展示風景左：奈良美智《on the carpet》2019 Pen and color pencil on paper 37.5 x 29.6 x 3.7 cm 右：奈良美智《watching girl》 2019 Pen and color pencil on paper 37.5 x 29.6 x 3.7 cm左：奈良美智《drumming girl》2019 Pen and color pencil on paper 37.5 x 29.6 x 3.7 cm 右：奈良美智《star on the finger》 2019 Pen and color pencil on paper 37.5 x 29.6 x 3.7 cm左：奈良美智《ukulele girl》2019 Pen and color pencil on paper 37.5 x 29.6 x 3.7 cm 右：奈良美智《think about something》 2019 Pen and color pencil on paper 37.5 x 29.6 x 3.7 cm菅木志雄《 Intervals of Existence Arising》 2020 Acrylic and varnish on wood 120x90x28cm展示風景中村一美《Mulberry Tree on a Solitary Island II》2016〜2018 Oil on canvas 160x130cm石川順惠《Impermanence—Kobushi Magnolia》2020 Acrylic and sand on canvas 100x100cm石川順惠《Impermanence—Tanjitsu》2020 Acrylic and sand on canvas 91x91cm岡﨑乾二郎《野は緑、小鳥が歌い、露が輝き、煙がたち昇り、そこここに見えるのはみな「だれか」だった。光のなかで姿を現し姿を変える、心を打つものすべてはきっと「だれか」の所為。 もし植物たちが感情を持たなかったら、地上を充たしている感覚も乏しく疎らとなるだろう。花の回りを飛び交う昆虫のかたちをした、心もきっと孤独のはず。 森のなかを駈ける獣たちの目にも耳にも何一つ触れるものがない。けれど水たまりの前で、獣がにわかに渇きを覚えるとき、その渇きこそ「だれか」である。ハシバミの枝々は動き、日は西に沈む。潮かぜ海かぜ、何を求めてさまよい歩く。》2016 Acrylic on canvas 210.2×259.7×7.6cm岡﨑乾二郎《さざなみが大海原に生じ、葉が木に生えるように、ぼくらは世界に生れた。さざなみは光を各々、別の斜面において捉え、煌めき、枝が動かずとも木の葉は戦ぐ(耳や目をそばだて)。それは目にも耳にも手にもまるで別の事件として生じる。然るに意識が世界を掴むとき体は引き潮のように背景に退く。わたしは言う(だから耳目に頼らず)起きなさい。》2016 Acrylic on canvas 73×91.4×6.4cm展示風景
岡﨑乾二郎さんのゼロサムネイルシリーズも8点ほど展示されていました。
岡﨑乾二郎《カンビアの/Kamby Bolongo mean River meant Freedom》 2018 Acrylic on canvas 18.3×24.4×3.7cm展示風景岡﨑乾二郎《 Tahoma /Mount Rainier》 2020 Acrylic on canvas 20.3×16.3×3.5cm岡﨑乾二郎《Loowitlatkla /Mount St. Helens》2020 Acrylic on canvas 20.3×16.3×3.2cm岡﨑乾二郎《Côte d’Azur》 2015 Acrylic on canvas 18.5×16.1×3.1cm岡﨑乾二郎《 Infanta Margarita /薫陶/ Il Pomo d’Oro》2018 Acrylic on canvas 20.3×16.5×3.1cm岡﨑乾二郎《Bosque de colina alta /いちじくを 食べに/Paseo》 2018 Acrylic on canvas 18.2×23.2×2.9cm岡﨑乾二郎《十四時/Ix chel /空の水瓶》 2015 Acrylic on canvas 16.8×20.1×3.1cm岡﨑乾二郎《Le piège mystique de la licorne/ 橄欖柑橘/ But my horn shalt thou exalt》 2018 Acrylic on canvas 25.2×18.1×4.4cm
“5,471 miles” at BLUM&POE
We visited the exhibition “5,471 miles” at Blum & Poe.
The title “5,471 miles” refers to the physical distance between the two cities that anchor BLUM&POE’s operations — Los Angeles and Tokyo — and reflects the exhibition’s premise of primarily introducing artists based in and around these two locales.
“5,471 miles” at BLUM&POE (Tokyo)
Although the exhibition is international in scope, unfolding across two cities, its curatorial theme lies in the paradox posed by the current situation, in which the pandemic has essentially restricted movement and shipping to strictly local territories. The show can never be seen in its entirety at any single venue; rather, it is a highly unique exhibition composed in equal measure of the works physically present on-site and those that are not.
