Everything Visible Is Empty
松本俊夫
![](https://emptygallery.com/wp-content/uploads/2017/12/IMG_EG08_EVIE_11-1280x854.jpg)
For My Crushed Right Eye (つぶれかかった右眼のために), 1968
Image courtesy of the artist, Empty Gallery and PJMIA
![](https://emptygallery.com/wp-content/uploads/2017/12/IMG_EG08_EVIE_03-1280x854.jpg)
Everything Visible Is Empty (色即是空), 1975
Image courtesy of the artist, Empty Gallery and PJMIA
![](https://emptygallery.com/wp-content/uploads/2017/12/IMG_EG08_EVIE_02-1280x854.jpg)
White Hole (ホワイトホール), 1979
Image courtesy of the artist, Empty Gallery and PJMIA
![](https://emptygallery.com/wp-content/uploads/2017/12/IMG_EG08_EVIE_04-1280x854.jpg)
Everything Visible Is Empty (色即是空), 1975
Image courtesy of the artist, Empty Gallery and PJMIA
![](https://emptygallery.com/wp-content/uploads/2017/12/IMG_EG08_EVIE_06-1280x854.jpg)
Phantom (ファントム), 1975
Image courtesy of the artist, Empty Gallery and PJMIA
![](https://emptygallery.com/wp-content/uploads/2017/12/IMG_EG08_EVIE_05-1280x854.jpg)
Installation view
Image courtesy of the artist, Empty Gallery and PJMIA
![](https://emptygallery.com/wp-content/uploads/2017/12/IMG_EG08_EVIE_09-1280x854.jpg)
For My Crushed Right Eye (つぶれかかった右眼のために), 1968
Image courtesy of the artist, Empty Gallery and PJMIA
![](https://emptygallery.com/wp-content/uploads/2017/12/IMG_EG08_EVIE_07-1280x854.jpg)
For My Crushed Right Eye (つぶれかかった右眼のために), 1968
Image courtesy of the artist, Empty Gallery and PJMIA
![](https://emptygallery.com/wp-content/uploads/2017/12/IMG_EG08_EVIE_12-1280x854.jpg)
The Song Of Stone (石の詩), 1963
Image courtesy of the artist, Empty Gallery and PJMIA
![](https://emptygallery.com/wp-content/uploads/2017/12/IMG_EG08_EVIE_15-1280x854.jpg)
Expansion (エクスパンション), 1972
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![](https://emptygallery.com/wp-content/uploads/2017/12/IMG_EG08_EVIE_13-1280x854.jpg)
Expansion (エクスパンション), 1972
Image courtesy of the artist, Empty Gallery and PJMIA
![](https://emptygallery.com/wp-content/uploads/2017/12/IMG_EG08_EVIE_14-1280x854.jpg)
The Weavers of Nishijin (西陣), 1961
Image courtesy of the artist, Empty Gallery and PJMIA
![](https://emptygallery.com/wp-content/uploads/2017/12/IMG_EG08_EVIE_16-1280x854.jpg)
The Weavers of Nishijin (西陣), 1961
Image courtesy of the artist, Empty Gallery and PJMIA
![](https://emptygallery.com/wp-content/uploads/2017/12/IMG_EG08_EVIE_17-1280x854.jpg)
Atman (アートマン), 1975
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![](https://emptygallery.com/wp-content/uploads/2017/12/IMG_EG08_EVIE_22-1280x854.jpg)
Atman (アートマン), 1975
Image courtesy of the artist, Empty Gallery and PJMIA
![](https://emptygallery.com/wp-content/uploads/2017/12/IMG_EG08_EVIE_18-1280x854.jpg)
Installation view
Image courtesy of the artist, Empty Gallery and PJMIA
![](https://emptygallery.com/wp-content/uploads/2017/12/IMG_EG08_EVIE_19-1280x854.jpg)
Installation view
Image courtesy of the artist, Empty Gallery and PJMIA
![](https://emptygallery.com/wp-content/uploads/2017/12/IMG_EG08_EVIE_21-1280x854.jpg)
Ecstasis (エクスタシス), 1969
Image courtesy of the artist, Empty Gallery and PJMIA
![](https://emptygallery.com/wp-content/uploads/2017/12/IMG_EG08_EVIE_23-1280x854.jpg)
Black Hole (ブラックホール), 1977
Image courtesy of the artist, Empty Gallery and PJMIA
Empty Gallery 隆重呈獻《Toshio Matsumoto: Everything Visible Is Empty》──日本近代實驗電影人及視覺理論家松本俊夫回顧展。是次展出錄像作品均是松本於1960至1979期間創作的,這段時間可以說是他創作力最為發揮的高峰期。就像劇作家寺山修司,藝術家橫尾忠則和小說家三島由紀夫一樣,作為反文化的一號人物,松本俊夫冒起於二戰後的創作發酵期。他的作品因著其早趨成熟的實驗形式以及對於激進政治的深度個人視野,以能夠在今天仍然引起共鳴。松本被公認為與新浪潮導演大島渚具有同等份量,在美學上能夠與他匹敵,並對戰後日本電影圈意識型態帶來同樣深刻影響的唯一另一人。松本的電影作品及理論著作為全球實驗電影及錄像藝術史帶來的重要貢獻常常被忽略,一直到近年才開始被重新評價。
這次展覽,Empty Gallery 與藝術家的作品管理人緊密合作,為的是要精選出松本極少曾公開放映的作品,包括他以三部投映機擴充影片的標誌性作品 For The Damaged Right Eye、早期的紀實作品以及其具深遠影響的抽象短片選輯。全部展出影片都是新近復修版本。Everything Visible Is Empty 放棄以風格及年紀為分類的策展方式,改而呈現集結不同脈絡及時期的非線性嵌拼式作品選,力圖擁抱松本對於「可見」的尖銳批判──意識型態建構的凝視而又讓人想起社會現實。雖然這些作品間的主題和形式方法差異極大,但它們卻一致地對社會建構的歷史以及在這建構當中作為接收主體的角色提出質問。
松本俊夫(1932-2017)
日本電影導演、錄像藝術家以及視覺理論家,被廣泛認同為日本戰後前衛藝術的關鍵人物。他初為人所認識是在1955年與藝術家聯組Jikken Kobo 於電影《銀輪》中的合作。而在其往後數十年間的出品中可見,他在該時開展了對於實驗聲音和電子音樂的興趣,並貫徹其整個職業生涯。及後的作品中,松本的創作不拘一格,當中包括實驗紀錄片,結構主義電影及早期錄像藝術;他同時繼續其作為一個具影響力的藝評人、理論家和教育家的工作。松本作品近期的展出包括倫敦泰特現代美術館的《The World Goes Pop》和紐約現代美術館的《Tokyo 1955-1970: A New Avant-Garde》等。