Men with a price price of 190 million days come from the biography: give each lonely person

Nara Michi, the most expensive artist in Japan,

A "Hidden Sword Behind" has made a high price of HK $ 196 million.

The little girl in his pen is naive and rebellious,

Discover a little lonely temperament,

It is interpreted as a self -portrait of the artist himself,

It triggered the resonance of countless people.

▲

Nara Michi

I Ryoichi kawajiri

▲

In 2019, Hong Kong Sotheby's "Hidden Sword Behind" auction site

January this year,

His new autobiography

"Nara Mi: Beginning with the Empty World" published,

Douban score 9.1.

Located in Yu Deyao Art Museum in Shanghai

Nara Meizhi China's first exhibition,

On the day when the epidemic closed more than 100 days after the epidemic was closed,

It is still hot.

▲

"Cosmic Eyes", 2007

(Source: "Nara Mei Zhi: Beginning with the empty world")

▲

The first exhibition site of Nara Michi Mainland China

(Source: Yu Deyao Art Museum)

63 -year -old Nara Michi,

Will frequently update social accounts, share daily life,

Without assistants, all works are done by themselves.

Frequent, bold expressions and good or evil for people.

We interviewed Nara Michi himself,

At the same time, the editor of the two parties of the new book

Know Nara in their eyes.

Start drawing in elementary school,

But he never regarded painting as a means of making a living, he

How did you become the most worthy artist in Japan?

There may be answers here.

Edit: Yu Xuan, Tan Yibai

Responsible editor: Tan Yibai

In 1959, Nara Michi was born in a small city in northern Japan, Aomori. His parents built a single bungalow on the hills. Looking out, he was the grassland. When he went to school, he had to pass through the entire grassland.

Nara is the oldest of the three brothers in the family. The elder brothers are much larger than him, and their parents are often not at home, and they are holding "lettibonalism." Therefore, since elementary school, as long as he informs his destination in advance, he can act freely; after he is in the senior grade, he can already ride a lot of places; when he arrives in middle school, he starts to sleep in a tent outside. In such a family environment, he began to like the fantasies of infinite fantasies and presented it with a brush.

▲

Nara Michi and Love Cat Chako, 1966

(Source: "Nara Mei Zhi: Beginning with the empty world")

In 1966, the elementary school student Nara Mizhi already created a picture book called "Penguin Story", telling the adventure story with his pet cat from the Arctic to Antarctic. He was 6 years old that year, and now nearly 60 years have passed, he is still painting, becoming the hottest artist in the world.

He said, "I am greedy every day that can be painted freely." Because of greed, he still studied at the art school in his 30s and was not satisfied with the education of Japanese schools. He went to study in Germany and then graduated from German schools. , It's almost 35 years old.

He loved painting so much, but he has not thought that painting is all of him, and it has never been a means of making a living. He loves rock music, travels, ranges and rugby, simple, simple, eternal jeans with T -shirts or hoodie. Painting for him is just the presentation of lifestyle and thinking process.

▲

In Nara Mizhi's brush, there are also iconic little girls

T Yoshitomo Nara

At first, Nara Mi Zhi, who was completely unhappy about the painter's road, put his studies aside in the second year of high school, fell in love with rock music crazy, listened to Bob Dylan, listened to Neil YOUNG), buying records with the money saved one by one, and enjoying the cover of the record, familiar with Pop art. He also covered the rock cafe with the senior, made from the wall to the tables and chairs, bar, and left a painting on the wall.

▲

At the age of 23, participating in rock music performances ️YOSHITOMO NARA

▲

In front of the rock coffee shop operated with the predecessors, in 1975

(Source: "Nara Mei Zhi: Beginning with the empty world")

At the same time, he kept hearing that the people around him said, "You are so good at painting, is it better to take the beauty?" At that time, Nara Mizhi only felt that he was not enough to go to a art college. It is something in another world. "But he imagined to go to a big city like Tokyo to watch live performances, go to record shops, cafes, and then decide to learn art. Such an opportunity to listen to jokes, but it is indeed a simple delusion- "it seems to be able to live a easier college life."

▲

Up: In Belgium, 1979

Next: In Paris, 1980

(Source: "Nara Mei Zhi: Beginning with the empty world")

But he "missed" again. In the second grade spring vacation, 20 -year -old Nara Michi traveled to Europe and traveled alone in various art museums. After returning to Japan, it had already spent the tuition of the year and had to drop out of Musashino University of Fine Arts.

The next year he applied for a public university to finish undergraduate and graduate students. He also became a lecturer in the art preparatory school. The work began to display in the gallery. "I started talking about my ideals in front of the students, but I always felt that I was deceiving this group of young people full of knowledge." So, in 1988, at the age of 28, he went to the Dussertor Fine Art College in Germany and re -read from the first grade. rise.

