Original (Japanese): 「渋谷系」と「日本」のもの作りの共通点 信藤三雄×山口真人 | CINRA  |  EN  |  中文

“Shibuya-kei” and the Craft of “Japan”: Mitsuo Shindo × Masato Yamaguchi

2015.08.21 Fri

Interview & Editing: Kohei Sasaki

Photography: Atomu Somura

Composition: Tamaki Sugihara

English (EN)

From Andy Warhol to street artist KAWS—this exhibition boldly quotes masterpieces by giants of pop art and pop culture, then recolors them with a distinct graphic sensibility. The author is contemporary artist Masato Yamaguchi. He has created artwork for popular musicians such as Sheena Ringo and APOGEE, and also works as an art director leading the art & design office “IDEASKETCH.” With plastic as his medium, he has developed the “Plastic Painting (deceptive painting)” series and earned acclaim at art fairs including Scope Miami Beach. Yamaguchi’s new solo exhibition MADE IN TOKYO opens at GALLERY SPEAK FOR on August 21.

The theme this time is “Tokyo as a vessel that mimics, remixes, and remakes cultures from around the world.” Yamaguchi says the spark came from the music and visuals of the 1990s movement known as “Shibuya-kei,” which he devoured in his teens. Mitsuo Shindo—who handled artwork for Flipper’s Guitar, Pizzicato Five, and more—was the very person who shaped the Shibuya-kei image people imagine. On what ideas was that creativity built? And what “Tokyo-ness” does Yamaguchi see in the quoting of existing music and graphics, the very hallmark of Shibuya-kei? Lend an ear to their conversation.

“Shibuya-kei, which skillfully reinterpreted overseas culture, echoes the way Tokyo’s culture has been cultivated since the Meiji era.” (Yamaguchi)

—Today we’d like to talk under the theme of “expressions of Tokyo.” First, what can we expect at your upcoming solo show MADE IN TOKYO?

Yamaguchi: Whenever I make work I look back at my roots. This time I realized that the “Shibuya-kei” boom of the 1990s occupies a huge place in me. In music it was Flipper’s Guitar and Pizzicato Five; in graphics, I was strongly influenced by Contemporary Production, the design office led by Mr. Shindo. These people reinterpreted overseas pop culture with great finesse, and that mode of expression, I felt, connects to the long-running way culture has been cultivated in the city of Tokyo since the Meiji era. That thought is embedded in the exhibition title MADE IN TOKYO.

—So Shibuya-kei and Tokyo’s cultural formation converged for you.

Yamaguchi: Right. Seen that way, Shibuya-kei shouldn’t be treated as a passing fad but valued over a longer arc as an expression representative of Tokyo. In fact, there are many people like me who were influenced by Shibuya-kei, and many overseas friends who come to Japan in search of it. I wanted to carry its powerful influence and structure into the context of contemporary art and make that visible.

—Your exhibits quote titans like Andy Warhol and Damien Hirst. Is that lineage from Shibuya-kei?

Yamaguchi: Of course Warhol and others already operated with a sampling sensibility, so there’s an element of homage in my work. But it was Shibuya-kei that implanted my interest in sampling and quoting. When I make, I don’t think in terms of creating from zero. The creative act, to me, is to reinterpret what exists and turn it into something new.

Shindo: It’s about whether asserting personal identity is necessary in expression. I’m not sure “East Asian” is the right umbrella, but at least in Japan the sense of identity in expression has been relatively thin. Think of honkadori in classical poetry—quoting lines from famous songs. What might read as “rip-off” in the West has been commonplace here. That Japanese cultural view and ethics are probably ingrained in us.

Yamaguchi: That sensibility is exactly what I learned—and what draws me—from the Shibuya-kei works, including the artwork you made. From honkadori to Shibuya-kei, there’s a uniquely Japanese history of “copying,” if I may. And its prime example is the “Tokyo expression” typified by Shibuya-kei. I want to bring that into relief.

Shindo: That’s certainly an interesting view. Conversely, I sometimes question the Western idea of making personal ego a value in itself. Ego can be beautiful, but it’s rare to encounter such beauty.

Yamaguchi: In that sense, maybe I’m trying to express ego in an extremely un-subjective way. Japanese makers—including Shibuya-kei artists—don’t just quote; there’s a will to make it newer, to avoid anything uncool. I feel that policy strongly in your work as well.

Shindo: Right. Even when I was working on Shibuya-kei, I didn’t think of it as “my expression.” But the output still had to be cool.

