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Archive for 2017

丹平写真倶楽部の三人展: 音納捨三、河野徹、椎原治

火曜日, 12月 26th, 2017

会期|2018年1月6日(土) – 28日(日)
会場|MEM map
open hours|12:00-20:00 月曜休廊 [月曜祝日の場合は営業し、翌日休廊]
tel. 03-6459-3205

詳細

The Tampei Photography Club: Toru Kono, Sutezo Otono, Osamu Shiihara

火曜日, 12月 26th, 2017

Dates|January 6 – 28, 2018
Venue|MEM map
Open hours|12:00-20:00 Closed on Mondays [Tue. if the Mon. is a public holiday]
Tel|+81 (0)3-6459-3205

more info…

年末年始休廊のお知らせ|Holiday Closing Schedule

月曜日, 12月 25th, 2017

2017年12月29日(金) 〜 2018年1月4日(木)の間、年末年始休廊とさせて頂きます。
MEM will be closed from Dec. 29, 2017 through Jan. 4, 2018 for the winter holidays.

Ken Kitano “Gathering Light”

土曜日, 11月 18th, 2017

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Ken Kitano “gathering light”

Dates|November 25 – December 24, 2017
Venue|MEM map
open hours|12:00-20:00 Closed on Mondays [Tue. if the Mon. is a public holiday]
Tel|+81 (0)3-6459-3205


[Talk Event]
Date&Hour|November 25, 19:00〜
Venue|MEM
Guest|Gen Umezu (The Museum of Modern Art, Saitama)
Admission Free
*Opening reception will be held after the talk.

Photography depends on “light to bind” an image in a single instance.
The photographer as agent produces work with a clearly defined concept. However, there are times in the pursuit of an image where, when standing beside the strange pool of developing fluid, the image can only be described as having “appeared” despite being something made myself. (I am calling this “the fluctuating edge”.)
For example, I carefully removed the camera installed on a roof for six months, cleared away the debris and recovered the film. When developing several of them, the one that shows a faint trace of light rays from the sun is carefully scanned and adjusted with Photoshop. Then unseen traces of light jump out and float to the surface. Having remained unchanged for 4.6 billion years, the revolution of the Earth and the rotation of the cosmos from Winter solstice to Summer solstice are etched with a myriad of lines.
The main focus and subject cannot be summarized as having a “doing / to do” relationship. But is the only way to describe an image as having “appeared” as an act or condition of the pool of development different from either “taken” (active) or “being taken” (passive)? (Koichiro Kokubun’s “The World of The Middle Voice” writes about the world before the history of language becomes the confrontationally opposed verbs of “active and passive”.)
Finding a way (or approach) to unlock the pool will give a sense of great satisfaction (despite being slightly intimidating.)
And as a result, I want to take that moment home and place the world seen from that point on slightly in the medium of photography.

Ken Kitano, September 2017

Installation View

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北野謙展『光を集めるプロジェクト』

土曜日, 11月 18th, 2017

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北野謙展『光を集めるプロジェクト』

会期|2017年11月25日(土) – 12月24日(日)
会場|MEM map
open hours|12:00-20:00 月曜休廊 [月曜祝日の場合は営業し、翌日休廊]
tel. 03-6459-3205


[作家対談企画]
日時|11月25日(土) 19:00〜
会場|MEM
ゲスト|梅津元 (埼玉県立近代美術館主任学芸員 / 芸術学)
参加無料
*対談終了後、オープニングレセプションを開催

写真は“光が像を結ぶ”一事にかかっている。
写真家は行為者として明確な主語で、コンセプトを立て作品を制作する。ところがそれを追求していくと、自分のやったことなのに像が“立ち現れた”としか言いようのない、得体の知れない“淵”に立っている時がある。( 僕はこれを“ゆらぎの淵”とよんでいる。)
例えば、屋根の上に半年間取り付けたカメラを丁寧に取り出し、汚れを落としてフィルムを回収する。現像すると何本かに1本、ネガにうっすらと太陽の光跡が写っているものがある。それを丁寧にスキャンしてPhotoshopで調整する。すると見たことのない光跡がぐわっと浮かび上がる。無数の線は、46億年変わらない地球の公転と自転が刻む〈冬至—夏至〉の宇宙的リズムである。
「撮る(能動態)」とも「撮られた(受動態)」とも違う 「現れた」としか言いようのないこの“淵”は、行為なのか状態なのか。「する/される」の関係に集約されない主体と主語。(國分功一郎著『中動態の世界』には言葉の歴史の中で、動詞が〈能動態/受動態〉の対立構造になる前の世界について書かれている。)
“淵”への切符(方法)が見つかった時は(少し怖いのだけど)至福である。
そしてそこから見える世界を、写真というメディウムに入れて少しでも持ち帰りたいと思う。

2017年9月 北野 謙

Installation View

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北野謙展『光を集めるプロジェクト』

金曜日, 10月 20th, 2017

会期|2017年11月25日(土) – 12月24日(日)
会場|MEM map
open hours|12:00-20:00 月曜休廊 [月曜祝日の場合は営業し、翌日休廊]
tel. 03-6459-3205
作家対談企画|11月25日(土) 19:00〜 (参加無料)
       ゲスト:梅津元 (埼玉県立近代美術館主任学芸員 / 芸術学)
*トーク終了後、オープニングレセプションを開催

詳細

Ken Kitano “gathering light”

木曜日, 10月 19th, 2017

Dates|November 25 – December 24, 2017
Venue|MEM map
Open hours|12:00-20:00 Closed on Mondays [Tue. if the Mon. is a public holiday]
Tel|+81 (0)3-6459-3205
Talk Event|November 25, 19:00〜 at MEM (Japanese version only)
*Opening reception will be held after the talk.

more…

Kimiyo Mishima “EARLY WORKS”

日曜日, 9月 24th, 2017

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Kimiyo Mishima “EARLY WORKS”

Dates|October 7 – November 5, 2017
Venue|MEM map
Open hours|12:00-20:00 Closed on Mondays [Tue. if the Mon. is a public holiday]
Tel|+81 (0)3-6459-3205

Artist Talk|October 7, 18:00〜 at MEM (Japanese version only)
*Opening reception will be held after the talk.

