JMA-POP VOL.1 混生状态 A BLEND
潮流，这个词来源于英文“Trend”, 在90年代被日本译作“潮流”，并被带到了香港和台湾，继而在大陆地区也被广泛应用。在潮流爱好者和大众的主推下，“潮流艺术”这个混生状态的词应运而生，似乎是一个比“波普艺术”（Pop Art/Popular Art）更容易让中国观众理解和接受的词汇。另一方面，陆蓉之提出“潮艺术”（URBART/Urban Art）的概念，试图强调的是在历史的每个阶段，每个地域都有被普遍关注和受欢迎的艺术，并以此角度来研究国潮的来龙去脉。在“每个人都会有15分钟的成名机会”的网红效应背景下，“潮流艺术”是否会成为中国大众艺术观点的代言呢？
"Art is not an elitist activity reserved for the appreciation of a few, but for everyone, and that is the end toward which I will continue to work."
——Keith Haring (1958-1990)
"Chaoliu", derived from the English word "Trend", found its early translation in Japanese in the 1990s. It was then introduced to Hong Kong and Taiwan before being widely used in mainland China. Later the term "Chaoliu Art" came into being and appeared to become a more accepted term for Chinese audiences than "Pop Art". Victoria Yung-Chih Lu (Viki Lulu) put forward the concept of "Urban Art", emphasizing that in each stage of history, every region has art that is generally accepted and widely popular. From this perspective, this kind of art becomes a way to understand the ins and outs of a nation's cultural trends. Within the new context of the impact of social influencers, does this understanding of "Chaoliu Art" properly encapsulate the reality of popular Chinese art?
JMAPOP is one of the experimental projects of the Jupiter Museum of Art. The project aims to foster dialogue with young artists and the public about the social and cultural positioning of JMA. The project starts with new cultural trends as its research direction and uses the exhibition as the practical means to analyse and explore the current situation and possibilities of these trends in China.
French artist Adeline Calosci's art works are mainly linked to Western popular culture and Asian animation, questioning consumerism and human desire. Santu Song creates a dialogue between the universe and the self, using "flowers" to express personal feelings, illusions and supernatural illusions, allowing the subjective spirit to come to the fore. The work of Fansack explores the possibilities between traditional Eastern paintings and contemporary street art, while also seeking to create new artistic styles. He combines animals in nature and Eastern figures with various symbols and iconic images from contemporary society. Zeng Chen's artwork mainly focus on the existence of the virtual in the future and the questioning of artistic authenticity by applying different forms of artificial intelligence technology, while also attempting to explore the new collaborative mode of art and technology.
In addition to discussing the varied states of any artist's work, the four artists also focus on cross-border cooperation with business. In this project, the artist Santu Song was invited to present her store in the exhibition. This cross-border model of cooperation with brands was presented for the first time, landing at the Jupiter Museum of Art. Keith Haring stated that if commercialization is to print his artwork on a shirt so that a child who cannot afford a $30,000 painting can purchase it, then he would fully support it (1968). Is this era when "Art is for everybody", as he has longed for, finally here?