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Archive for 2003

"HIMALAYA "HIMALAYA RAINBOW" : Chie Matsui

火曜日, 11月 4th, 2003
himala_1

“HIMALAYA / KAIDAN”, “HIMALAYA RAINBOW” : Chie Matsui

Part 1 “HIMALAYA / KAIDAN” October 10-30, 2003
Part 2 “HIMALAYA / RAINBOW” November 4-21, 2003

Press Release

MEM presents Hymalaya, an exhibition of new works by Chie Matsui.
The exhibition contains two parts: “Hymalaya/Kaidan” and “Hymalaya/Rainbow”. In the first portion of the exhibition, the artist will show a DVD-video installation and in the latter part related drawings and prints will be exhibited.

Chie Matsui, one of a few artists exclusively devoting themselves to installation art in Japan, has been creating site-specific works with various kinds of materials including brick, glass, lead, threads, fake fur, drawings, poetry and projected images. By using such materials with different senses of touch and sight to create an entire installation having enough space within which to spend time and to walk around, Matsui tries to arouse emotions and memories of spectators in reference to bodily sensation in her space.

In this exhibition, Matsui shows a video work, “Hymalaya/Kaidan”, which was filmed in a spiral staircase of the building within which MEM is located. The video is projected onto an old removed door similar to a theatrical set. In the video, the artist slowly crawls up and down the spiral staircase. Spectators themselves are supposed to walk up this very stairway in order to reach the exhibition space on the fourth floor in advance of seeing the work. The whole process of repeated action in the spiral construction slowly becomes a ritual event that mesmerizes spectators.

text by Matsui

HIMALAYA

There lie the Himalaya Mountains.
Day after day the mountains watch our deeds.
“You did it again”, they sometimes sigh.
When the Himalayas breathe,
Life and death roll in circles.
Probably I won’t go to the Himalayas from now on.
The Himalayas are so well known
That I cannot remember when I came to know them.
“HIMALAYA” has always been here inside me
Since I came into existence.
So the Himalayas are in me
And yet far away from me.
The Himalayas
A dead end where a postal carrier cannot deliver mails.
A good for nothing mountain
But good enough for an escape valve from the tribulations of this world.
A longing for a place so dear to our hearts.
Oh how safe or snug are you dear Mountain
That you may embrace us when in need of respite from
The pleasures or pains of this world

(English translation by Yukari Okumura)

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松井智惠個展『ヒマラヤ』

火曜日, 11月 4th, 2003

himala_1

松井智惠個展『ヒマラヤ』

第一部「ヒマラヤ/カイダン」2003年10月10日(金)〜10月30日(木)
第二部「ヒマラヤ/レインボウ」 2003年11月4日(火)〜11月22日(金)

Press Release

松井智惠の新作を2部にわけて発表致します。
松井は、80年代より、白い壁に囲まれた大規模な構造体が特徴の「水路」シリーズを発表。90年代にはいってからは、寓話的な要素を取り込み、毛皮やノコギリなど触感を刺激する素材を用いた「Labour」シリーズを展開。
1997年には日本でも数少ない本格的なインスタレーションを制作する女性作家として、ニューヨーク近代美術館のproject展に招待されました。他サンタモニカ美術館やバンクーバーアートギャラリー等海外でも作品を発表し続けています。
松井の作品は様々な素材からなるオブジェや、寓意的なドローイングによって構成された、繊細な空間が特徴です。身体・精神と空間の関わりや、ジェンダーの問題、変化する記憶の引き出しや寓話と社会の関係等さまざまなテーマについて言及がなされています。
近年は、作家自身がある基本的な動作を継続・反復する映像作品を発表しはじめています。
今回は、松井作品の魅力をあますことなくお見せするため、映像作品の新作を含めたインスタレーションを見せる第一部と、虹色に光る特色ある素材を使用した平面作品だけで空間構成をした第二部を連続して開催致します。映像作品は、当画廊がある新井ビルの螺旋階段を舞台にしています。

