Project
ART HANKYU 2022 in Osaka
2022年5月5日 - 9日
アートフロントギャラリーは、5月5日より大阪・阪急うめだ本店で開催される「北斎と現代アート ART HANKYU 2022」に参加します。
世界の人々を魅了する 江戸の浮世絵師・葛飾北斎の代表作『北斎漫画』と、 四季折々の富士山を描いた『富嶽百景』の展覧会と共に、 日本を代表する現代アートの6ギャラリーがセレクトしたアーティストの作品が一堂に展開されます。アートとの出会いを楽しみ、コレクションする喜びをご体感ください。
参加作家(アートフロントギャラリー):
大岩オスカール
田中望
金氏徹平
角文平
エコ・ヌグロホ
石田恵嗣
川獺すあ
青山夢
藤堂
川俣正
※作家名をクリックすると作家の紹介に飛びます。
Date | 2022年5月5日 - 9日 |
---|---|
会場 | 阪急うめだ本店(大阪府大阪市北区角田町8−7) https://www.hankyu-dept.co.jp/honten/h/arthankyu/index.html |
参加ギャラリー | アートフロントギャラリー 、浦上蒼穹堂 、ANOMALY 、小山登美夫ギャラリー 、シュウゴアーツ 、タカ・イシイギャラリー 、西村画廊 |
大岩オスカール
![](/project/assets_c/2022/05/72abbb686fab54b50af5b764cef836f07abff3c5-thumb-1772x1369-9829-thumb-1772x1369-9851.jpg)
大岩オスカール 《Pine River》2015 / キャンバスに油彩 / 1380 x 1780mm
サンパウロで生れ、日本やニューヨークでアーティストの仕事を展開してきた大岩オスカールはまさに「旅人生」を送っている。そんなオスカールが、海は繋がっている、どこにいても同じ海を見ているという思いをこめて川の情景を描いた。これはサンパウロを流れる、市民から愛着のあるピニェイロス川を描いたもので《Pine River》と名づけられた作品。悠々と流れる幅の広い大河(以前は蛇行していた形状を20年以上の河岸工事でまっすぐにした)に、重機などを載せた大型の船が往来し、水面に映る街の夜景と穏やかに交じりあう。(詳しい作家情報)
現在国立国際美術館で開催中の《感覚の領域》展には逆巻く波しぶきをあげる船を描いた作品が並ぶ。開幕したばかりの瀬戸内国際芸術祭では、男木島を舞台に旧作新作、と話題が目白押しのオスカール。「繋がる海」をぜひ、お楽しみください。
田中望
![](/project/assets_c/2022/05/_DSC3956-thumb-2840x3750-9848-thumb-2840x3750-9852.jpg)
田中望 《ジュンサイ》2022 / パネル、胡粉ジェッソ、水干、墨、箔、330x240mm
3月にアートフロントギャラリーにて個展を開催した田中望。東北芸工大で学んでいたときからVOCA賞(2014)等で注目されてきたが、現在は庄内などの山間部に住み、地域おこし活動と制作を両立させている。
今回のテーマ《山づと》、万葉集に遡る「山からの贈り物」という意味で、地元の人たちが自然の植生する山菜を、山の神からの贈り物として感謝しながら今も昔も採って生活の糧にしているさまを表している。田中は葉山葵、ワラビ、ジュンサイ、ドンゴイなどの山菜を保存食にするプロセスを、ウサギたちの姿を借りながら作品化した。丁寧な観察眼に民話のファンタジー、田中自身のアーティストの眼と地域経済への想いが交錯しているようだ。個展では自らつくったサルノコシカケのスープなども販売され、アートを切り口にした新たな可能性を感じさせるシリーズになっている。(詳しい作家情報)
金氏徹平
![](/project/assets_c/2022/05/872c16edaf24f5bb8ac38ea267255c10956e3f81-thumb-2196x3136-9853.jpg)
金氏徹平《Games, Dance &The Constructions (Color plywood)#22》2022 / 1820x1200x40mm /合板にシルクスクリーン
