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　　For those who knew my professional as well as personal life would understand at what point the cultural miscegenation is, for me, one of the essential aspect of life.

　　They would understand easily why the artistic career also the creative approach of Aki Kuroda would seduce me.

　　Nevertheless, envy is not enough and thanks to talent of the artist that this cultural mix offers an extreme beauty, simple but complex, extremely contemporary but also linked to the past.

　　One of the first qualities of an artist is to have a style that can express his thought, sensibility and identifiable without difficulty by art lover at the first sight.

　　Once you will see and admire Aki’s first work, not only you will never forget but also you will recognize immediately the following works.

　　That is where differentiate a great artist from the rest, when his works and his name are always associated by collectors without hesitation.

　　This brief but rich exhibition that I have the pleasure and honor to present for you, bring the proof of talented Aki Kuroda many more than words can be expressed.

　　Look, observe, love.

　　Pierre Dumonteil

　　對(duì)于在專業(yè)或私生活認(rèn)識(shí)我很久的人都知道人生其中最基本的一個(gè)元素就是多文化的融合。

　　他們可以輕易地了解到為什么黑田明的藝術(shù)作品可以如此深深地吸引我。

　　但是，純欲望卻不能表達(dá)藝術(shù)家的才能，因?yàn)樗厥獾奈幕诤蠋Ыo黑田明作品中一個(gè)極致美，簡(jiǎn)單但又復(fù)雜，非常現(xiàn)代但卻沒(méi)有背離歷史。

　　一個(gè)藝術(shù)家首要的品質(zhì)是要有自己的風(fēng)格，可以表達(dá)其想法，感性，以及讓藝術(shù)愛(ài)好者輕易可以辨認(rèn)的特質(zhì)。

　　當(dāng)您看到并欣賞黑田明作品時(shí)，不但您無(wú)法忘記甚至馬上能夠辨認(rèn)他的其他作品。

　　這就是為什么黑田明能從其他藝術(shù)家展露風(fēng)華，讓藏家能深深將他的名氣及作品連接在一起。

　　我有此榮幸將此次精簡(jiǎn)但豐富的展覽呈現(xiàn)給觀眾，是無(wú)法用言語(yǔ)來(lái)形容的。

　　看見(jiàn)，欣賞，喜愛(ài)。

　　皮耶.杜夢(mèng)堂

　　Tous ce qui connaissent ma vie professionnelle ainsi que ma vie personnelle et familiale savent à quel point le métissage des cultures est un des aspects essentiels de cette vie.

　　Ils comprendront très facilement pourquoi le parcours artistique et la démarche créatrice d’Aki KURODA ont tout pour me séduire.

　　Bien s?r, vouloir ne suffit pas et c’est grace à l’immense talent d’Aki KURODA que ce métissage culturelle a su donner des ?uvres d’une très grande beauté, simples et à la fois complexes, extrêmement contemporaines mais ne tournant pas le dos au passé.

　　L’une des qualités premières d’un artiste est d’avoir un style qui traduise sa pensée et sa sensibilité et qui soit identifiable sans aucune difficulté au premier regard par l’amateur d’art.

　　Dès que vous aurez vu et admirez une première ?uvre d’Aki, non seulement vous ne l’oublierez pas, mais en plus, vous saurez reconnaitre immédiatement celles que vous découvrirez par la suite.

　　Et c’est là vraiment la marque d’un grand artiste, quand ses ?uvres et son nom sont toujours associés par les collectionneurs sans aucune hésitation.

　　Cet brève mais riche exposition que j’ai le plaisir et l’honneur de vous présenter, apporte la preuve du très grand talent d’Aki KURODA beaucoup plus que tous les mots que je pourrait utiliser pour vous le dire.

　　Voyez, regardez, aimez.

