展工作——通过对荒神的完全认同，我也找到了自己的定位。我们三个有着不同的角色。从职能分工上来说，我是艺术总监，増井宏文是现场制作经理（Installer），荒神是艺术家。在团队中，虽然我们都有各自明确的位置，却能很好地协同工作。Q:
About the three-person art collective
Three-person art collectives are very rare. What was the opportunity to form a team? How do you divide each person's role within the group? And could you introduce us to how Mé works?My name is Minamigawa, and initially, Hirofumi Masui and I are an artist-duo that worked together. After I enrolled in graduate school, I met Kojin. Her artistic talent left a significant impact on me. Although I was also working as an artist, my encounter with Kojin made me reconsider what it means to be an artist. I began to reflect on whether or not I was an artist at all. What are my gifts and talents? Now I work as an art director - and I've found my niche by fully embracing Kojin's practice. The three of us take on different roles. I am the art director, Hirofumi Masui is the installer, and Kojin is the artist. As a team, although everyone has a distinct position, we work well together.Q：
为什么遇到荒神之后，就萌生自己不适合做艺术家的想法呢？
南川：
荒神有着0岁时的记忆，天赋异禀地想去表达一些东西。我一开始以为是谎话，当时心想一定是想被大家高看才故意这么说的吧？但在谈话的过程中，我慢慢完全确定其真实性。她不是那种看到了所谓艺术才自己尝试去做的类型，而是通过其自身与世界的对峙中萌生创作意欲。这种天分完全符合了我对艺术家这个身份的想象。我从那时起就完全认同她是真正的艺术家。
Q:
When you met Kojin, why did you think that you were not suitable to be an artist?Kojin still remembers things at her birth and is gifted in expressions. At first, I thought it must have been a lie, and she probably wanted people to look up to her. But over our conversation, I was gradually convinced of its truthfulness. She is not the type of artist trying to make art on her own after being exposed to it, but rather, the type who has the creative impulse through her confrontation with the world. This aptitude fits perfectly into my imagination of what an artist should be. From then on, I fully recognized her as a true artist.
Q：
有关“观看”这个行为。
目［mé］这个名字似乎暗示着观察世界的方式，也暗示着团队的艺术作品是对“观看”这一行为的彻底讨论，简单而富有冲击力。比如说《“目”之廊》中有一件作品 ，一见如同大海的风景，凑近则是黑色的实体，抽象风景和具象风景同时成立。可以和我们分享一下，目［mé］的观看哲学么？
荒神：
有关观看这个行为——比如说，明明是应该看到了东西，却没看到；没打算看的东西，实际上又看到了——被观看之物其实也是会根据观者而有所变化。究竟哪些才是被意识到的，哪些又并非如此呢？我想让人们去尝试着思考这些问题。
经验或者是知识之类的会告诉我们，“这个是海！”，无意识地做出判断。“观看”其实是游走在潜意识判断的情况和并非如此的情况之间。所谓眼睛，其实是在浸润了脑浆、有着头盖骨的黑色箱体之上开的两个孔洞。穿透过孔洞的光构成了我们的认知。从而做出“这个是海，或是别的什么”的判断。但是我想首先尝试去掉这种推测，当我们再次回到“穿过孔洞的光线”这种状态时，我们到底能在那里看到什么呢。
Q:
About the act of "seeing."The name "Mé" seems to imply a way of looking at the world, and the artworks presented are outcomes from thorough discussions on the act of "looking." They are simple yet impactful. For example, a work in Gallery of Mé looks like a seascape at first glance, but when approached, it is a black entity - an abstract landscape and a figurative landscape are tenable at the same time. Can you share with us Mé's philosophy of looking?Regarding the act of looking - for example, it's often the case that one does not see something one is supposed to see, or seeing something that one does not intend to see – the object of being looked at actually changes depending on the viewer. What exactly is conscious, and what is not? I want people to try to think about these questions.Our experience or knowledge would inform us, "This is the sea!" a judgment we make unconsciously. To "see" is to walk the line between what the subconscious mind judges to be the case and what it is not. The so-called eyes are actually two holes on a black box with a skull filled with brain matter. The light that penetrates through the holes constitutes our perception. This is how we make the judgment, "This is the sea, or something else." But first, I would like to try to eliminate this speculative process. When we return to the phase of "light piercing through the holes," what exactly do we see there?
目［mé］，《“目”之廊》，2019上海城市空间艺术季，图片由欣稚锋艺术机构提供，图片摄影：田方方 / Mé, Gallery of Mé, 2019 SUSAS, image courtesy: Art Pioneer Studio, Photography: Tian Fangfang.