▲

The masterpiece of his leap -up progress "Girls holding a knife", 1991 (Source: "Nara Mi: Beginning with the Empty World")

In the late 1990s, Narachi began to be recognized in the art world. The winter in Germany was always dark, and only the gray -shrouded sky reminded him of the barren fields of his hometown when he was a child. He gradually found that he felt painting in use.

During this period of extremely important to him, in his paintings, the background began to simplify, and the subject jumped strongly. A pair of "Girls holding a knife" in 1991 was a painting without a background girl. He associated all his inner clues together, and peace and anti -war became one of his eternal themes.

In 2001, he returned to Japan and held a exhibition in Yokohama Museum of Art. The number of people visiting exceeded imagination. He said in his autobiography: "I suddenly had a reputation in Japan. After that, I seemed to be involved in a huge torrent of a certain stock that beyond the art world." Many, he was wrapped in this popular vortex, and he ran away again in order to escape from such a world.

▲

Left: "Ninxin Cat", 1994

Right: "Deep Lake II", 1995

(Source: "Nara Mei Zhi: Beginning with the empty world")

In 2007, he returned to the countryside, and came to Nihe County to participate in a ceramic resident project and cooperated with many artists. In the past three years, he kept back here, dialogue with the "soil", sweat with others, and kept returning to himself. Around the distance, but this has a sense of real! "

Such a daily routine ended abruptly on March 11, 2011.

▲

Nara Meizhi Sculpture Works

T Yoshitomo Nara

"On the day of the great earthquake, I couldn't simply recognize the art that I was convinced before. The sense of loss and weakness at that time, anyone in Japan could experience it. I don't want to draw. "

The place where Nara lived and created was only 100 kilometers away from the Fukushima nuclear power plant, and the damage was not light at that time. That year, from winter to spring, he created a large number of sculpture works and cast all of them to bronze. He acknowledged in the interview that this was a pillar of him for a long time. He explained that this is an instinct like animal.

▲

The main body is anti -nuclear and anti -war "Nuclear Baby", 2012

(Source: "Nara Mei Zhi: Beginning with the empty world")

▲

"Star", 2012

"My parents told me when I was young that my grandparents turned into a star in heaven after their death."

(Source: Network)

After picking up the brush again, he continued to draw the most iconic little girl. She seemed to be his "stand -in", a lonely child who never wanted to grow up, and announced his claims loudly.

Because he grew up in areas where infrastructure was relatively scarce, he was very different from the scenery he saw in Tokyo. He remembered that when he first arrived in Tokyo, he felt a sense of lag with his peers. When he was in his hometown, there were almost no friends in his neighbors who were similar to him. Therefore, most of the time, he stayed alone at home, watching picture books, playing with cats, raising turtles, and going out to explore.

There was no sketch in his creative process. Sometimes you can even wipe off the smooth drawing picture, and sometimes change the right side to the left side. "It is because I want to ensure a certain pure feeling, I can destroy it again, and start again from scratch." Make himself upset, but it is precisely this kind of trouble that keeps him in the state of returning to his original intention.

▲

Current studio

T Yoshitomo Nara

In his childhood, he was adventurous in his hometown, and the snow covered everything. Nara's imagination began in a empty world. When studying in Tokyo, he became a rock youth. He met the collision between the East and the West in Germany and continued to expand his spiritual boundary after returning to his hometown ...

Now he placed rock music loudly in the studio away from the city, and painted while drawing. Outside the window is a grassland that is extremely similar to his childhood hometown. On the canvas in front of the eyes, the little girl with green pupils and red skirts will never be evil and pure, stubborn, stubborn, stubborn Rebellious.

▲

In 1995 in Cologne, Germany, Studio

T Yoshitomo Nara

One: Where do you live now and how do you arrange time? In addition to drawing, what are you paying attention to and how do you participate?

I do what I like every day (reading, watching movies, traveling), and starting to create with inspiration. When I was young, I had no money to travel, buy books, and watch movies, so I have been creating, and I have made many works. If you think about it, I have started to save money and listen to music through work since my student days. Painting is not what I have at first.

When I was studying in Japan, I would spend money on movies and records first, and I went to buy painting materials with a balance. At least in the world outside my studio, the proportion of art is very low. There are not many people who can talk about topics other than art. For this reason, I choose to deal with people outside the art world.

Like I like the literature of Miyazawa very much, he did not succeed as a writer in Tokyo. Instead, he returned to his hometown and was recognized after his death. The work was born in the daily life after returning to his hometown. Only in a place where status and reputation can have free creation. ▲

"After the Sour Rain", 2006

(Source: "Nara Mei Zhi: Beginning with the empty world")

One: Children in the work are generally considered your self -portrait. What interesting views can you share with us?

Regarding my work, it is usually considered cute in Japan, but in Germany, my work will be deeply analyzed, such as associated with the child's social oppression, or because of the big head, it is considered to have got it. Children with hydrocephalus or abused children and so on.