“I’ve always felt ‘what exists today perishes tomorrow.’ In design, ‘cool’ is destined to be replaced by ‘uncool.’” (Shindo)

Yamaguchi: Did that mindset—Eastern thought and craft—exist for you back in the 1990s when you worked on Shibuya-kei?

Shindo: I wasn’t conscious of it strongly, but my family line includes Edo-era carpenters and gardeners, so perhaps it soaked in naturally. And there’s the sense of impermanence—that what exists today will be gone tomorrow. Design always bears the fate that “cool” will be replaced by “uncool.”

Yamaguchi: So it’s premised on being consumed by the times, not on seeking the universal.

Shindo: I never thought, “I’m going to make something universal” (laughs). In the early ’80s I played in a band called Scooters. When we wrote originals, I’d make a demo like “the A verse from this song, the B verse from that one,” piecing together existing tracks. The word “sampling” wasn’t common then.

Yamaguchi: Early ’80s sounds quite ahead of the curve. Did people say, “Hey, that’s a rip-off”?

Shindo: There was a sense of being looked down on. But I didn’t consider that method special. Looking back, my thinking was highly editorial.

Yamaguchi: What were you conscious of when you started as a designer in ’80s Tokyo?

Shindo: From the mid to late ’80s, YMO loomed large. The salon-like, European, intellectual aura around them had an extremely high level of completion. I liked it, but when I began working as a designer, I thought about how to propose something different from the atmosphere YMO had created. The visuals for Pizzicato and Flipper’s were, I think, the result.

Yamaguchi: Back then, few people had that editorial/sampling sensibility like you.

Shindo: Few indeed. Meeting Yasuharu Konishi of Pizzicato was huge. I felt I’d met someone with a similar cultural background.

Yamaguchi: You both are creators with a DJ-like sense—connecting “this and that” from a vast archive of pop culture.

Shindo: We quoted like crazy from music and graphics that “used to be uncool but would look great now.” I felt the same in Flipper’s Guitar later. People ask, “How do you find sources?” I answer, “I look for what I used to dislike” (laughs). The gap born over time matters.

Yamaguchi: Even with the same source, the era changes how it reads. Take Pizzicato’s EXPO 2001 and Bossa Nova 2001 (both 1993)—the fun was putting out that futuristic, Paris-collection-like visual at the start of the ’90s. Matching with the times is crucial.

Shindo: I used to find Kazumasa Oda hard to take, but when I listened again I thought, “This is actually good” (laughs). There’s so much material like that.

“I learned so much by encountering works made by Shibuya-kei artists. One album could contain a whole system of pop music.” (Yamaguchi)

Yamaguchi: Yet looking across your work, a clear individuality emerges. I think there is such a thing as a Shindo style.

Shindo: Maybe it’s the composition. In my photo show this spring, when I laid past works side by side, I found my composition hadn’t changed much since I first picked up a camera for Flipper’s Guitar’s CAMERA TALK (1990). Before production I think about sources—“let’s sample that French film”—but once it’s designed, things end up similar. Perhaps I perceive things in terms of composition.

Yamaguchi: In a sense, the sources become works once mediated through “Shindo as medium.” I feel that too—the boundary between things outside and inside me is blurry; the notion of “work = personal property” is thin.

Shindo: Like an itako medium at Mount Osore (laughs).

Yamaguchi: Exactly (laughs). Encountering works by you and other Shibuya-kei artists taught me a lot. For example, Flipper’s third album Doctor Head’s World Tower referenced not only contemporaries like Primal Scream and The Stone Roses, but also classic bands like The Beach Boys. Back then I’d take a source list from a magazine to the record shop and trace the connections (laughs). One album held a system of pop music.

Shindo: And there was an aesthetic where it’s cooler if the source can be felt.

—Did your discovery of Shibuya-kei coincide with your interest in contemporary art?

Yamaguchi: Yes. I discovered Shibuya-kei at the end of junior high, and by high school I was into contemporary art like Warhol. The first thing I learned about expression was “reinterpret someone else’s work to make your own.”

Shindo: Even in pop art—where authorial subjectivity isn’t foregrounded—I think East Asian thought flowed in. John Cage, hugely influential then, was steeped in Zen. Historically, the Western emphasis on individuality may be the anomaly.

“Graphic design is the work of creating icons—icons for artists and for the times.” (Shindo)

Shindo: To overturn what I’ve said: around 1996, when we did a Laforet Harajuku show summing up Shibuya-kei artwork, something in me felt Shibuya-kei had ended. From around then, video work like PVs increased, and people involved would say, “This is trending overseas now.” If it were about sticking to a past scene, there’d be meaning, but it wasn’t. That kind of quoting was absolutely a no for me.

