Brut Cake 鄧乃瑄 ×福田荣 双人展 
ニコール・タン（Brut Cake） ×福田さかえ 二人展 
Nicole Teng from Brut Cake & Fukuda Sakae Joint Exhibition2013年10月1日－11月30日 上午9时至下午5时 下午4时停止入场 周一关馆
October 1-November 30, 2013 9am-5pm
Last Admission:4pm Closed on Monday
红坊沙龙 上海当代艺术博物馆店:上海市黄浦区花园港路200号1层 
Redtown Salon@Power Station of Art: 1F No.200 Huayuangang Rd Shanghai 

此次的展览为两位艺术家的联展，一个以平面视觉为主，另一位则作立体创作。

立体创作的邓乃瑄，来自台湾，居住上海已有六年，她总是说，上海激发了她的创作潜能，这个大环境近几年都处在新旧剧烈交替的转换中， 给予了她很多素材，源源不绝的灵感。许多老旧物品处在被淘汰和遗忘之间，在这个夹缝里邓乃瑄看见废弃物品里隐藏的灵魂，各有千姿百态，这说起来有一点鬼魅，但她就这么透过双手让他们各自顺着原始的性格又起死回生了一次，活在这个闪闪亮亮的新世界，创作的过程里不禁联想到<爱丽斯梦游仙境>，爱丽斯掉进树洞之后，展开的是一趟另一时空的冒险，在本次的展览中，传达的亦是这样的意涵。
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平面创作的福田荣来自日本，但往来中国已有八年之久了。
当两个人一起在讨论创作题目时，“平行世界”这个词就像水泡一样冒了出来，同时一个关于儿时的记忆也跟着出现，那是关于小时候的自己，总是躺在床上，想象另一个时空里或许存在另一个自己，一个更美丽、聪明、有才能的自己。后来想想，这或许只是孩提时代总有的自我厌恶、不安、躁动的一种表现。
那么，绝不会相交重迭的平行空间在偶然之间重合，那边的她和这边的她不经意地浮出、相遇，会是一幅怎样的场景？一开始脑海里没有清晰的图像，直到开始创作，才从过程中发现原来两个她都带一点忧郁性格。
也许，已是大人的我们，知道无论是那个世界的自己，还是这个世界的自己，都有烦恼的。 
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This is an exhibition of two artists: one works with visual, two-dimensional images, the other makes three-dimensional works.
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Nicole Teng, the three-dimensional artist from Taiwan has lived in Shanghai for six years. She always claim that Shanghai inspires her creative potential, which in recent years is embroiled in dramaticchange from old to new, gives her an endless source of inspiration. In this process of change, many old items were forgotten and seeing the hidden soul in such waste materials, each with their different styles, Nicole has  through her making, has renewed their respective original character once again. Revitalised in this new shining world, one cannot but be reminded of Alice tumbling into a Wonderland through the hole in the tree. The expansion into another space, another adventure, is also a way to convey the meaning of this exhibition.
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The theme of the exhibition "parallel world", reminds Fukuda Sakae from Japan that she used to imagine being in another world while in bed when she was little; she being more wise, more beautiful and more talented than her boring self in this real world. To imagine yourself that you might be someone in another place might suggest self-loathing, anxiety and immaturity in childhood.
Fukuda Sakae depicts unexpected overlapping scenes that normally could never cross in parallel worlds. But rather than an ideal present many children like to imagine in bed, the girls she draws appear as sullen as their real selves.
Indeed, as adults we know that our selves in that world is the same existence as  our selves with our many troubles in this world.