作家コメント

HIMALAYA

ヒマラヤはずっとそこにある。
わたしたちの営みをずっと前から知っていて
「ああ、またか。」と
一呼吸する間に
生と死は限り無く繰り返される。
私はヒマラヤには多分行くことはないだろう。
ヒマラヤはとても有名で
いつその名前を知ったのかもおぼえていない。
元から私の中に「ヒマラヤ」はあったのだ。
だから近くて遠く、遠くて近い。
郵便配達員でさえゆけないところ
重力から、この地から、離れたいと思う憧れ
かつて知っていたところへの憧憬。
しかしこの重力の地に帰属することの暖かさ。
苦渋に満ちて、かつ喜びに満ちて。

  • matsui_print

Works

"HIMALAYA / KAIDAN", "HIMALAYA RAINBOW" : Chie Matsui

日曜日, 9月 14th, 2003
himala_1

“HIMALAYA / KAIDAN”, “HIMALAYA RAINBOW” : Chie Matsui

Part 1 “HIMALAYA / KAIDAN” October 10-30, 2003
Part 2 “HIMALAYA / RAINBOW” November 4-21, 2003

Press Release

MEM presents Hymalaya, an exhibition of new works by Chie Matsui.
The exhibition contains two parts: “Hymalaya/Kaidan” and “Hymalaya/Rainbow”. In the first portion of the exhibition, the artist will show a DVD-video installation and in the latter part related drawings and prints will be exhibited.

Chie Matsui, one of a few artists exclusively devoting themselves to installation art in Japan, has been creating site-specific works with various kinds of materials including brick, glass, lead, threads, fake fur, drawings, poetry and projected images. By using such materials with different senses of touch and sight to create an entire installation having enough space within which to spend time and to walk around, Matsui tries to arouse emotions and memories of spectators in reference to bodily sensation in her space.

In this exhibition, Matsui shows a video work, “Hymalaya/Kaidan”, which was filmed in a spiral staircase of the building within which MEM is located. The video is projected onto an old removed door similar to a theatrical set. In the video, the artist slowly crawls up and down the spiral staircase. Spectators themselves are supposed to walk up this very stairway in order to reach the exhibition space on the fourth floor in advance of seeing the work. The whole process of repeated action in the spiral construction slowly becomes a ritual event that mesmerizes spectators.

text by Matsui

HIMALAYA

There lie the Himalaya Mountains.
Day after day the mountains watch our deeds.
“You did it again”, they sometimes sigh.
When the Himalayas breathe,
Life and death roll in circles.
Probably I won’t go to the Himalayas from now on.
The Himalayas are so well known
That I cannot remember when I came to know them.
“HIMALAYA” has always been here inside me
Since I came into existence.
So the Himalayas are in me
And yet far away from me.
The Himalayas
A dead end where a postal carrier cannot deliver mails.
A good for nothing mountain
But good enough for an escape valve from the tribulations of this world.
A longing for a place so dear to our hearts.
Oh how safe or snug are you dear Mountain
That you may embrace us when in need of respite from
The pleasures or pains of this world

(English translation by Yukari Okumura)

Installation View

  • ma_web_ex1

松井智惠個展『ヒマラヤ』

日曜日, 9月 14th, 2003

himala_1

松井智惠個展『ヒマラヤ』

第一部「ヒマラヤ/カイダン」2003年10月10日(金)〜10月30日(木)
第二部「ヒマラヤ/レインボウ」 2003年11月4日(火)〜11月22日(金)

Press Release

松井智惠の新作を2部にわけて発表致します。
松井は、80年代より、白い壁に囲まれた大規模な構造体が特徴の「水路」シリーズを発表。90年代にはいってからは、寓話的な要素を取り込み、毛皮やノコギリなど触感を刺激する素材を用いた「Labour」シリーズを展開。
1997年には日本でも数少ない本格的なインスタレーションを制作する女性作家として、ニューヨーク近代美術館のproject展に招待されました。他サンタモニカ美術館やバンクーバーアートギャラリー等海外でも作品を発表し続けています。
松井の作品は様々な素材からなるオブジェや、寓意的なドローイングによって構成された、繊細な空間が特徴です。身体・精神と空間の関わりや、ジェンダーの問題、変化する記憶の引き出しや寓話と社会の関係等さまざまなテーマについて言及がなされています。
近年は、作家自身がある基本的な動作を継続・反復する映像作品を発表しはじめています。
今回は、松井作品の魅力をあますことなくお見せするため、映像作品の新作を含めたインスタレーションを見せる第一部と、虹色に光る特色ある素材を使用した平面作品だけで空間構成をした第二部を連続して開催致します。映像作品は、当画廊がある新井ビルの螺旋階段を舞台にしています。