Yamaguchi: If you bring in the same thing in real time, it becomes a degraded version. The original will feel superior.

Shindo: That’s not the sampling or quoting I mean. So especially since the 2000s I’ve made works with few explicit sources.

Yamaguchi: In recent years you’ve also created works using calligraphy.

Shindo: Yes. Not only calligraphy—my interest in Asian art is strong. The Japanese aesthetics beginning with Sen no Rikyū’s wabi-cha—the aversion to contrivance, the beauty of subtraction—connect with Shibuya-kei artwork. More broadly, I feel Eastern aesthetics in modernist design. I recently saw a Lucy Rie retrospective at Chiba City Museum; its sharpness, lightness, and pop cuteness felt so modern and Eastern.

Yamaguchi: Western ceramics like Meissen are often ornate, while Rie is minimal. Yet despite subtraction, your works leave a powerful afterimage—that’s what’s amazing.

Shindo: I realized while working that graphic design is the work of creating icons. We create icons for artists and for the times. Not only CD jackets—every medium.

Yamaguchi: That’s evident in your work: artwork is inseparable from the artist’s image and the zeitgeist. Few can do that. By the way, if you had to name the most “Tokyo” artist?

Shindo: Hmm… probably Keigo Oyamada. He doesn’t push himself to the front—maybe he’s shy (laughs). That’s uniquely Tokyo. Also my mentor, illustrator Teruhiko Yumura. Neither kowtows to power—they’re chic. It’s the spirit of Edo townspeople. Predictable answer, sorry (laughs).

Yamaguchi: I hadn’t thought that way—fascinating perspective.

“It feels like an era where you don’t need to see connections to the past or abroad.” (Yamaguchi)

Yamaguchi: One more point about “the times.” Looking at Japan recently, things feel opposite to the ’90s. Interest in Western culture has declined, while domestic culture—J-pop, Japanese films, anime, manga—dominates.

Shindo: So inward-looking. In film, Western works are overwhelmingly higher in quality, which is curious.

Yamaguchi: Since the Meiji Restoration, Tokyo developed on a spring of Western inferiority complexes, but from the late ’90s that seems to have subsided. Inward culture has charm—Akiba culture is fun—but I do wonder, “Is that all Tokyo is?”

Shindo: There’s also the aspect that there’s less to learn from the West now.

Yamaguchi: Maybe because we’ve caught up to a degree. Historical sense is flattening. I saw a tweet claiming “Denki Groove copied SEKAI NO OWARI” and thought—what a concept (laughs). Time itself is becoming homogenized. Perhaps we’re in an era where connections to the past or abroad are invisible—or needn’t be seen.

Shindo: Until the ’90s there was the analog experience—record shops—of learning history. With streaming, connections may disappear. Everything looks like isolated dots.

Yamaguchi: That’s why Tokyo’s stance—actively absorbing multiple cultures—still offers hints. In terms of receptivity, it’s world-class. Tokyo takes stimuli from overseas and the archive of the past, reinterprets them, and creates anew—connecting the past not as a one-off but to the here-and-now. Japanese people are good at that.

Shindo: Whether in music or visuals, people say “everything’s been done,” but that’s not true. Good music and good graphics—sources for sampling—are still sleeping everywhere. Probing them remains vital.

Yamaguchi: I’d be thrilled if this exhibition conveys, as contemporary art, those sensibilities I learned from Shibuya-kei—your works included.

Event Info

Masato Yamaguchi Solo Exhibition “MADE IN TOKYO”
Aug 21 (Fri) – Sep 2 (Wed), 2015
Venue: GALLERY SPEAK FOR, Daikanyama, Tokyo
Hours: 11:00–19:00 (until 18:00 on Sep 2)
Closed: Aug 27
Artist in gallery: Aug 25, Aug 30, Sep 2 (15:00–18:00)
Gallery Talk: Aug 21 (Fri) 18:30–19:00

Made in tokyo | MADE IN TOKYO, Masato Yamaguchi

Profiles

Mitsuo Shindo — Art director, video director, photographer, calligrapher, stage director, and spatial producer. He has created roughly 1,000 record and CD jackets for artists including Yumi Matsutoya, Pizzicato Five, Mr.Children, MISIA, and Hikaru Utada. His work extends beyond graphic design to numerous music videos; he won SPACE SHOWER MVA Best of the Year 2003 for Keisuke Kuwata’s “Tokyo.” Recent work includes the KEITA MARUYAMA brand logo design, LAPLUME (Samantha Thavasa) ad design, “Aoyama Tailor” TV commercial (Ryuichi Sakamoto), and direction for actor Hiroshi Mikami’s website. Mitsuo Shindo Office

