BIWAKO双年展 2025 “流转〜Flux ” 预展 in 上海（朱家角）
BIWAKO BIENNALE 2025 “Flux” in Shanghai Preview（ZHUJIAJIAO）
ACENTRICSPACE & FANYUE Culture Communication
前言 Introduction
国际艺术节琵琶湖双年展于2001年在日本最大的湖泊—琵琶湖畔诞生。
琵琶湖所在的滋贺县毗邻京都，位于日本的地理中心。2000年，开始举办BIWAKO双年展时，城市中有许多无人居住的建筑，呈现出一片仿佛时光停滞的萧条景象。现在清理、修复了这些长期被遗弃的建筑，用作会场。这些建筑在重新焕发活力的同时，与艺术作品共同绽放光彩，吸引了众多观众。经过20余年，现在这些会场建筑已经被改造为咖啡馆、精品店和客栈等，城市也重新恢复了生机。
为了迎接2025年第11届国际艺术节琵琶湖双年展的到来，决定携手ACENTRICSPACE无央空间在上海朱家角举办预热展览活动。
Marked by the start of the 21st century, BIWAKO Biennale began in 2001.
Dotted throughout the old town many empty, old houses, after falling into disrepair, eventually become parking lots or new, modern houses. To save these irreplaceable historic buildings, BIWAKO Biennale attempts to put them to use. We begin by cleaning these long-neglected buildings with the help of volunteers comprised of both local residents and people from across Japan. Then, artists from home and abroad work with each of the spaces to turn them into works of art. We hope you enjoy experiencing both the artists’ work and how the once-neglected and forgotten buildings spring back to life with a new radiance.
To welcome the upcoming 11th BIWAKO BIENNIAL 2025, we have decided to collaborate with ACENTRICSPACE to host a preview exhibition in Zhujiajiao, Shanghai.
万物变化，天地曾不能以一瞬。
即便将自身其视为个体而认知,因细胞的更迭,也未曾有一刻不变。世间万物,均在变化之间。广袤的宇宙,此刻正在加速离我们，渐行渐远。
凡在世间诞生的事物,终有一日会迎来其终结。现代物理学已经证实，星辰之间的虚空之中充满暗物质。不可观测不意味着不存在,可观测也不意味着就存在。或许，万物在不断变化的波中流转。
本次展览由3位艺术家共同完成,通过装置艺术的形式展出。希望观赏这些作品的各位，能够结合自身的经历产生共鸣的同时，感受作品与当下蕴含的情感和联系,在此度过一段宝贵的时光。
Everything changes and never stops. Even we ourselves, who we recognize as a single individual, have cells that are constantly being replaced and cannot be the same self even for a moment.
Not only us human beings, but everything that exists in this world is not exempt from change. The vastness of the universe is also speeding up at this very moment and moving further and further away from us.
Everything that is born into this world is destined to come to an end one day or another. However, no one knows if death itself is really the end. Rather than life after death, we may simply return to our original energy. Even physics at the present time has already proven that the jet black between the stars is filled with energy (dark matter).
Just because we cannot see it does not mean that it does not exist, nor can we assume that it exists just because we can see it. Everything may be in the midst of waves of change and flux.
borative effort by three artists, who created works centered around the theme “Flux” through the medium of installation art.
2015年获得“第18届冈本太郎现代艺术奖展”特别奖
八户市美术馆开馆纪念展“礼物,礼物,”青森县八户市美术馆
“BIWAKO琵琶湖国际双年展2022”滋贺县 近江八幡市内
除展览活动外,还参与了艺人YUKI的音乐MV《Mylovelyghost》
和GUCCl的短片《KaguyabyGucci》的艺术创作。
以1945年后日本独自普及的花纹毛毯为主要创作材料，进行立体作品和装置艺术的创作。作品反思并再次追问自身经历和日本文化的存在方式。
1986 Born in Yokka-ichi City, Mie Prefecture
2011 Graduated from Tama Art University, Department of Sculpture, Faculty of Art and Design
Award History
2016 “SICF17” Grand Prix received
2015 “The 18th Taro Okamoto Contemporary Art Exhibition” Special Award received
Public Collection
“Yarimizu Fire Fly Village Rebirth Project”, Tokyo
Major Exhibitions
“Roppongi Art Night 2017” at Mori Tower, Roppongi Hills, Tokyo
Commemorative Exhibition for the Opening of the Hachinohe Art Museum, “Gifts, Gifts,” at Hachinohe Art Museum, Aomori Prefecture
“BIWAKO Biennale 2022” in Omihachiman, Shiga Prefecture
In addition to exhibitions, contributed to the art direction of YUKI’s music video “My Lovely Ghost” and Gucci’s short film “Kaguya by Gucci.”
Primarily using patterned blankets, which became uniquely popular in Japan after 1945, the artist creates sculptures and installations that reflect on and explore questions about personal experiences and the nature of Japanese cultural identity.
Installation view from the previous exhibition
深耕在设计与艺术的领域，广泛从事展览，展会，舞台艺术等多个板块的创作。
将机构学的要素和自然界的波动节奏单独组合在一起，制作成动态艺术作品。
提出“视线的游乐场”这一概念，并在国内外开展了各种类型不限的活动。
kinetic artist/space designer
Masato Tanaka graduated from the Tokyo National University of Fine Arts and Music.
He takes a stance on the boundary between design and art and works extensively on exhibitions, displays, stage art, and more. He creates kinetic installations that uniquely combine mechanic elements and the rhythm of the natural world’s fluctuations.
He develops his work both in Japan and abroad, staging “playgrounds for the gaze”, relaxing spaces, and atmospheres.
和风谈天的伙伴 Chat Partner of the Wind
Metals, synthetic fiber, resin， plywood, motor, LED
时间回溯的方法 Rewind and Remind
Metals, plastics, magnets, lens, motor, LED
Metals, plastics, lens, marble, motor, LED
2000 – 2003 伦敦艺术大学，学士学位，主修美术，艺术与空间
首先是永久性的公共雕塑和装置，通常是大规模、特定场地的结构，倾向于自然元素，或以某种方式与自然关联。
其次是更具临时性质的创作，通常是基于项目侧重于光、声音、装置、视频、动画、系统化和动力学。
兴趣在于通过不同方式去探索自然的本质、人类行为以及两者之间的联系。作品时而是纯粹的雕塑形式，时而完全数字化，也存在两者结合的情况。
Robert Hais was born in 1978 and is now based in the south of Sweden. He creates large-scale on-site structural works, as well as animation and video works.
As an artist, I work with a few different areas of interest. The first deals with permanent public sculptures and installations, often large-scale, site-specific structures with an inclination towards nature or somehow involving nature. The second is of a more temporary character, often project-based, and leans more towards light, sound, installations, video, animation, systematisation, and kinetics.
My interest in these methods of exploration is both the nature of nature, human behavior, and the link in between.
In some cases the works are strictly sculptural, sometimes its all digital, and in the present moment also a combination of the two.
自然而然 The Nature of Nature
木框架，人造苔藓（塑料）Wood frame, artificial moss (plastic)
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