They will step into my work further and hope to understand deeply. For another example, they will compare the children appearing in my painting Jean Cocteau's "Les Enfants Terribles", and there are many interesting discussions. Recently in Japan, there are some such concepts that understand the children in my work as precocious puberty. This kind of national nature is very interesting.

▲

The audience who watched the exhibition at Yu Deyao Art Museum

Photography: Wang Qing

One: Shanghai is the second stop of this large -scale tour exhibition. It is said that it has been exhibited for 37 years of 800 works. For yourself, what is the significance of this exhibition?

When I received an invitation from the art museum in Shanghai, because I met the owner of this art museum, I liked him very much, so I agreed. For me, it is very comfortable to work with people like friends.

One: The exhibition exhibits a lot of your manuscripts, music you have heard, and why do you want to show you yourself behind the work?

Because I want everyone to know my background. Compared with the work, I hope everyone knows my origin, story, and what I am a real person. This is something more important and unable to replace than works.

▲

"Continue to I", 1993

T Yoshitomo Nara

One: You said that the painters you like "are all people who confront themselves, and will not create to cater to others." Do you have a denied experience in your growth process?

I am not an excellent student when I read. Those students who value myself will choose to ignore me. I originally felt that I was much inferior to others, so I didn't have any self -esteem, I just painted what I like.

I will talk to others one by one at any time. The key is whether the dialogue is speculative. However, when my work has more focused, the reporter came to interview me and gradually thought about whether the person in front of me had never seen my work. Some people who met for the first time said with me: "I like your work very much. But I haven't seen your exhibition yet." So I started not to accept that, because I would only keep my friend relationship with those who really like me who really liked me Essence

One: Since 2020, the new crown epidemic has affected the world. What impact and change have your life and creation have been?

I haven't thought about this problem. I just want to live with the people around me and live freely. As a part of an artist, I don't have much position in my heart. I have always considered things in front of me.

▲

In the hometown of the hometown, Nara Mi Zhi spent his childhood here

T Yoshitomo Nara

One: What is the most precious thing for you to grow up?

My childhood happened to catch up with the rapid development of Japan's economy and did not have time to get along with my parents. It was those who taught me to "talk and think with myself." In the past, there was a column serialized in the mainstream newspaper called "Genius Cultivation Method" (the title was not clear). It reported how the father of the professional baseball player Suzuki Ichiro cultivated him. This column also issued an interview invitation to me. At that time, my mother refused on the grounds that "I didn't do anything".

My expectations of the children who shoulders the future are that they hope that they will be a "independent thinking, independent will, and discuss, play, and learn" with everyone.

In January of this year, the new autobiography "Nara Mi Zhi: Beginning with the Empty World" was published. In order to directly convey Nara Michi's own thoughts, the book did not add criticism, analysis, and praise of any third party in the book, which was only composed of Nara's own language. The following are the planning of Midea Sail, and Chinese editor Tang Shi, which have been talking six times with Nara, and Chinese editors.

▲

17 -year -old Nara Michi, 1977

(Source: "Nara Mei Zhi: Beginning with the empty world")

Tang Shi: He is a person who is not decorated and handsome, and he has not enlarged himself. It is almost forgotten that he is a world -class artist.

Maybe many people think that his paintings are flat, the image of a girl is the same. In fact, his work is very three -dimensional and very layered. When you go to the scene, you will find the degree of overlap and the depth of color. And the little girl at each stage is so different. Some pupils are pure colors, and some are bright stars.

When I printed his work in the book, the technicians did not understand why we spend so strong to go to school to match the color. As soon as we got the professional light, it collapsed. The ordinary printing color could not show his work. ▲

Up: "low fever", 2021

Next: "In a White Room", 2003

T Yoshitomo Nara

Mei Fan: If you want to say like an animal, he likes cats very much. In terms of "not pleased, I can do my best, but it can bring happiness to many people", Nara Mi Zhi is like a cat.

Standing in front of Mr. Nara's paintings, sometimes there is a feeling of looking at the Buddha statue. Sometimes like a father's face, sometimes like a mother's face, people can keep looking at it all the time.

In Shanghai in 2007, as a translation, I helped exhibitions. At that time, I watched Mr. Nara's painting at that time. It was a large painting. I had an incredible feeling of being sucked into the picture at the time. This is the first time I have feeling this when watching painting.

▲

Left: "Midnight Pilgrim", 2012

Right: "A little bad -hearted", 2012

T Yoshitomo Nara

His works must have a face, both paintings, sculptures, or ceramic arts. Faces can reflect their own sorrows and sorrows, and they can also reflect the love and hate, joy and sadness in their hearts from the face of others. At this point, there is no gap between the country, language, human race, gender.

The reason why Nara is favored by so many people may be because in his paintings in his paintings, the universal heart of transcendence and human race allows everyone to see the face they want to see.

Reference materials: "Nara Mi Zhi: Beginning with the empty world"

Part of the materials provide: Yu Deyao Art Museum

- END -