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.
会 期：2024年1月14日(日) – 1月21日(日) 時 間：10:00-19:00 （最終日は17:00まで） 入場料：無料 W e b ：茨木市役所 問合せ先：茨木市市民文化部文化振興課 T E L ：072-620-1810 メール：bunkashinkou@city.ibaraki.lg.jp 主 催：茨木現代美術展実行委員会（茨木市・茨木現代美術の会）
