入善町下山艺术之森発電所美术馆，位于日本富山县内水资源丰富的城镇，由老旧的水力发电所改建而成，因其独特的历史气息及宽敞灵活的展览空间，吸引着大量来访者。发电所美术馆举办的中日两国当代知名艺术家陈飞与加藤泉的合展 “人形万象──加藤泉 × 陈飞”，从多样的艺术语言和不同角度叙说两位艺术家共同的创作题材──人。尽管国家背景、成长年代及艺术风格迥异，两位艺术家都秉持人与自然和谐共存的信念，原始的人形与放空的现代人，皆是人类有因可循的存在形态。
加藤泉因其标志性的原始 “人” 形作品著称，表现形式有油画、木制及软胶雕塑。他以手代笔绘作，近似胚胎抑或原始部落图腾的殊奇人像，与土木共融，跃然而出。借由穿插进行的平面与立体创作，加藤泉的作品蕴含力量、诙谐、稚趣等众多元素。
此次展览是陈飞的日本首展。大学时期电影制作的学习对他的创作影响颇深，以旁白的角度绘制的画作如一帧帧剧照，笔触细腻，富有张力。作为 “80后” 杰出艺术家之一的陈飞，出生于计划生育政策时期，成长环境中频繁接触欧美及日本文化，寻求 “80后” 表达自我的独特方式，犀利又风趣地描绘这一代人在中国改革与现代化的急进浪潮中矛盾的心理。
This fall, Nizayama Art Park Power Plant Museum will present “Living in Figures”, a joint exhibition by two internationally renowned contemporary artists from Japan and China, Izumi Kato and Chen Fei, respectively. Located in the water-rich town of Nyuzen in Toyama Prefecture, the museum has been attracting visitors through its vast and dynamic exhibition space refurbished from an old water power plant. The exhibition will bring the two artists together under a common interest in “people”. Despite their differences in cultural background, generation and artistic style, the two artists share a common belief in the harmonious coexistence of human beings and living organisms. Through the primordial figures and dawdling modern men, both Kato and Chen, respectively, touch upon the universal notion of people and human existence.
Izumi Kato is widely recognized for his oil paintings and wooden and soft vinyl sculptures that feature his signature primitive-looking “human” figure. A peculiar amalgamation of embryo and totemic figures, Kato’s bipedal being comes to life directly through the artist’s own hands, putting him in tune with nature and life. Through a diverse visual language that extends beyond the flat surface of the canvas, Kato’s works touches upon an array of issues ranging from power, humor to cuteness.
This exhibition is Chen Fei’s debut in Japan. Influenced by his training in cinema at Beijing Film Academy, Chen conjures intimate yet powerful imageries in his paintings through a narrative-driven composition, resembling film stills. As a leading artist from the post-1980s generation, Chen tries to make sense of the effect of China’s one-child policy and a sudden influx of Western capitalism on his generation through his unique visual lexicon. By portraying his subjects in a sharp yet humorous manner, Chen addresses his conflicting stance on having been brought up in an era of rapid modernization.