　　Pierre Dumonteil

　　Aki KURODA 黑田明

　　Solo Exhibition 個(gè)展 -works on canvas&paper(1984-2008)

　　Time: March 4th – March 22nd 2009 展覽時(shí)間：2009年3月4日至3月22日

　　Opening Reception : March 4th 17h-21h 開幕酒會(huì)：2009年3月4日17-21時(shí)

　　Address: 153 Jumen Road, Shanghai地址：上海市局門路153號(hào)8號(hào)樓102室

　　Aki KURODA was born in Kyoto on the 4th of October, 1944. In 1965 Aki KURODA leaves for the Occident. In 1970, he moves to Paris for good and begins to paint.

　　In 1980, Adrien Maeght meets Aki KURODA. 1980 is the opening of the first personal exposition of Aki KURODA’s work at Galerie Maeght. Marguerite Duras(1914-1996), who Aki met, is immediately captivated, as much buy his personality as by the work itself. She decides to support this artist from Japan who she has so much affection for.

　　In 1981, Aki Kuroda met other artists from la Foundation Maeght: Gasiorowski, Voss, Bazsaine…

　　Aki then meets Yves Simon, literary figure and singer. Sharing a common vision of space, Yves Simon writes several texts for KURODA. Many foreign galleries ask to hold exhibitions for KURODA. Now Aki KURODA is favored by personal exhibitions that can showcase his works.

　　Many exhibitions in galleries, museums and art centers follow, such as: Sarrebruke State Gallery, Galleries La Main, The Aalborg Museum, Denmark, The Karl Pfeferie Gallery, Munich, Beaumont Gallery, Luxembourg, Chateau de Chambord, Museum of Modern Art, Hyogo, and the National Museum of Modern Art Tokyo For his exposition at la Galerie Maeght, presented in conjunction with the sculptures of Susanna Solano, Aki KURODA compose an ensemble of canvasses entitle Revolutionary Calendar, and commentary for the catalogue is written by Ramon Tio Bellido.

　　In 1990, Kuroda meets Pascal Quignard whose body of essays will appear at Maeght Press. To illustrate eight volumes, Aki creates a series of drawing re-worked into lithographs for the covers.

　　Kunio MOtoe, now the head curator of the National Museum of Modern art of Tokyo, proposes to the members of the museum to not only show a living artist, but to give him free reign in the choice of his works, as well as their presentation and even the architecture of the rooms. Accordingly, the National Museum of Modern Art of Tkyo and the Natinoal amuseum of Art of Osaka give over the totality of their spaces to KURODA.

　　In 1994, the museum of Fine Arts in Clermont Ferrand, opens its doors with a Kuroda exhibition .

　　The Sao Paulo Biennale dedicates a big exposition to Kuroda. In 1996, for the first time, the ballet Parade is shown in China, along with the costumes designed bu Kuroda. In 1998, Yves Taralon, who is in charge of the develppent of the public spaces of the New Museum of Modern Art of Strasbourg, commissions a mural painting from Kuroda. Aki Kuroda, as Miro did every year, spends the summer at Saint-Paul.

　　In 2000, for the second time, Kuroda designs the official poster for the Avignon Festival.

　　In 2002, for his springtime exposition at the Maeght Gallery, Aki Kuroda develpps a daily series of works on paper.

　　His Mutant Flowers, as he calls them, can take the form of an animal as well as a body. And they become flower-fish, flower-cat, flower-rabbit,flower-face, flower-nose, flower-dress when they do not look like one of the cartoon characters that Kudoda is so kken on. ‘I like the idea of a garden because of its space delimited by borders, like a square or rectangular painting or an installation in a museum. Yet at the same time,s I like to break out of limitations. Explode things, my work is like a grain that you plant in the earth. It grows ever which way, without maintencnae ,without intervention’. In2005, Aki continues to work on the flowes he created in 2002. Making them larger and larger and finally exposing his red 160x120cm flowers and Stags at the Maeght Gallery.

　　In March 2006, he signs a seven, limited series, half-tail Pleyel piano. Aki is invited to become the chief editor of the Parisian/Japanese Paper ‘France Zappa’, to design a special edition on Aki Kuroda.