中文（CN）

从安迪·沃霍尔到街头艺术家 KAWS——本展大胆引用流行艺术与流行文化巨匠的名作，并以独到的图像感重新上色。作者为当代艺术家山口真人。他为椎名林檎、APOGEE 等人气乐队制作过视觉作品，同时作为艺术与设计事务所 “IDEASKETCH” 的主理人从事艺术指导。以塑料为材质，他创作了“Plastic Painting（仿真绘画）”系列，并在 Scope Miami Beach 等艺博会上广受好评。其全新个展 MADE IN TOKYO 将于 8 月 21 日在 GALLERY SPEAK FOR 举办。

主题是“东京——一个模仿、混搭、再制作全球文化的容器”。山口表示，灵感源自他十几岁时沉迷的 1990 年代音乐运动“涩谷系”的音乐与视觉。为 Flipper’s Guitar、Pizzicato Five 等担任美术设计的信藤三雄，可谓塑造大众对涩谷系印象的关键人物。这种创造力奠基于何种思想？而作为涩谷系标志的“对既有音乐与图像的引用”，在山口看来又体现了怎样的“东京性”？让我们倾听二人的对谈。

“巧妙再诠释海外文化的涩谷系，也呼应了自明治以来‘东京的文化是如何被培育’的方式。”（山口）

——今天我们以“东京的表达”为主题。首先，马上要开始的您的新个展 MADE IN TOKYO 将呈现怎样的内容？

山口： 每当创作我都会回望自身根源。这次我再次思考时意识到，90 年代兴盛的“涩谷系”在我心中占据极大位置。音乐上是 Flipper’s Guitar、Pizzicato Five；平面上则深受信藤先生主理的 Contemporary Production 设计事务所影响。他们巧妙地再诠释海外流行文化——这种表达方式，我认为与自明治以来“东京这座城市中文化被培育的方式”一脉相承。这便是 MADE IN TOKYO 这一标题所承载的想法。

——也就是说，涩谷系与东京的文化养成在您这里连接起来了。

山口： 没错。这样看，涩谷系不应被视为一时风潮，而应作为代表东京的表达被长期评价。实际上，像我这样受其影响的人很多，周围也有不少海外朋友专程来日本寻找它。我希望把这种巨大影响力与结构，作为脉络带入当代艺术之中，使之显影。

——展品中引用了沃霍尔、达米恩·赫斯特等当代艺术大师的作品，这一思路来自涩谷系吗？

山口： 当然，沃霍尔等本就具有“采样”的感知，所以我的作品也包含向他们致敬的成分。但真正把“采样／引用”的兴趣植入我心中的，是涩谷系。创作时我并不想着“从零开始”，而是通过再诠释既有之物去生成新的作品——这才是创意。

信藤： 这其实是在讨论“表达是否需要强烈主张个人身份”。是否可称为“东亚式”不好说，但至少在日本，表达中的身份意识相对淡薄。比如和歌中引用名句的“本歌取”，在西方或许会被视为“抄袭”，但在日本却是常态。这种日本式的文化观与伦理观，大概已经写入我们体内。

山口： 这正是我从涩谷系、尤其您所做的艺术作品中学到并着迷的部分。从“本歌取”到涩谷系，可以说存在一部日本特有的“借用史”。而其代表，正是以涩谷系为典型的“东京式表达”。我想把它凸显出来。

信藤： 这是个很有趣的观点。相反，我有时会质疑把个人自我视为美学价值的西方式思考。自我可以很美，但那样的美并不常见。

山口： 也许我正试图以一种极其“非主体”的方式来表达自我。包括涩谷系在内的日本创作者，并非只是在引用，而是必须把它变得更新、更不“土”。我也在您的作品中强烈感到这种原则。

信藤： 是的。即使做涩谷系相关工作时，我也不太把它当作“我的表达”。但结果必须“酷”。

“我心底一直有‘今日在、明日亡’的感受。设计总背负着‘酷’被‘不酷’取代的宿命。”（信藤）

山口： 这种东方思想与手艺人的意识，在您 90 年代做涩谷系时就已经存在了吗？

信藤： 并非强烈自觉，但我家自江户时代起就有木匠、园艺师，是做东西的家系，所以大概自然渗透。还有“诸行无常”——今日存在、明日消逝。设计本就注定“酷”会被“土”取代。

