1990年代初至今，高岭格是日本最活跃的当代艺术家之一。从雕塑、行为艺术、单频道录像、大型多媒体装置作品到剧场设计，他的许多作品以共同制作、跨领域为特色，不拘泥於任一种风格。作品内容往往质疑常识，讨论伦理，在涉及当下社会议题的同时，也认真思考美术的问题。他从不放弃视觉效果，但亦不局限於审美阶段，而是不断更新美术的地平线。日本311东北大震灾与福岛核灾後，高岭格的作品尝试反映日本社会的集体潜意识，充满着严苛的批评性与敏锐度。近期的创作更明确地贴近他一向注重的「生命」本身的神秘与力量，本展呈现的主题也与此有关。

「兄弟：高岭格个展」是高岭格在台湾的首次个展，展出作品包括使用灯光与声音的装置作品《兄弟─共感》、引导观众进入装置作品的摄影系列《兄弟─关怀》，以及两件录像艺术作品包含其代表作《God Bless America》（2002）与过去引起许多争议的《木村先生》（1998）。

主要装置作品《兄弟─共感》延伸自高岭格为2015年京都国际艺术祭Parasophia，於京都市立美术馆地下室发表的作品《地球的凹凸》：与音乐同步闪烁的三个发光体，悬空在模拟海底地表的上方，以同样的速度、画着等大的圆圈反覆旋转。在整场演出的高潮，空间突然流泻出悠闲如同白日梦的音乐，充满明亮的钠蒸气灯光。艺术家透过灯光极限运动的戏剧性变化，企图诱发观众以为空间温度升高的错觉及情绪之变化。

高岭格认为灯光回旋的系列作品象徵着种种关联性的系统。其旋转的光源，以他来说，是一种乙太（Aether），或就像有机体能有无限的表情，其声音的组合也能够表达复杂的情感。艺术家表示，此次TKG+ Projects 的展出，将减少光源，希望呈现比京都《地球的凹凸》更简洁、直接且纯粹的作品。

展览名称「兄弟」可代表装置中的两个光源，也是首次发表的摄影作品的主题之一，将与装置作品产生一些对话。此外， 2003年威尼斯双年展展出的代表性录像作品《God Bless America》及他与残障表演艺术家朋友长年交流後制作的录像作品《木村先生》也会一同展出。

高岭格自2015年到2016年，受邀担任国立台北艺术大学新媒体系客座教授。这段期间，他延续311福岛核灾後创作的作品《日本症候群》的概念，并监於台湾食安问题，与学生们合作制作《台湾症候群－食安篇》，预计在关渡美术馆7月22日至9月18日的联展「失调和谐」中展出。相信艺术家於台湾四个月的授课经验，将使同期的两个展览展现不同样貌。於TKG+ Projects发表的「兄弟：高岭格个展」，可视为艺术家为现今台湾创作的「定点艺术」，让我们看见艺术家的心中风景。（文：策展人岩切澪）

关於高岭格（Tadasu Takamine）

1968年出生於日本鹿儿岛，目前居住日本秋田。1990年代就读京都市立艺术大学美术系漆艺组时，与表演团体 Dumb Type 合作。後进入日本 IAMAS （Institute of Advanced Media Arts and Sciences，应用媒体艺术及科学学院），开始制作时基装置艺术（time-based installations）。高岭格的作品皆具有表演的性质，他探索表演作为即时反应今日世界的可能性。遑论作品文本 ，他偏好考量展演空间限地制作，并让作品随时间逐步变化。高岭格有许多作品是与舞者、舞团共同制作。近年的主要个展包括「太远看不太到」（横滨美术馆、广岛市现代美术馆、英国伯明翰IKON Gallery、雾岛艺术之森美术馆，2011-2012），「高岭格的酷日本」（水戸艺术馆当代艺术中心，2012）等。2013年受邀德国DAAD（德国学术交流总署）驻柏林一年。2014年， 他参加HAU（Hebbel am Ufer， Berlin）的活动「日本症候群－福岛後的艺术与政治」。2015-2016年，受邀担任国立台北艺术大学新媒体学系客座教授。过去出版包括《在日情人》（河出新房新社，2008年）。

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TKG+ Projects is pleased to present Brothers： Tadasu Takamine Solo Exhibition， curated by Mio Iwakiri. Takamine‘s first-ever exhibition in Taiwan， Brothers comprises a light and sound installation Brothers-Synesthesia with a photography series that acts as a preamble， as well as his important video installation God Bless America (2002).

