2019年南青山にオープンしたGallery Blue 3134にて初めての個展となります。王木易は版画のプロセスを通して書くことと描くことの間のイメージを探ってきました。今回初めて製紙過程を制作に取り入れた新作を多数公開いたします。この機会にぜひご高覧ください。
王 木易 個展 between the lines 会 場：Gallery Blue 3143 会 期：2024年8月24日 (土) − 9月1日 (日) 休廊日：会期中無休 時 間：13:00 – 19:00 場 所：〒107-0062 東京都港区南青山3丁目14-3-2F 電 話：03-3405-2553（菊池 / Kikuchi） M a i l：galleryblue3143@gmail.com W E B：https://gallery-blue3143.jimdosite.com/ 主 催：Gallery Blue 3143
韓国 박진명｜PARK Jin Myung 최부윤｜CHOI Boo Yun 이규식｜LEE Gyu Sik 최민건｜CHOI Min Gun 박영학｜PARK Young Hak 이고운｜LEE Go Woon 박세라｜PARK Se Ra 박주영｜PARK Ju Yeong 이승미｜LEE Sung Mi
◾︎ YOD GALLERY (Galleries セクション | 中之島) : https://www.yodgallery.com/ 出展予定作家：蛇目 / 松原秀仁 / MADARA MANJI / モフモフ・コレクティブ / 勝又公仁彦 / 鈴木崇 / 田中和人 / 多和田有希 YOD Galleryは、作家と共に新しい価値観、表現を国内外へ積極的に発信していくことを使命とし2008年に設立しました。芸術表現がグローバル化の傾向にある今、日本にあるプライマリー・ギャラリーとして改めて日本人のアイデンティティを見直し、世界に提示することのできる独自の芸術観を持った作家・作品を見いだし、紹介しています。芸術を通じて様々な価値観を提示・検証することにより、大阪から世界に向けて次世代の文化の発信地として機能していけるよう、様々な活動を行います。
◾︎ KOKI ARTS (Expanded セクション | 北加賀屋)：http://www.kokiarts.com 出品作家：中屋敷智生 KOKI ARTSは、ART OSAKA 2024では中屋敷智生の大型作品を中心に、展示空間を絵画で包み込むように展示いたします。 近年、中屋敷はマスキングテープを絵具と同様の画材・メディウムとして使用しており、コラージュや切り絵を彷彿させる独特のレイヤーとテクスチャーのある絵画作品を数多く発表しています。マスキングテープは時に線や色面として、また時に物理的なレイヤーとして画面に出現します。キャンバス上で渾然一体となった絵具・マスキングテープ・余白は図と地の関係を曖昧にし、われわれの網膜像に由来する視覚認識（知覚・直観・思考）がいかに不確かであり、また美しいものであるかということを顕在化するでしょう。
ASK + POST 所属作家の中屋敷智生と来田広大は、このたび、福岡県柳川市の事業として、福島県在住の現代美術家、吉田重信氏による企画展「柳川現代美術計画Ⅱ」に参加いたします。本展では、全国各地から集まった28名のアーティストの作品が、柳川市内の6か所の会場で展示されます。会期中には、参加アーティストによる公開制作やワークショップも予定されています。この機会にぜひ、柳川の歴史的建造物と現代美術の融合をお楽しみください。
ASK + POST 所属作家の来田 広大が CLEAR GALLERY TOKYO (東京) にて個展「Narrative Landscape」を開催いたします。
来田 広大 個展 - Narrative Landscape – 会 場：CLEAR GALLERY TOKYO 会 期：2024年 2月9日 (土) – 3月2日 (日) 時 間：12:00 – 18:00 休廊日：日.月.祝 場 所：東京都港区六本木7丁目18－８岸田ビル2F T E L： +81-3-3405-8438 メール：contact@cleargallerytokyo.com W E B ：CLEAR GALLERY TOKYO 主 催：CLEAR GALLERY TOKYO
概要 この度CLEAR GALLERY TOKYO は、来田広大の個展「Narrative Landscape」を開催いたします。 弊廊で3年ぶりの個展となる本展では、来田が旅先で購入した古本に引かれていた線を起点に、新たに紡がれる物語とその風景を描いた新作の絵画を発表いたします。
“Keiichi Ikegami, Reading from the Hand and Returning to the Hand” Yasuo NAKANO, Director, Kyoto-ba Former curator of the Taro Okamoto Museum of Art, Kawasaki The Taro Okamoto Award for Contemporary Art, the TARO Memorial Award, is held annually at the Taro Okamoto Museum of Art in Kawasaki. Keiichi Ikegami won a special prize at the 5th TARO Memorial Award in 2002. That was my first encounter with Ikegami. His award-winning artwork was titled, “The Stiffness Rhythm,” in which Ikegami spent a decade recording the locations of stiff parts of the body onto rolls of music box paper, punched holes in those areas, and fed the paper through a music box to create a unique musical composition. It can be said that Ikegami has made a work of art that visually captures the musical essence of stiffness in the body, a concept once imperceptible to the naked eye. Ikegami not only touches the body of the person he is working with; he also asks questions about their physical condition in what he calls a “medical interview.” In addition to the memory of the sensation of touch, these words help to supplement perceptions of the body. In Ikegami’s most recent solo exhibition “Stiffness of Parent and Child: Ceramic Artists,” (Gojozaka Shimizu, Kyoto, 2023), he made ceramic pieces of the body of a father and son of traditional ceramic artists in Kyoto, paying particular attention to their “hands,” which are often considered the lifeforce of ceramic artists. The father, a potter, passed away some time