Born in 1932 in Osaka. Mishima began painting in the 1950s. As she developed her own style, Mishima gradually began using newspapers and magazines to collage on top of painting. Shigeji Mishima (1920-1985), a painter and her husband, encouraged her to explore further with different techniques. Shigeji studied under Jiro Yoshihara, the leader of Gutai Group, although he didn’t join the group himself. At the beginning of the 1970s, Mishima made a first group of ceramic sculptures of everyday items including newspaper. Minami Garo, a leading contemporary art gallery in Tokyo, hosted Mishima’s solo show in Tokyo in 1974 showing such ceramic sculptures.
Ceramic sculptures of everyday items and waste material became Mishima’s trademark, while always experimented with new techniques and materials such as volcano ash, fibre-reinforced plastic (FRP) and polyester. For example, she was fascinated by making waste sculptures from Molten slag—a recycled glass-like material made by heating industrial waste to over 1300℃.

The two paintings on display with modified images of Venus that date from 1966, are good examples of her technique from the period when she used daily ephemera, such as newspapers and printed flyers, on top of canvas and panel. Here, Mishima used the female icon in art history as a shadow. She mentions her dislike for femininity being a female artist in a very male-dominated Japanese art world, along with being the daughter of a cabaret owner in Osaka’s Juso area.

The fragments of large French and German ceramic newspapers are from the early 1980s. She used to have these large newspaper sculptures in the garden of her studio in Toki City. Enlarging these everyday items is one important aspect of Mishima’s work, emphasizing an accelerated growth of waste and an overflow of information.
During this period, she photographed stacks of newspaper and produced a series of etchings entitled ‘Memory’. Related photographs taken before these etchings were made are also exhibited.

A group of sculptures in a small room were made in the mid 1980s right after returning from New York, where she stayed for roughly one year as part of the Asian Cultural Council’s fellowship. There, Mishima socialized with American contemporary artists such as Loy Lichtenstein and Louise Nevelson. These sculptures are made from objects and waste material she found on street.
The exhibition showcases the development of Mishima’s artistic practice spanning fifty years from the 1960s onwards, shifting from two-dimensional to three-dimensional work, passionately mastering the different techniques she took an interest in.

She also has a solo exhibition being held at Art Factory Jonanjima, containing a group of large-scale installations.

Mishima’s work is in the permanent collection of important institutions and museums around the world, including National Museum of Modern Art in Kyoto, Tokyo Metropolitan Museum of Contemporary Art, Minneapolis Institute of Arts in Everson, Museum of Arts in New York, Samuel P. Harn Museum of Art in Florida, Smith College in Massachusetts, Musée Cernuschi in Paris, Musée Ariana in Geneva, The Korean Culture & Arts Foundation in Seoul, M+ in Hong Kong, and ARTER | Vebi Koç Foundation in Istanbul.

Installation View

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三島喜美代展『Early Works』

日曜日, 9月 24th, 2017

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三島喜美代展『Early Works』

会期|2017年10月5日(土) – 11月7日(日)
会場|MEM map
営業時間|12:00-20:00 
定休日|月曜休廊 [月曜祝日の場合は営業し、翌日休廊]
電話|03-6459-3205

[アーティストトーク]
日時|10月7日(土) 18:00〜
会場|MEM
参加無料
*対談終了後、オープニングレセプションを開催

三島喜美代は、1950年代より絵画を制作。60年代に入ってから絵画のなかに和洋雑誌、新聞等から記事や広告等の印刷物をコラージュする作品に移行。その後シルクスクリーンやエッチングなど様々な技法を模索し、1970年代初頭より陶に新聞記事を転写する彫刻作品を作り始める。新聞記事や広告、飲料水の缶、漫画雑誌、電話帳、大型産業廃棄物等日々消費されては捨てられる「ゴミ」を陶の立体作品にするのが三島の代表的なスタイルになっていく。
本展では、当時の平面から立体へ移行するプロセスを追うように、初期の油彩とともに、自身が撮影した積み上げられた新聞の写真、そこから制作された銅版画、そして80年代の新聞の大型立体作品を展示。また、ファウンド・オブジェで制作された立体コラージュともいうべき80年代半ばに制作された貴重な立体作品を加え、三島が、様々な技法や媒体を自由に行き来しながら、独自の視点で現代社会に対峙してきた60年代から80年代までを考察する。

Installation View

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Kimiyo Mishima “Early Works”

水曜日, 9月 20th, 2017

Dates|October 7 – November 5, 2017
Venue|MEM map
Open hours|12:00-20:00 Closed on Mondays [Tue. if the Mon. is a public holiday]
Tel|+81 (0)3-6459-3205
Artist Talk|October 7, 18:00〜 at MEM (Japanese version only)
*Opening reception will be held after the talk.

more info…