1978年京都府生まれ。モチーフは主に日常的なイメージをはらむフィギュアや雑貨。現代社会で再生産され続ける情報のイメージを、リズミカルに反復と増幅を繰り返し展開させることで注目を集める。個々の物体が持つ本来の意味が無視されて繋げられることで、思いもしなかったダイナミックな表現がもたらされている。(詳しい作家情報)
角文平
![](/project/assets_c/2022/05/48935bb57722d280d5c1578df13621eb5ae4fa72-thumb-410x231-9862.jpg)
角文平《コロコロなるままに-山寺》2013 / コロコロコミック、FRP 香炉
角の特徴は、製作においてまず、手元にある材料からステレオタイプな「物」を作ることにある。それは誰が見てもどこにでもありふれたナイフや椅子や引き出しでなければならない。ステレオタイプな「物」でなければ日常品そのものが持つ「記号」としての意味が発揮されないかもしくは必要以上の意味が付随してしまうのだ。彼の作品が次に特殊なのは物と物をパズルのように組み合わせることで本来の物が持つ機能や意味をずらし、新たな意味を生じさせることにある。見慣れた物と物の組み合わせで実際にはあり得ないことを見せることが角文平の作品の明快な面白さであり、そこから生じる意味の振幅もこの数年で非常に広がりを持ってきている。(詳しい作家情報)
エコ・ヌグロホ
![](/project/assets_c/2022/05/31_2018_ecoline%20on%20paper_200x150cm_vk-thumb-627x810-9854.jpg)
エコ・ヌグロホ《Nowhere to Nowhere》2018 / 2000x1500mm / 紙にカラーインク
ジャカルタ生まれ。インドネシアを代表するアーティスト。書籍、コミック、ビデオアニメーションなどの他のメディアとのコラボレーションによって壁画、絵画などを作成。1990年代後半の学生を中心とした運動の経験から、社会的な課題をテーマとした作品も多い。シンガポールタイラープリントInstiture、(シンガポール2013年)、キアズマ美術館(フィンランド2008年)、ハーグ(オランダ2005年)で、個展・アートワークなどを展開。リヨンビエンナーレ2013、ヴェネツィア・ビエンナーレ第55回国際美術展に参加。(詳しい作家情報)
石田恵嗣
![](/project/assets_c/2022/05/7b1676ecb8e837a2512ae0ef88e8010bfb9a88fb-thumb-4260x2840-9205-thumb-4260x2840-9855.jpg)
石田恵嗣 2021
石田の絵画は世界中の童話や絵本に着想を得た奇妙な物語性を秘めている。綿密なリサーチと形の追及の上に成り立つその絵は、未だ語られぬ物語を一瞬のうちに見るものに伝え、その中へと引き込む力がある。(詳しい作家情報)
川獺すあ
![](/project/assets_c/2022/05/8766685a67581888b5e63668b62955bb8f7a522d-thumb-2971x1936-9856.jpeg)
川獺すあ 展示風景@阪急うめだ本店
文字や画像から抽出した何かを表すために繋がれていた情報としての線を作品上で解体し、再構築した線同士の位置や重なりから複雑なシミュラクラ現象のように顔を描き起こす。
■主な展覧会
2020年
個展“Polite output” - Pie(韓国・ソウル市)
ヒョーヒョーテンポ/hyouhyou tempo/ 飄々店舗 - Alternative Space yuge(京都府・京都市)
2021年
個展“blurred me(you)” - THE ROOMERS’ GARDEN(宮城県・石巻市)
2022年
東北芸術工科大学 卒業/ 修了研究・制作展(山形県・山形市)
biscuit gallery 1st anniversary exhibition “grid” - biscuit gallery(東京都・渋谷区)
The Preview Art Fair - 427 Esfactory D-Dong(韓国・ソウル市)
青山夢