山口： 也就是说，它预设了被时代消费，而非追求永恒。

信藤： 我从没想过“我要做永恒之物”（笑）。80 年代初我在一支叫 Scooters 的乐队里，写歌时会做一个 demo：“A 段用这首歌的这一部分，B 段用那首歌的那一部分”，把现成歌曲拼起来。当时“采样”一词还不流行。

山口： 80 年代初已经很超前了。周围会不会说“这不就是抄袭吗”？

信藤： 多少有被轻视的感觉。但我并不觉得那是特殊手法。现在想想，我的思维非常“编辑化”。

山口： 80 年代您在东京做设计之初，意识到的重点是什么？

信藤： 到 80 年代中后期，YMO 的存在很大。围绕他们的沙龙感、欧洲气质与智性氛围完成度极高。我也喜欢，但当我开始做设计时，会想如何提出与 YMO 所营造氛围不同的东西。结果或许就是后来的 Pizzicato 与 Flipper’s 的视觉。

山口： 当时像您这样具有编辑／采样感的人应该很少。

信藤： 的确不多。遇见 Pizzicato 的小西康阳对我很重要。我感觉他与我拥有相似的文化背景。

山口： 你们都像 DJ 一样，从庞大的流行文化档案中把“这与那”连接起来。

信藤： 我们常常引用那些“过去很土但如今用起来会很酷”的音乐与图像。后来认识的 Flipper’s 两位也有同样的感觉。有人问我“你怎么找源头的？”我答：“找过去不喜欢的就行”（笑）。时间带来的落差很重要。

山口： 相同的源头，不同时代使用，感受会完全不同。比如 Pizzicato 的《EXPO 2001》《Bossa Nova 2001》（均为 1993 年），在 90 年代初就推出那种“未来感／巴黎高定”的视觉，这个时间差很有趣。与时代的组合非常关键。

信藤： 以前我并不擅长小田和正，但重新听时却觉得“其实很好啊”（笑）。这样的素材其实很多。

“通过接触涩谷系艺术家制作的作品，我学到很多。一张专辑里包含了流行音乐的体系。”（山口）

山口： 不过通览您的工作，会清楚浮现一种个性。我认为确有“信藤风格”。

信藤： 也许是“构图”。今年春天我在惠比寿 AL 办了摄影展，把旧作排在一起，发现从第一次拿起相机做 Flipper’s Guitar《CAMERA TALK》（1990）封面起，我的构图几乎没变。制作前会想“这次采样那部法国电影”等等，但一落到设计上，总有些相似。或许我就是以“构图”的方式去把握万物。

山口： 某种意义上，经由“媒介＝信藤”，被引用的源头才成为作品。我创作时也有这种感觉：自我之外与之内的边界模糊，“作品＝个人之物”的意识很淡。

信藤： 就像恐山的巫女“灵媒”一样（笑）。

山口： 是的（笑）。而接触到您以及涩谷系艺术家制作的作品，让我获益良多。比如 Flipper’s 的第三张专辑《博士头的世界塔》，不仅与同时代的 Primal Scream、The Stone Roses 同频，也参照了 The Beach Boys 等老牌摇滚。当时我会拿着杂志上的“源头清单”去唱片店，一条条确认这些联系（笑）。一张专辑里塞满了流行音乐的体系。

信藤： 还有一种美学是：能感到“源头”的存在更酷。

——您接触涩谷系与对当代艺术的关心是在同一时期吗？

山口： 是的。初中末接触涩谷系，高中起关注沃霍尔等当代艺术。所以我最早学到的关于“表达”的事，就是“再诠释他人的作品以创造自己的作品”。

信藤： 我想，在强调作者性较弱的波普艺术中，也流入了东方思想。彼时具有巨大影响力的作曲家约翰·凯奇，便深受禅宗影响。历史上看，西方对“个体性”的强调或许才是特殊的。

“平面设计的工作，就是创造图标——艺术家的图标、时代的图标。”（信藤）

信藤： 话说回来，1996 年在 Laforet 原宿做了一次总结涩谷系艺术作品的展之后，我内心某处觉得涩谷系告一段落。其后 PV 等影像工作渐增，相关人等总说“这在海外正流行”。如果是“坚持过去某个场景”，我还能感到意义，但事实并非如此。那样的引用，对我来说绝对不行。