ago. While interviewing the son, who is also a potter, Ikegami touched on some of the late father’s artworks. While doing so, he felt the pressure of the father’s hands from the surface of the ceramics, subsequently allowing Ikegami to create a representation of the late father’s hands. Ever since “The Stiffness Rhythm,” Ikegami has touched people, felt their physical reactions and pressures, and has shaped their impressions into artwork. The origin of the power Ikegami feels from his hands began when he touched his own late father’s body— a sensation he still recalls to this day. Incidentally, while writing about Keiichi Ikegami’s work, I started thinking about the ’body,’ ‘language,’ and the butoh, one of the Japanese contemporary dance forms, of Tatsumi Hijikata. I was in charge of the “Butoh Festival: Theater of the Body,” event that occurred in conjunction with the “Surrealism of the Body: The abridgement of Butoh Artist Tatsumi Hijikata” exhibition (October 11, 2003 – January 12, 2004) held at the Taro Okamoto Museum of Art in Kawasaki, where I previously worked. It was at that time that I encountered butoh, Tatsumi Hijikata, and his definition of the butoh dance. Hijikata said, “[Butoh] Dancing is a corpse that stands on the edge of life.” These words are difficult to understand. I took it to mean that ‘life’ and ‘death’ are united at the very edge. I came to this realization when I participated in a workshop by Hijikata’s student and inheritor of the butoh dance, Moe Yamamoto. In the workshop, Yamamoto gave us a physical movement challenge, which he narrated as follows: Water takes on a form when you pour it into a cup. By giving the human body a form, we reclaim the body that we so often forget. Walk around as a taxidermied bird, whose internal organs have been gutted. Whose mouth and nose have been stuffed with cotton and gauze. Only the memory of having once flown in the sky resides on the surface of your skin. Let that memory pull you forward. When I heard this narration and moved my body to the image of those words, I finally understood what Tatsumi Hijikata meant when he defined Butoh as ‘a corpse that stands on the edge of life.’ I imagine that the sensations Ikegami felt in his father’s body were similar to the sensations I felt in that workshop. And from the body and words of the father and son, Ikegami was able to create the hands, not just as physical forms, but as figurative forms as well. The ceramic hands that Ikegami makes are different from hands made by other sculptors, such as Rodin. Ikegami crafts his pieces by touching the person’s body and posing questions with words. His artwork captures the sensation of the “boundary between life and death” that he feels on the surface of the body. This hand modelling by Keiichi Ikegami is neither ceramics nor sculpture. It is Ikegami taking a step forward, with his own body, into the realm of expression that cannot be defined, just as Tatsumi Hijikata created a “butoh” that is neither traditional performance art nor dance.
Keiichi Ikegami Profile Artist. As a sickly child, he was saved by his parents’ dietary regimen. Since then, he has learned various manual therapies and martial arts. He expresses the form of life in his paintings and sculptures, using connection and transformation of mind and body as motifs. Ikegami studied Western painting at Kyoto Seika University Graduate School of Fine Arts. He is the recipient of the 5th Taro Okamoto Memorial Special Prize for Contemporary Art.