中国での個展によせて

これらの作品は、2008年に東京で発表したものです。 
抑圧されつつもしたたかな少女達を表現するために纏足というモチーフを選びましたが、その時はまさか中国で個展が出来るとは思っていませんでした。 
纏足という風習について少なくとも日本では、"猟奇性が入り交じったエロティックな関心"や"伝統工芸品としての美しさ"など表面的な語られ方をする一方で、"家父長制による女性支配の象徴"として、批判的にも語られています。 
纏足は多くの女性達に普及し、長期にわたって維持されてきました。その背景には、彼女たちを無力な存在にしている家父長制社会からの強制があったのはもちろんですが、そのような社会で生き抜くための戦略として、ある程度主体性を持って選択していたという、もうひとつの側面もあったのではないでしょうか。 
私は纏足という風習に、自分のものではない欲望へ自分の体を売り渡さなければならなかった女性の悲劇性と、制限された世界の中で精一杯生きようとする女性のしたたかな戦略を感じるのです。 
そしてそれらは、纏足の時代がすぎても未だに多くの女性の中にあるものなのかもしれません。 
ガラスの水槽の中の金魚を外側から愛でるように纏足の女性を美しいと感じ、そのような感情に対して罪悪感を持ちながら制作をはじめましたが、すべてを描き終えた今、私もまた彼女たちと同じようにガラスの水槽のなかにいるような気がします。 

中国の女性達がこれらの作品を見てどのように感じるのか、不安でもあり楽しみでもあります。また、纏足という過去の風習を、彼女たちはどのようにとらえているのか、今回の個展で少しでも理解できればうれしく思います。 


​For this solo exhibition in China

These works were presented in another solo show in Tokyo 2008.
I chose this foot binding motif in order to express girls who are oppressed but vicious. But at that time I never expected that I could have a show in China.

The custom of foot binding, at least in Japan, has been superficially described as “the erotic curiosity mixed with the macabre” or “beauty as tradition”, while also criticized as “symbol of a patriarchal male dominant society. ” 
For a long time, foot binding has been a widespread practice among many Chinese women. I assume, to a certain extent, this had been forged by the women's will to survive in society, as well as by patriarchism. In this custom, besides the women's vicious strategy to try to live within their restricted world, I feel as well, a sense of tragedy that they had to sell themselves against their own will. 

This might still be the situation of many women, though the period of foot binding had passed. When I started working, I had some guilt towards the beauty I felt for the women with bound feet, the same way as looking at goldfish in a fish tank. However, after I had finished I felt that like them, I was also in a fish tank.

I feel anxious but also excited to see how Chinese ladies feel when they see my works. I would be grateful if I will get to know their reaction during this exhibition.


关于中国的个展 

这次展览的作品，是将我2008年在东京的展览于中国重新发表。 
我选择“缠足”做为主题，是为了想要表现过往传统女孩曾受到压迫与束缚，而之前创作的时候我其实不曾想过可以在中国做展览。 
至少在日本，缠足这一习俗，表面上被称为是“带有猎奇心理的色情”或是“作为传统工艺品的美”的同时，另一方面也被批判性的称为是“男权主义对女性支配的象征”。 
曾有一段很长的时间，几乎所有的中国妇女都遭受到了缠足的束缚。这一背景中，男权主义对作为弱小存在的妇女的强制自不必说，从另一方面来看，缠足也是妇女为了在社会上继续生存下去某种程度上所不得不选择的一个生存手段。 
在我看来，缠足这一习俗，既包含着女性不得不牺牲自己的身体去满足非极所愿欲望的悲剧性，也是在被限制的世界中努力求生存女性的一种迂回战术。 
同时，虽然缠足的旧习已经过去，但当时的价值观念或多或少还存在于现今，当我创作这个系列作品时，坦白说我些许的罪恶感，因为我沉浸在女人缠足的美感中，我觉得自己像是在观赏困在鱼缸里的美丽金鱼，但当作品终于完成时，我才发现时其实自己也是那些女人的一员，我也是那金鱼缸里被困的金鱼。 

对这次在中国举行的个展，我既兴奋又焦虑，我很期待听到中国女性对我的作品的看法，若能在展览里跟中国女孩们能有些交谈，听听她们的回应，对我而言是份荣幸。