山口： 把“当下流行”原样搬来，只会变成劣化版——最终还是源头更好。

信藤： 那并非我所说的“采样／引用”。所以 2000 年以后我基本少用“源头”。

山口： 近年您也做了不少以“书法”为媒介的作品。

信藤： 是。不限于书法，我对亚洲艺术的兴趣很强。日本自千利休“侘茶”开始的美学——厌作伪之态、减法之美——与涩谷系的艺术工作一脉相承。更广泛地说，我在现代主义设计中也感到东方美学的影子。前阵子去千叶市美术馆看了维也纳出身的陶艺家露西·里回顾展，那份锋利、轻盈与可爱的“流行感”，让我感到既现代又东方。

山口： 相比德国“梅森”等更华丽的西式陶艺，里确实更“极简”。但即便在“减法”之中，您的作品仍能留下强烈印象——这正是厉害之处。

信藤： 我在工作中意识到，平面设计的工作就是“创造图标”。我们为艺术家、为时代创造图标。不仅是唱片封面，其他媒介亦然。

山口： 从您的作品中这一点一目了然：艺术家的形象、时代的空气，与视觉作品难分难解。真正能做到的人很少。顺便问一句，若要选出“最东京”的艺术家？

信藤： 还是小山田圭吾吧。他不喜欢把自己推到前台——也许因为害羞（笑）。这很“东京”。还有我的老师插画家汤村辉彦。两人都不会对权力卑躬屈膝，很“粋”。那是江户町人文化的气质。答案或许不意外，见谅（笑）。

山口： 原来如此，这个视角很有趣。

“看近年的日本，似乎进入了一个‘看不见、也不必看见与过去或海外连接’的时代。”（山口）

山口： 另外谈“时代”。最近的日本与 90 年代几乎反向发展。对欧美文化的兴趣下降，J-POP、日本电影、动漫、漫画等本土文化流行。

信藤： 越发内向了。在电影上，欧美作品整体质量还更高，这就奇怪了。

山口： 我想东京自明治维新以来，靠着对西方的自卑感而发展，但 90 年代后半起这种情绪渐趋收束。内向文化也有魅力——秋叶原文化也有意思——但“东京就仅此而已吗？”我常有此疑问。

信藤： 也有“可向西方学习之物变少”的一面。

山口： 或许因为已在一定程度上追上。历史感也在不断“扁平化”。前阵子推特上有人说“电气 GROOVE 抄袭了 SEKAI NO OWARI”，我觉得这想法也太神奇了（笑）。时间轴都被均质化了。也许我们进入了一个与过去／海外的联系“不易看见、也无需看见”的时代。

信藤： 到 90 年代为止，人们还会在唱片店等“模拟场所”里以历史脉络学习作品。如今以串流为主，连接可能不复存在，一切都像“孤立的点”。

山口： 这也是我重新看到“东京”的启示：主动吸纳多元文化、再诠释并创造新物，且把过去的作品与运动连接到“此时此地”。日本人很擅长这件事。

信藤： 无论音乐还是视觉，“一切都已被做过”这种说法并不成立。作为采样源的好音乐、好图像仍沉睡在许多角落。去探掘它们依旧重要。

山口： 如果这次展览能把我自涩谷系——包括您的作品——所学到的那些感受，以当代艺术的形式传达出去，我会非常高兴。

活动信息

山口真人 个展 “MADE IN TOKYO”
2015 年 8 月 21 日（周五）— 9 月 2 日（周三）
会场：东京都 代官山 GALLERY SPEAK FOR
时间：11:00–19:00（9 月 2 日至 18:00）
休馆：8 月 27 日
艺术家在场：8 月 25 日、8 月 30 日、9 月 2 日（15:00–18:00）
讲座： 2015 年 8 月 21 日（周五）18:30–19:00

Made in tokyo | MADE IN TOKYO, Masato Yamaguchi

人物简介

信藤三雄 —— 艺术指导、影像导演、摄影师、书法家、舞台导演、空间制作人。为松任谷由实、Pizzicato Five、Mr.Children、MISIA、宇多田光等创作过约 1000 张唱片封面。还执导众多艺人的 MV，凭桑田佳祐《东京》获 2003 年 SPACE SHOWER MVA “BEST OF THE YEAR”。近作包括 KEITA MARUYAMA 品牌标志设计、LAPLUME（Samantha Thavasa）广告设计、“洋服の青山”电视广告（坂本龙一篇）、三上博史官网统筹等。信藤三雄事务所