The act of flower arrangement paradoxically begins with cutting the flower. Originally rooted in the landscape and bound to its place, the life of the flower is torn from its former ground and reassembled as part of a space shaped by intention. For a long time, I have explored the boundary between writing and drawing, the distinction between character and image. While carving a plate, letters and pictures alike become nothing more than lines. I layer depiction and inscription onto the same surface, suspending their meanings in midair. This deliberate break in continuity stands at the intersection where arranging equals cutting, and naming equals erasure— a point marked not by presence, but by a refusal to be applicable. Lines are not placed; they are revealed through incision. When detached from arrangement, they appear—just once—as a rupture, exposed and unformed, a fleeting crack in the skin of the visible.
この度、ASK + POST 所属作家の中屋敷智生は、2月1日(土) から2月16日(日)までの期間、kudan houseにて開催される「CURATION FAIR | Exhibition」に、KOKI ARTS から出品させていただことになりました。新作を中心に絵画を展示いたしますので、ぜひご来場いただければ幸いです。
CURATION FAIR | Exhibition From KOKI ARTS 「美しさ、あいまいさ、時と場合に依る」 会 場：kudan house 場 所：東京都千代田区九段北1-15-9 アクセス：地下鉄 東京メトロ九段下駅：1番出口から徒歩5分 会 期：2月1日 (土) – 2月16日 (日) ※1月31日（金）は、プレス・関係者向けのプレビューを実施します。 時 間：10:00 – 19:00（最終入場 18:30） W E B：https://curation-fair.com/ 入場料：チケット Information
1968年、川端康成はノーベル文学賞受賞に際し、「美しい日本の私 (Japan, the Beautiful, and Myself)」という講演を行いました。その26年後、川端に次いで日本人で二人目となる同賞受賞を果たした大江健三郎は、川端のモチーフを引き継ぎ、その講演の題を「あいまいな日本の私 (Japan, the Ambiguous, and Myself)」とします。
本展覧会The Beautiful, the Ambiguous, and Itselfは、二人の講演タイトルを重ねつつ、そこから「日本 Japan」と「私 Myself」を取り除けています。日本性と私性をめぐる言葉の圏域から離れてみること。日本人による日本特殊論はいつもどこかナイーヴな結論に陥りがちです。アイデンティティ・ポリティクスの隘路を踏み越える方向性も考えたい。
■ KOKI ARTS：http://www.kokiarts.comコウキアーツは2012年に東京の馬喰町に開廊した現代美術のギャラリーである。ディレクターがニューヨーク出身のため、アメリカ、特にニューヨークで活躍している作家を多く取り扱っている。また、国内作家も若手からベテランまで独自の視点で紹介している。
【主なグループ展】 2024 ノマル35周年記念1 – 詩人と美術家とピアニスト｜ギャラリーノマル（大阪）、ノマル35周年記念2, All Stars – RESONANCE｜ギャラリーノマル（大阪）、みちのおくの芸術祭 山形ビエンナーレ2024 in 蔵王（山形）、Your accidental world｜インサアートセンター（韓国）、A view that only we can see｜ネオアートセンター（韓国）、2023 Where and what will we meet again?｜清州市立美術館梧倉展示館（韓国）
【主な展覧会】 2023年小学6年生できょうと障害者文化芸術推進機構が運営するart space co-jin（京都）にて史上最年少で展覧会を開催。会期中、ギャラリーの外壁やガラスにライブペイントを行う。 2024年個展「13歳の絵の世界」旧上田家住宅（向日市）、「岩間一真展」ギャラリー恵風（京都）ほか、バナー展示（京都府庁、アールブリュッ都ギャラリー）、かんでんコラボ・アート公開展示会（グランフロント大阪）、日下部美術教室展、グループ展「虹色の飛行船」（京都市美術館別館）、京都とっておきの芸術祭（京都市勧業館みやこめっせ）、京都府障害者のつどい作品展（長岡京記念文化会館）など
This story is a fantasy that depicts the destruction of the human race to the collapse of the earth, but it is also a wake-up call to the real world. Through this story I represent a “vision” and “hope” for our new future. In the year 2020, humanity is in turmoil, body and soul are invaded, and the world has been changed. Feeling a sense of crisis, I conceived of the story “Universe in the earth” and linked “Katamari sculpture,” that is the subject of my work. The first chapter was exhibited in 2021 and we are now in the fifth chapter. Chapter Ⅰ “Universe in the earth”, Chapter Ⅱ “New continent”, Chapter Ⅲ “Kaijin’s Garden”,Chapter Ⅳ “New-Kaijin & Kaiju”, Chapter Ⅴ “Good-by Earth” We humans, the earth, and the universe are all physically or spiritually influencing each other, circulating, and evolving so slowly without us noticing.
■ About NAKAYASHIKI Tomonari Born in Osaka Prefecture in 1977 and currently residing in Kyoto City, I graduated from the Kyoto Seika University School of Fine Arts, majoring in Western Painting, in 2000. Since then, I have participated in numerous exhibitions and art fairs both domestically and internationally. Alongside my artistic activities, I also manage an artist-run alternative space and organize group shows.
In recent years, I have been using washi tape as a medium, just like paint, resulting in a series of paintings that feature layers and textures reminiscent of collage. Through this technique, where the relationship between figure and ground constantly shifts, I explore the uncertainties of visual perception and seek to transcend the traditional dichotomy of painting and viewer. I would be grateful for the opportunity for you to take a look at my work.
■ Inner Flesh：NAKAYASHIKI Tomonari One day, while out for a walk, a thought casually crossed my mind: “The characters for ‘inner’ (內) and ‘flesh’ (肉) are strikingly similar.” This sparked my curiosity to delve deeper into the connection between these two words.
The characters for “inner” and “flesh” are not only visually alike but seem to share a conceptual similarity as well: both point inward. However, this inward orientation cannot exist in isolation; the presence of an external counterpart is a necessary precondition. The inner and the outer are interdependent, coexisting through their opposition.
This perspective draws from the philosophical concept of “place” (場所) introduced by Nishida Kitaro. “Place” serves as the foundation for all existence to manifest, transcending dichotomies such as subject and object, inner and outer, body and spirit. In this context, “place” dissolves opposition, functioning as the root where all becomes one. Thus, within this framework, the inner and outer are unified.
The act of gazing at a painting operates similarly, encompassing both inner and outer elements. At first glance, this gaze seems directed outward, toward the painting as an object—something external. Yet, in truth, it transcends the dichotomy of subject and object. Painting creates the “place” where this pure gaze becomes possible, and I aspire for my works to embody such a space where the flow of gazes converges and intertwines.
