毛利美术馆于2004年首次举办的联展“六本木交差点”，同一主题展览于 2007年再次举办。它向日本观众介绍了许多生于十九世纪六十年代和七十年代的年青的、前卫艺术家，他们均受村上隆和他的Kaikai Kiki艺术团队的影响。他的作品主要集中在描绘战争与外太空，并擅长从日常生活中寻找创造灵感，绘制扁平的卡通形象。为本次“惊喜的发现”所选择的三位代表日本的艺术家高嶺格、泽拓和Sakae Ozawa（小沢さかえ）创作方式均在动画和日本流行文化的影响下有不同的体现。

    高嶺格把改变某些社会行为准则的信息融入到他的作品中。他众所周知的作品《上帝保佑美国》[God Bless America (2002)]展示了一对情侣在与能够以怪异声音歌唱上帝保佑美国歌曲的大头雕塑进行互动的场景。高嶺格最近的作品趋向于剧场化，并且扮演着舞台导演的角色。

    出生于石川的泽拓现生活、工作在伦敦，他主要关注日常生活中由于违法手段或窘困之事造成的短暂变化。在他的六屏幕投影作品 “箱 ”(2007)中，通过数码手段挪用现成对象，巧妙的将神道寺、核电站、景观等图像进行改变，再将其嵌入到普通的场景中，因此产生了现实与幻想之间微妙地转换，人们记忆被模糊化的效果。

    小沢的绘画作品并非仅仅形象和美丽的颜色，而经常由人类或动物和人类在一起的情景构成，即使是最一般的情景，也有童话的气氛萦绕。这些图像似乎调用了一种被深深植入童话里的信息，尽管这些信息都是被我们想象出来的。

    在日本，当代艺术越来越多地被社会广泛承认，观众、年青收藏家、拍卖行及画廊的数量也随之增长，媒体对此趋势也进行了报道与支持。尽管本土艺术市场仍落后于伦敦、纽约和香港，但日本观众深信当代艺术与当代文化的发展是密不可分的。 高嶺格、泽拓和小沢通过对日常生活中材料和图像的运用来展开艺术实践。

翻译：张靓
编辑：晋华

BoD_japan curator - Reiko Tsubaki

The Mori Art Museum’s recurring group exhibition “Roppongi Crossing,” first held in 2004 and again in 2007, introduced many young artists to Japanese audiences, connecting their work to the avant-garde movements of the 1960s and 1970s. The influence of Takashi Murakami and his cohort of Kaikai Kiki artists, whose specialty is flat, anime-inspired characters, is unavoidable and remarkably grounded in everyday life, even when the artworks depict war or outer space. Similarly, the impact of anime and pop culture manifests itself in many different ways in the work of the Japanese artists selected for Best of Discovery: Tadasu Takamine, Hiraki Sawa and Sakae Ozawa.

Tadasu Takamine fills his works with messages about changing rules he finds to be administrative nonsense. His best-known work, God Bless America (2002), shows a couple interacting with a mutating sculpture of a large head, which sings the title song in an awkward voice. This and other recent works have tended toward the theatrical, with Takamine adopting the role of stage director.

Hiraki Sawa, born in Ishikawa and now based in London, is interested in momentary changes in the world that occur by means of breaches or contretemps in daily life. In the six-screen projection, Hako (2007), Sawa subtly transforms images of a Shinto monastery, a nuclear power station and various landscapes and interiors by appropriating readymade objects or software and inserting them into otherwise ordinary scenes. The results are subtle shifts between the realistic and fantastical, blurring personal memory with digital production.

Sakae Ozawa produces the paintings rather figurative and beautiful colors. There are often human beings, animals and human beings together, with a kind of fairytale atmosphere even though with the ordinary situation. These images seem to call up a kind of messages deeply rooted in our fairytale or myth, even though it is ourselves who imagine these messages.

In Japan, contemporary art is now gaining broader social recognition. More people are going to exhibitions and there is an increase in young collectors, auction houses and galleries. The media publishes and encourages these trends. Though the market still lags behind London, New York and Hong Kong, Japanese audiences are recognizing contemporary art as essential to Japanese contemporary culture. Takamine, Sawa and Ozawa practice modes of expression that appropriate materials and images from everyday life.

Reprinted by permission of ArtAsiaPacific
Partially reedited by Jin Hua with the permission of ArtAsiaPacific