Q：
有关人的知觉。
除了“观看”之外，目［mé］的作品能调动人们纤细的感知。比如《Elemental Detection》可以走上去的湖泊。比如《repetitive object》中两块一摸一样的石头带来的错视体验。这些非日常的风景非常触动观众。请问你们是如何思考艺术与身体性、或者说艺术和人的纤细感知之间的关系的呢？
先有世界，继而有在世界中内包了的自身。如果非常大略地将“对世界的认知”进行划分，可以分成“理解了的内部”和“不理解的外部”——比如说宇宙，即使很努力地思考也很难真正地去理解。我们的作品是建立在“理解了”和“不理解”之间的名为“感知”的领域。我们想通过作品让观者站立在感知领域，深入地在感知领域中探究下去。
Q:
In addition to "seeing," the works of Mé aims to mobilize people's delicate perceptions, for example, the lake that can be walked on in Elemental Detection or the false sense of vision from two identical stones in Repetitive Object. These extraordinary landscapes often intrigue the viewers. How would you consider the relationship between art and physicality, or between art and the subtlety of human perception?First, there is the world, and then there is the self enwrapped up in it. If we were to roughly divide the "knowledge of the world," there would be an "understood interiority" and an " incomprehensible exteriority". For example, the universe is rather complicated to understand, regardless of your efforts in thinking about it. Our work is based on an in-between field called "perception" of the "understood" and "incomprehensible." We want to place the viewer in the perceptive field through our work and furthers their perceptual exploration.Elemental Detection (2016), Former Saitama Prefecture Folklore Museum, Saitama Triennale 2016, Photo: Natsumi Kinugasa
Elemental Detection (2016), Former Saitama Prefectural Folklore Museum, Saitama Triennale 2016, Photo: Natsumi Kinugasa.
目［mé］，《“目”之廊》，2019上海城市空间艺术季，图片由欣稚锋艺术机构提供，图片摄影：田方方 / Mé, Gallery of Mé, 2019 SUSAS, image courtesy: Art Pioneer Studio, Photography: Tian Fangfang.
Q：
艺术与公众。
放置在美术馆里的艺术品往往会让一般公众望而却步，而目［mé］的作品却能和公众建立很深的联系。请问作为艺术家，你们是如何思考和艺术公众的关系的呢？
我认为艺术和公众的关系，就等同于私密性和公众性的关系。说起艺术和公众，大多数人觉得是正反对立的两个事情，但我们却认为这两者是相等的。比如说，为社会做了一些有意义的事情，但其实这也是符合“想要为社会做出贡献”的自己的意愿。其实有时候我们是为了自己——不是为了社会，不是为了他人——而是在真正的意义上为了自己将一件事做到极致，贯彻到底去实现。最后的结果却很可能为人类提供了一个解答。
Q:
While artworks displayed in museums often deter the general public, on the contrary, Mé's works aim at establishing a deeper connection with the public. As artists, how do you create rapport with the art public?I think the relationship between art and the public is akin to the private and the public. When it comes to art and the public, most people think of them as opposites, but we think of them as equals. For example, doing something meaningful for society also meets our desire to make "societal contributions." Sometimes we do things for ourselves - neither for society nor for others - but in the real sense of the word, we do them for ourselves and execute the plan to the fullest. The result may provide answers for humanity.
Q：
有关艺术和场地。
这次在SUSAS2019的项目，场地是一个攀岩场。和作为纯白盒子的美术馆不同，攀岩场有着自身的历史烙印和场地肌理。这次目［mé］为SUSAS2019创造的艺术作品是如何回应场地的呢？能和我们介绍一下方案的概念么？
南川：
上海在拥有很大脉动的同时，也有着比如鸟突然的飞入、工厂的污渍，诸如此类的微观视角。我们想通过作品同时呈现出这两种状态。这个作品本身虽然是处于动感的态势之中，但我们选择了做动态之物的反对面，逆向思考试图做出一个像是美术馆的场所，一个用纤细而精致的视角才能审视的场所，突然出现于此处，这样我们就可以使得这两种视角能同时成立。
将现场转换成一个如同画廊、如同美术馆一般的场所。通过这种处理，被巨大之物、被动态所吸引的视线，同时有着凝视着近在身边的、细微的东西、微小之物的视线。
On art and the venue
The venue to execute this project at SUSAS 2019 is in a rock-climbing gym. Unlike the white cube art museum setting, the rock-climbing arena has its site history and texture. How does the artwork created for SUSAS2019 respond to the site? Can you tell us about the concept behind this proposal?
