AISHONANZUKA is pleased to present first solo exhibition with Harumi Yamaguchi in Hong Kong.
Yamaguchi was born in Matsue in the Shimane prefecture, and graduated from Tokyo University of the Arts with a degree in oil painting. After working for the publicity department of Seibu Department Stores, Yamaguchi begun her career as a freelance illustrator, participating in the advertising production for PARCO with its opening in 1969. Since 1972 Yamaguchi has depicted female figures using airbrush techniques, instantly establishing herself as an illustrator that symbolized the era.
The encounter between Yamaguchi and PARCO was an inevitable one. Tsuji Masuda whom served as the president of PARCO had established plans for creating a department store that functioned as a cultural facility, collectively combining platforms such as museums, theater, and publishing in addition to retail, and as a result had headhunted Yamaguchi for this endeavor. As could be seen in Masuda’ s decision of appointing Eiko Ishioka for the art direction, Kazuko Koike as copywriter, and Harumi Yamaguchi for the illustration, PARCO had soon focused on ‘women’ as a major driving source behind Japanese society of 1970s and onward, further succeeding in diverting this power to the business sector. Yamaguchi’ s female figures are far from notions of eroticism as portrayed allegedly through male eyes in the form of pin-ups. On the contrary, the women themselves appear to joyously celebrate their own sexuality and existence. Furthermore, the images of women partaking in boxing, baseball, and skateboarding which Yamaguchi had illustrated in the 70s, could be interpreted as an ironic gesture towards a male-dominant society at a time prior to the establishment of the Equal Employment Opportunity Act in 1985 an era when women were unable to equally advance into society.
In the catalog published in correspondence to “Women of the 70s PARCO Poster Exhibition 1969-1986” that took place at the Tokyo Metropolitan Museum of Photography in 2001, Chizuko Ueno had critiqued Yamaguchi’ s works stating, “while appearing to adhere to the scenario of male-tailored eroticism, Yamaguchi deconstructs male desire through her exaggerative depictions. As a consequence, the female body is idealized to a realm unreachable by male hands.” ( ‘The Idea of the Woman’ )
Alberto Vargas, famous for his pin-ups for Esquire magazine and Playboy, is notably the international pioneer of airbrush illustrations. However, in the context of early ‘70s Japan there were no pre-eminent illustrators working with the airbrush medium with the exception Harumi Yamaguchi. It is certain that Yamaguchi’ s achievements will continue to receive acclaim as an inaugural figure of super-real illustration that took Japan’ s advertising industry of the 70s and 80s by storm.
This exhibition will feature a series of prominent pieces selected from a body of work centering upon Yamaguchi’ s airbrush illustrations created for PARCO.
AISHONANZUKA 將會在香港展出 Harumi Yamaguchi 首個個人展覽。
Yamaguchi 出生於日本島根縣松江市，並畢業於東京藝術大學主修油畫。曾於株式會社西武百貨店宣傳部門工作，並參與 1969 年 PARCO 購物中心開幕的廣告製作，遂開展其插畫事業。自 1972 年起 Yamaguchi 運用噴槍技巧描繪女性畫像，瞬即成就她作 為插畫家的代表性時期。
Yamaguchi 與 PARCO 的合作並非巧合，PARCO 主席 Tsuji Masuda 在構思建築時，希望建構一所集藝術館，劇場，購物中心於 一體的文化平台，故特意找到 Harumi Yamaguchi 參與計劃。Tsuji Masuda 聘任 Eiko Ishioka 為藝術總監，Kazuko Koike 為編 輯，Harumi Yamaguchi 負責插畫，由他的選擇中可見 PARCO 是以七十年代日本社會中的「女性」為主推動力，同時亦因此更 成功拓展其商業勢力。Yamaguchi 的畫像並非描繪一般男性眼中海報女郎的性感形態，相反地，畫中的女性是歡樂地展現自己 的性感和存在。在 Yamaguchi 七十年代的作品中，是以女性拳擊、打籃球、�滑板的畫面諷刺女性在 1985 年平等就業法正式 通過前男性主導的社會無法得到公平對待。
在 2001 年東京都寫真美術館舉行的「PARCO 七十年代海報的女性 1969 ‒ 1986 展覽」出版書冊中，Chizuko Ueno 曾對
Y a m a g u c h i 的 作 品 評 道 :「 性 感 畫 面 的 出 現 都 是 以 男 性 角 度 出 發 ， 但 Y a m a g u c h i 的 浮 誇 繪 畫 卻 打 破 了 男 性 的 幻 想 。 在 她 的 影 響 下 ， 女性身體被理想地塑造成男性難以觸碰的領域。」(《女性思想》)
Alberto Vargas 是國際上以噴槍繪畫插圖的先鋒，在 Esquire 雜誌以及 Playboy 中可見他繪畫的著名海報女郎。而七十年代早期， 日本插畫家的噴畫作品內容並未能及 Yamaguchi 所畫的出色，Yamaguchi 的插畫首創超現實的圖像，一直深受歡迎並帶領了日 本七十及八十年代廣告業的新風潮。是次展覽將會展示一系列當時 Yamaguchi 為 PARCO 所繪畫的噴槍繪畫的精選插畫作品。