作家コメント

HIMALAYA

ヒマラヤはずっとそこにある。
わたしたちの営みをずっと前から知っていて
「ああ、またか。」と
一呼吸する間に
生と死は限り無く繰り返される。
私はヒマラヤには多分行くことはないだろう。
ヒマラヤはとても有名で
いつその名前を知ったのかもおぼえていない。
元から私の中に「ヒマラヤ」はあったのだ。
だから近くて遠く、遠くて近い。
郵便配達員でさえゆけないところ
重力から、この地から、離れたいと思う憧れ
かつて知っていたところへの憧憬。
しかしこの重力の地に帰属することの暖かさ。
苦渋に満ちて、かつ喜びに満ちて。

Installation View

  • ma_web_ex1

Works

SCOTOMA : Tomoaki Ishihara

月曜日, 4月 14th, 2003

is_sc

SCOTOMA : Tomoaki Ishihara

May 6 – June 14, 2003

press release

Ishihara creates works in various forms including sculpture, 3-D photo, color or b/w photographs and oil on canvas, and through these mediums he experiments with his thoughts challenging the formula of art and society.

“Scotoma” is a term that means “blind spot”, thus describing the inability to understand or perceive certain matters. It is also the name of an illness that is marked by a permanent or temporary area of depressed or absent vision.
Ishihara thinks that scotoma exists physically or mentally throughout society.

In the exhibition, he exhibited an evacuated sphere made from glass that hung from the ceiling with thin wire. The transparent object displays no clues as to whether the inside is really evacuated or not. Ishihara wanted to make the evacuated air noticeable by creating this glass object floating in space. The work is thus another version of a blind spot that alludes to something people donユt want to see or cannot see unless they are willing to do so.

The term “Scotography” refers to a print taken by abnormal light such as the invisible rays of the X-ray and electron. Ishihara’s “scotographic” self-portraits were also juxtaposed into the show. The ’self-port’ photographs were taken by an electron microscope in order to achieve micro-images of the skin and hair of the artist. These photos appear to be black and white abstractions or landscapes, and can hardly be recognized as portraits of the artist. Ishiihara’s intention here is to subvert the concept of the self-portrait and the image of oneユs self.

Installation View

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Works

石原友明『SCOTOMA』

月曜日, 4月 14th, 2003

is_sc

石原友明『SCOTOMA』

2003年5月9日(金)〜6月14日(土)

press release

80年代に登場し、点字を用いたタブローや、革を縫った彫刻、買い手が制作するオブジェのキット等、美術の枠や制度に挑戦するようなシリーズを展開してきた石原友明の新作展を開催いたします。
今回のタイトル「SCOTOMA」は、医学用語で盲点という意味で、視野のなかにありながら、なお視覚では認識できない事象や人間の思考、意味の空白など、様々な角度から盲点的なものを提示していくことが本展のテーマになっています。
 出品作品のひとつは、会場中央にワイアーで吊られた、空気を抜きとり、真空状態になった球体のガラスのオブジェです。
 他には、セルフポートレイトとして、走査電子顕微鏡で撮影した作家自身のある部分を拡大した写真を展示いたします。光を使わないエックス線写真は「スコトグラフィー」と呼ばれますが、そこには、すべてを克明に見たいという人間の欲望と、肉眼で見えない部分を「見る」ときに可視光線だけでは不可能だという事実があります。
 石原は、従来の光を使用する「フォトグラフィー=光画」との対比として「スコトグラフィー=盲画」という概念を提示し、あらたな角度から「見る」という行為を考証いたします。また、以前から取り組んでいる点字のタブローの新作も紹介致します。
これは点字をつかって美術の制度に対する盲点を浮き彫りにしたシリーズです。
これらの多様な作品群から、「SCOTOMA」的なるものが浮かび上がってくることになるでしょう。

Installation View

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Works

Barco Negro on a table : Yasumasa Morimura

土曜日, 3月 1st, 2003

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Barco Negro on a table : Yasumasa Morimura