![](/project/assets_c/2022/05/image1-thumb-2604x2532-9857.jpeg)
青山夢 展示風景@阪急うめだ
これまで、山形県村山地方の供養習俗であるムカサリ絵馬の取材を通し、人々が自然と共に暮らす環境の中で、人の死を思う普遍的な形式をモチーフにして作品をつくってきました。そこでは、人の死に残された者たちが不安や悲しみを経て、どう生きていくのかをその土地で暮らす人々の信仰や物語に出会い知ることができました。
現代生活において、絶対的な自然の破壊力によって、世界は混迷しています。制限され生きづらさを抱える中で、境界なく入り混じりつながる獣に強い可能性を感じ、様々な動物の皮膚を結合させ、神話学的思考を取り入れながら描いてきました。
今回の作品では、日常生活の断片をを刺繍とペインティングを組み合わせた作品でのアプローチを試みました。(作家コメントより)
藤堂
![](/project/assets_c/2022/05/WsvL4jfLXgTOKnvatBZqYe4pvtwyZWN8IkNob4MO%40full-thumb-1228x1296-9858.png)
藤堂《サルデーニャ島_イタリア》2006 / H155 × W140 × D155mm / 石、積層ガラス
藤堂の作品の背景には常に時間がある。その作風は「場所の固有性」をテーマに自ら歩いて集めたものを中心に創造され、様々な形態を持つ。もっとも代表的な作品はドイツ滞在時に制作されたもので、世界各国にある史実を刻んだ土地の石を切断しその切断面に積層ガラスを埋め込み磨き上げたものである。(詳しい作家情報)
川俣正
![](/project/assets_c/2022/05/b9a71500310266614cfcdeb29a4d0e628bcf1987-thumb-629x427-9859.jpg)
川俣正《Limelight Project Plan (13)》1985 / 810 x 1220 x 100mm / バルサ材、アクリル、合板
1982年にベネチアビエンナーレに参加して以来、世界を舞台に活躍する川俣の作風は「製作プロセスそのもの」も作品であるということである。川俣の手がける大がかりなプロジェクトではアパートや公共空間に材木を張り巡らし、空間そのもののとらえ方を作品として見せているが、そこでは観客の動きまでもが作品のプロセスとなる。プロジェクトを実施するために作られる模型や平面レリーフもそうした意味でプランではなく一つ一つがそこに至るプロセスを抱えた作品だと言える。インスタレーションという手法をいち早くとりいれた川俣だが、最近個別作品の人気も高まっている。
川俣は1984年から85年にかけてP.S.1の国際スタジオ・プログラムのレジデンスに選ばれ、そこでの出会いをきっかけとしてその後ニューヨークでプロジェクトが多く展開することになった。教会を改築してディスコになっていたライムライトのアートディレクターがある日川俣のスタジオを訪問し、既に日本で作られていた「テトラハウス」の写真を見ながら、ライムライトでも何かやってみないかと持ちかけたという。ミーティングを重ね、川俣は教会のファサードなどを覆うプランを出したが、この建物全体が市のランドマークに指定されていたためなかなか許可が下りなかった。ようやく許可が下りたものの、展示期間は1985年の1か月あまりで解体された。
このプロジェクトのマケットで残っている80年代の稀有な作品が「ライムライトプロジェクト プラン13」だ。関係者と重ねられた討議の証左でもあり、またファサードのかなり高い位置に積み上げられた木材が白いペイントで塗られた建物に吸い付くように留まっている。川俣によれば、日中の静けさと夜若者の集まるディスコとして機能する元教会のギャップが面白かったそうで、そうした80年代の熱気が伝わってくるような作品となっている。 (そのほか詳しい作家情報)
■北斎と現代アート ART HANKYU 2022
日程:2022年5月5日 - 9日
会場:阪急うめだ本店(大阪府大阪市北区角田町8−7)
Artists
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