While Shanghai exhibits compelling urban pulsation, it also presents microscopic perspectives such as the sudden flock of birds or the industrial pollutions. We wanted to show both of these states simultaneously through our work. The work itself offers dynamic features, but we chose to undertake aspects opposite of such quality. Our reverse thinking attempted to render a museum-style site, a place that can only be examined with a subtle and delicate perspective. The abrupt appearance of such a site would allow us to make these two perspectives possible simultaneously.
We have transformed the site into a place like the art gallery or art museum. Having done that, the eyes would be attracted by the gigantic object, its dynamic movements, and they would equally gaze at the nearby, the minute, the small.
目［mé］，《“目”之廊》，2019上海城市空间艺术季，图片由欣稚锋艺术机构提供，图片摄影：田方方 / Mé, Gallery of Mé, 2019 SUSAS, image courtesy: Art Pioneer Studio, Photography: Tian Fangfang.
Q：
SUSAS2019似乎是目［mé］第一个在中国的项目，在中国做项目的经验和日本有什么不同么？有什么有趣的故事和我们分享么？
荒神：
这是我第一次去中国，所以只能说说我在上海的经历。整个城市一直处于运转之中——在很多正在施工的工地边上，还留存着古老的街道社区。施工的现场以及社区的生活，两者同时在运转。我身处这个环境之中，一边行走在街道之上，一边思考着我要去创造怎样的作品。有种很不可思议的感觉。我觉得不孤单。在日本的时候，偶尔在进行项目之时，总是觉得哪个部分被落下了，有时会觉得孤单。这也许是因为 “意识到落下什么的时候”和“项目合理推进的过程”，这两者通常有时间差。但在中国的经验，即使突然意识到落下什么也能很快将其放进项目合理推进的进程，所有的一切都可以发生在“现在”这个瞬间的时刻之中。这使得我的内心十分充盈。所以才感觉不孤单吧。
Q:
The piece for SUSAS 2019 seems to be Mé's first project in China. What are the differences comparing to executing a project in Japan? Are there any interesting anecdotes you would like to share with us?
Kojin:
This was my first trip to China, so I can only tell you about my experience in Shanghai. The city is always in motion – next to many construction sites, the old streets and communities remain. The construction site and community life are in action at the same time. Being part of this environment, I walked along the streets and contemplated the kind of work I was going to create was an incredible feeling. I didn't feel alone. When I was in Japan, occasionally, when I was working on a project, I thought I was left behind. At times, I felt lonely. There may be a timelapse between "when I realize something has been left behind" and "the process by which the project is reasonably advancing." On the contrary, my experience in China was that even if one suddenly realizes that something has fallen behind, one can quickly move things forward. Everything can happen in the "present" moment. This makes me feel quite fulfilled. That's why I don't feel alone.
Q：
对上海这个城市有着怎样的印象？
南川：
我在老街区的小路上看到很多洗好的衣物被放在室外晾干。人们将绳子系在两旁的邻居家，沿着街道晾着很多很多的衣物，分不清哪样是哪家，却成就了一种街道的风景，这在日本从未见过。大家的衣物沿着道路整齐地晾晒着，如同很漂亮的帐篷一样。仿佛是“现在”这个时刻变成了景观。
Q:
What are your impressions of the city of Shanghai?
I saw a lot of laundry hanging out to dry on the side streets of the old neighborhood. People tied ropes to their neighbors' houses on both sides, and many, many loads of laundry were drying along the street, that makes it hard to distinguish one household from another. That's the street scene one would never encounter in Japan. Everyone's clothes were neatly hung out to dry along the road, like a beautiful tent. It was as if the "present" moment had become a landscape.
Q：
和APS合作有着怎样的感想？
南川：
APS对工作非常地细致，合作的制作厂商也十分真心实意。由于新冠的关系，这是我们第一次远程进行安装。我们到现在也只看过作品的照片和视频，但真的非常满足。我们是那种不自己亲自去动手就没法安心的艺术家，原本真的非常不安，多亏了现场的大家做了很细致的工作，才能有满意的结果。
Q:
How do you feel about working with APS?
APS is very meticulous about its work, and the production house we work with was very sincere. This is the first time we have done a remote installation due to the Covid-19 pandemic. We've only seen photos and videos of the work so far, but we are delighted with the result. We are the kind of artists who can't feel at ease unless we do it ourselves, and we were anxious.Q：
接下来打算有什么样的艺术活动，或者想挑战怎样的主题是可以和我们分享的呢？
南川：
明年我们将要启动 “正梦（まさゆめ）”项目——将实际上存在的人的脸，将个人的面孔作为巨大的物体悬浮于东京的上空。我们正在准备这个项目的发表，是我们明年的重头戏。
Q:
What kind of art projects are you planning next, or what kind of challenge are you going to undertake?