Since the 1990s up until now， Takamine has been one of the most active artists in Japan. Distinguished by collaboration and interdisciplinarity， Takamine ’s diverse body of work — from sculpture to performance art， from single-channel video to large-scale multimedia installation and theater design — defies categorization. He questions common sense and probes ethics， at the same time pondering aesthetics in his investigation of the current social fabric. Visual effects and asethetics are equally important to him as he strives to broaden the horizons of contemporary art. After the 311 Earthquake and Fukushima nuclear disaster in 2011， Takamine has been focused on portraying the Japanese collective subconscious in his work that is both steeped in critique and keen in observation. The inherent mystery and power of life has been the focal point in his recent body of work， as well as the theme of the current solo exhibition.

Brothers-Synesthesia， the centerpiece of the exhibition， is an extension of Bumps on the Earth (2015)， which debuted at the Kyoto Municipal Museum of Art for Parasophia， Kyoto International Festival of Contemporary Culture. Three luminous spheres that glint in synchronization with music， suspended above simulated seafloor， rotate repeatedly in identical circles at the same speed. In the climax， dreamy music permeates the space lit up by sodium-vapor lamps. Through the dramatic change in lighting， the artist evokes an illusion of a rising temperature while finessing viewers’ emotions.

Takamine’s circling light series illustrates an interconnected system. The circling light source for him embodies aether， or an organism with boundless expressions. The combination of sounds in the installation represents complex emotions. For the exhibition at TKG+ Projects， the artist re-envisions the piece with diminished lighting， conjuring a version of Bumps on the Earth (2015) that is more simple and direct.

The exhibition title Brothers not only refers to the two light sources in the installation， but is also one of the themes in Takamine’s photography work that debuts at this exhibition， resonating with the installation. Video work God Bless America (2002)， which showed at the 2003 Venice Biennale， is on view as well.

Tadasu Takamine was a visiting professor at the Department of New Media Art， Taipei National University of the Arts between 2015 and 2016. During this time he continued to explore a similar concept to his work Japan Syndrome (2014)， which was made after the 311 Fukushima nuclear disaster. In light of the food safety issue in Taiwan， the artist collaborated with students on a work titled Taiwan Syndrome： Food Safety， which is expected to debut at Discordant Harmony， a group exhibition at the Kuandu Museum of Fine Arts in Taipei from July 22 to September 18. As the four months of teaching allows Takamine to approach the two exhibitions in different ways， Brothers： Tadasu Takamine Solo Exhibition can be viewed as a form of site-specific art the artist creates for Taiwan today， inviting viewers on a journey through the mind of the artist. (Text by Mio Iwakiri)

About Tadasu Takamine

Born in Kagoshima in 1968， Tadasu Takamine currently lives in Akita， Japan. While studying lacquer at the Kyoto City University of Arts and Music， he worked with the artist collective Dumb Type in the 1990s. He later did graduate work at the Institute of Advanced Media Arts and Sciences (IAMAS) in the Gifu Prefecture and began making time-based installations. Takamine has been exploring possibilities of performance as an agent to instantly respond to today’s society. Regardless of the context of presentation， his works have been incorporating the space and evolving in time. He has developed many works in collaboration mainly with dancers and dance companies. His recent solo shows include Too Far to See (Yokohama Museum of Art， Hiroshima City Museum of Contemporary Art， IKON Gallery， Birmingham， U.K.， and the Kirishima Open-Air Museum， 2011-2012)， and Tadasu Takamine‘s Cool Japan (Art Tower Mito， 2012). In 2013， he was invited by the German Academic Exchange Service (DAAD) to do a one-year residency in Berlin. In 2014， Takamine participated in Japan Syndrome — Art and Politics After Fukushima， an event held at the HAU (Hebbel am Ufer， Berlin). From 2015 to 2016， he was a visiting professor at the Department of New Media Art at the National Taipei University of the Arts. His published works include A Lover from Korea (Kawade Shobo Shinsha， 2008).