March 28-April 30, 2003
Early still-life photographs from the 1980s.

press release

MEM presents the exhibition “Barco Negro on a Table” showing early photographic works by Yasumasa Morimura created between 1984-1985. Forty-nine gelatin-silver prints were displayed in the show that had not been previously exhibited save for six photographs from the “City on the Table” series and three photos from the “Swimming Person” series that were shown in a group show in Osaka in 1984. Some additional images included in the exhibition were previously reproduced in publications including the “Tower in the Forest” series that was used for invitation cards for Comme des Garcons in the 90s. All photographs were newly printed especially for this exhibition.
The images in the photographs were carefully constructed on a table in Morimura’s studio using various kinds of objects including tableware, clothes and original small sculptures. It is interesting that Morimura, an artist whose works are highly esteemed as post-modern art, produced a group of constructed photographs in the manner of Modernism, comparable to works from the Bauhaus or Russian Constructivist schools.

Background of the early photography of Morimura:
After leaving the Kyoto University of the Arts in 1975, Yasumasa Morimura worked as an assistant to Ernest Sato, professor of Graduate Studies of Art, at the University from 1980 to 1989. Sato, a former photojournalist who had worked for Life magazine, delivered unique lectures on modernist photographers in the 20th century starting with Henri Cartier-Bresson.

Morimura says, “…This is not to say he was only concerned with photography. Instead, he used examples of photography in the context of the whole of 20th century art, and these became the base from which he expounded on the aesthetics of Modernism…”(’Y.Earnest Satow, selected photographs’, 2000, p43) Morimura thus became fascinated by ‘the aesthetics of Modernism’ through Sato’s lectures on the practical skills of photography that included numerous examples of works by modernist photographers.
The group of photography from “Barco Negro on a Table” testifies to the fact that Morimura thoroughly studied modernist photography of the 20th century. He established his own style in his photography by appropriating the structure of modernist works. One of the characteristics in these photographs is that the objects made by Morimura, including a tower made from dice, cut out letters, and a painted board, are used carefully in the images. Although the artist has created numerous objects and small sculptures over the course of his career, he has not included all of them in his photographs.
After creating still-life photographs for a group exhibition in 1984, Morimura noted that he “…felt tired of getting along with ‘art trends’ in the middle of the 80s… As compared with light colored prints by Pop artists and posters in the Marie Laurencin style, which are regarded as suitable for contemporary interior design, the aggressively colored paintings by Van Gogh and the provincial Van Gogh himself seemed to be a symbol of the negative world. Then, I regarded anything related to this ‘Van Gogh world’ as my family and wanted to bark at the world with them…”(from ‘Making of Artist M’, 1998, Chikuma-Shobo)
In 1985, Morimura produced “Portrait (Van Gogh)” appropriating the image of Van Gogh’s famous self-portrait. The work was a milestone in his output that drastically changed the sheer direction of his work. This work marks the beginning of Morimura’s ‘Daughter of Art History’ period that drew the attention of curators and critics in the Western world. Morimura continued to appropriate images from major paintings by western masters such as Vel?quez, Rambrandt, Goya, Cezanne and Manet. He quite literally inserted himself into these paintings, performing not only the persons included within, but also several non-human objects as well.

Installation View

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Works

森村泰昌写真展「卓上のバルコネグロ」

土曜日, 3月 1st, 2003

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森村泰昌写真展「卓上のバルコネグロ」

2003年3月28日〜4月30日

press release

卓上で生命を与えられ、振動し、ざわめくものたち。
森村泰昌が1985年にゴッホの肖像を発表する直前に取り組んでいた初期の静物写真を初めて一堂に紹介致します。
「卓上のバルコネグロ」と題された50点程の写真は、殆どがテーブル上あるいはアトリエの小空間に、身の回りの小道具や立体作品を入念に配置・構成し撮影したものです。また最初期のセルフポートレイト作品も何点か含まれております。
後の美術史のシリーズにも通じる綿密な画面構成や、手作りのオブジェ・小道具等森村作品の原点が凝縮されている展覧会です。
会場では、作品とともに撮影に使用されたオブジェや小道具もいっしょに展示致します。

Installation View

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Works