Next year we are going to launch the Masayume (まさゆめ) project - it will take real people's faces and float them as giant objects over Tokyo. We are preparing for this project's press conference, and it will be our main event for next year.
正梦（まさゆめ）作品概念图Drawing for masayume ©目［mé］/ Masayume, drawing for Masayume, image courtesy: Mé.
项目资料
Project information
尺寸：《环氧酸气体大》：直径2.3m，厚0.42m / 《环氧酸气体小》：直径1.7m，厚0.18m /《接触》：宽3.6m x 高8.5m / 《线》：宽约6.0m x 高2.0m / 《分离物》：长2.64m x 宽1.8m x 高1.96m / 沙发：长1.94m x 宽0.93m x 0.55m委托方：上海市规划和自然资源局、上海市杨浦区规划和自然资源局、上海杨浦滨江投资开发有限公司Year of Creation: 2019-2020Material: Epoxy resin, wood, FRP, copper, foam sponge, etc.Acrylic Gas Big: d=2.3m, THK=0.42m;Acrylic Gas Small: d=1.7m, THK=0.18m;Contact: (W) 3.6m x (H) 8.5m;Line: about (W) 6.0m x (H) 2.0m;Respective Object: (L) 2.64m x (W) 1.8m x (H) 1.96m;The sofa: (L) 1.94m x (W) 0.93m x (H) 0.55m;Venue: Binjiang, Yangpu District, ShanghaiEntrusting Party: Shanghai Municipal Planning and Natural Resources Bureau; Shanghai Yangpu District Municipal Planning and Natural Resources Bureau; Shanghai Yangpu Riverside Investment Development Co., Ltd.General Contractor: Art Pioneer Studio· Production: Hangzhou Tangyi Sculpture Ltd.
· Supervisor: Shanghai Zhenhua Engineering Consulting Ltd.
延伸阅读
Further reading
关于艺术家
About the artist
目［mé］（左起：南川憲二、荒神明香、増井宏文）© GOTO TAKEHIRO / Mé (from left: Kenji Minamigawa, Haruka Kojin, Hirofumi Masui) © GOTO TAKEHIRO
日本艺术小组 / 团队，三位核心成员分别是艺术家荒神明香、艺术监督南川憲二和现场制作经理増井宏文。目［mé］创作的艺术品操纵着对现实世界的理解。他们的装置激起了对周围世界内在的不可靠性和不确定性的意识。2013年濑户内国际艺术节发表作品《迷宫之街～变化莫测的小路空间～》、2014年为宇都宫美术馆馆外项目创作作品《The Day an Ojisan's Face Floated in Sky》、2017年参加北阿尔卑斯国际艺术节创作《信浓大町实景舍》等，使用各种方法创作各种类型的作品。
A Japanese art group/team consists of three core members: artist Haruka Kojin, art director Kenji Minamigawa, and installer Hirofumi Masui. Mé works on the realization of artworks that manipulate perceptions of the physical world. Their installations provoke awareness of the inherent unreliability and uncertainty in the world around us. In 2013, they presented the work Maze Town-Fantasmagoric Alleys at the Setouchi Triennale; in 2014, they showed Day with a Man's Face Floating in the Sky at the Utsunomiya Museum of Art Outreach Project; and in 2017, they participated in the Northern Alps International Art Festival with The Real House of Shinano Omachi. The group adopts a various approach to create a diverse range of artworks.
Image courtesy by the artist and Art Pioneer Studio
点击图片回顾往期
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关于欣稚锋艺术机构
欣稚锋艺术机构（Art Pioneer Studio）与国内外优秀艺术家、设计师和建筑师合作，致力于为城市与乡村室内外空间策划、设计并制作独一无二的定制艺术品，将触动人心的艺术力量赋予建筑空间和城市环境，以卓越的创造力打造非同凡响的公共艺术空间。
APS时刻都在探索城市与乡村公共空间的艺术可能性，在艺术项目与环境之间建立连接是APS的重要课题。我们根据项目的不同性质和特点进行整体艺术方案策划，为艺术家提供充分的创作和探索空间，为城市豪华酒店、高端写字楼、商场与住宅的室内外空间、以及艺术节项目等提供全程策展及监制服务。我们寻求艺术与不同领域之间的对话，组织并促进国际性跨学科的合作，尤其在建筑及艺术领域之间组织跨界合作，让建筑师与艺术家共同创造独一无二、量身定做的优秀公共艺术作品。
APS已与来自全球十余个国家和地区的40余位艺术家开展合作关系，并受政府委托策划执行2019上海城市空间艺术季（SUSAS 2019），同时在文华东方酒店集团、光明集团、陆家嘴集团及政府的多个境内外地产项目中担任全程艺术策划及监制顾问。
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