Installation viewLeft: Yoshitomo Nara, “on the carpet,” 2019, Pen and color pencil on paper, 37.5 x 29.6 x 3.7 cm Right: Yoshitomo Nara, “watching girl,” 2019, Pen and color pencil on paper, 37.5 x 29.6 x 3.7 cmLeft: Yoshitomo Nara, “drumming girl,” 2019, Pen and color pencil on paper, 37.5 x 29.6 x 3.7 cm Right: Yoshitomo Nara, “star on the finger,” 2019, Pen and color pencil on paper, 37.5 x 29.6 x 3.7 cmLeft: Yoshitomo Nara, “ukulele girl,” 2019, Pen and color pencil on paper, 37.5 x 29.6 x 3.7 cm Right: Yoshitomo Nara, “think about something,” 2019, Pen and color pencil on paper, 37.5 x 29.6 x 3.7 cmKishio Suga, “Intervals of Existence Arising,” 2020, Acrylic and varnish on wood, 120x90x28cmInstallation viewKazumi Nakamura, “Mulberry Tree on a Solitary Island II,” 2016–2018, Oil on canvas, 160x130cmYukie Ishikawa, “Impermanence—Kobushi Magnolia,” 2020, Acrylic and sand on canvas, 100x100cmYukie Ishikawa, “Impermanence—Tanjitsu,” 2020, Acrylic and sand on canvas, 91x91cmKenjiro Okazaki, “The fields were green, small birds were singing, dew was shimmering, smoke was rising, and everything one saw here and there was ‘someone.’ Everything that appears and transforms in the light, everything that stirs the heart, must surely be the work of ‘someone.’ If plants had no feelings, the sensations filling the earth would grow sparse and thin. The hearts, shaped like insects flitting around flowers, must also be lonely. Nothing touches the eyes or ears of the beasts running through the forest. Yet when a beast, standing before a puddle, suddenly feels thirst, that thirst itself is ‘someone.’ The branches of the hazel move, and the sun sinks in the west. Sea breeze, tide breeze — what do they seek as they wander?,” 2016, Acrylic on canvas, 210.2×259.7×7.6cmKenjiro Okazaki, “As ripples arise on the great ocean and leaves grow on trees, we were born into the world. The ripples each catch the light on different slopes and glitter; even when the branches do not move, the leaves of the tree tremble (pricking up their ears and eyes). To the eyes, to the ears, to the hands, it occurs as if it were an entirely separate event. Yet when consciousness grasps the world, the body withdraws into the background like a receding tide. I say (so do not rely on eyes and ears): rise up.,” 2016, Acrylic on canvas, 73×91.4×6.4cmInstallation view
Around eight works from Kenjiro Okazaki’s Zero Thumbnail series were also on view.
Kenjiro Okazaki, “Kambia no / Kamby Bolongo mean River meant Freedom,” 2018, Acrylic on canvas, 18.3×24.4×3.7cmInstallation viewKenjiro Okazaki, “Tahoma / Mount Rainier,” 2020, Acrylic on canvas, 20.3×16.3×3.5cmKenjiro Okazaki, “Loowitlatkla / Mount St. Helens,” 2020, Acrylic on canvas, 20.3×16.3×3.2cmKenjiro Okazaki, “Côte d’Azur,” 2015, Acrylic on canvas, 18.5×16.1×3.1cmKenjiro Okazaki, “Infanta Margarita / Kunto / Il Pomo d’Oro,” 2018, Acrylic on canvas, 20.3×16.5×3.1cmKenjiro Okazaki, “Bosque de colina alta / Ichijiku wo tabe ni / Paseo,” 2018, Acrylic on canvas, 18.2×23.2×2.9cmKenjiro Okazaki, “Juyoji / Ix chel / Sora no mizugame,” 2015, Acrylic on canvas, 16.8×20.1×3.1cmKenjiro Okazaki, “Le piège mystique de la licorne / Kanran kankitsu / But my horn shalt thou exalt,” 2018, Acrylic on canvas, 25.2×18.1×4.4cm
展示现场左：Yoshitomo Nara《on the carpet》2019 Pen and color pencil on paper 37.5 x 29.6 x 3.7 cm 右：Yoshitomo Nara《watching girl》2019 Pen and color pencil on paper 37.5 x 29.6 x 3.7 cm左：Yoshitomo Nara《drumming girl》2019 Pen and color pencil on paper 37.5 x 29.6 x 3.7 cm 右：Yoshitomo Nara《star on the finger》2019 Pen and color pencil on paper 37.5 x 29.6 x 3.7 cm左：Yoshitomo Nara《ukulele girl》2019 Pen and color pencil on paper 37.5 x 29.6 x 3.7 cm 右：Yoshitomo Nara《think about something》2019 Pen and color pencil on paper 37.5 x 29.6 x 3.7 cmKishio Suga《Intervals of Existence Arising》2020 Acrylic and varnish on wood 120x90x28cm展示现场Kazumi Nakamura《Mulberry Tree on a Solitary Island II》2016–2018 Oil on canvas 160x130cmYukie Ishikawa《Impermanence—Kobushi Magnolia》2020 Acrylic and sand on canvas 100x100cmYukie Ishikawa《Impermanence—Tanjitsu》2020 Acrylic and sand on canvas 91x91cmKenjiro Okazaki《原野是绿色的，小鸟在歌唱，露水在闪耀，烟雾升腾，四处所见皆是”某人”。在光中显现又变换姿态、所有触动心灵之物，一定都是”某人”所为。如果植物没有情感，充盈大地的感觉也会变得贫乏而稀疏。围绕花朵飞舞、形似昆虫的心灵，也一定是孤独的。奔跑于森林中的野兽，其眼与耳皆无所触。然而当野兽在水洼前突感干渴时，那份渴望便是”某人”。榛树枝晃动，太阳西沉。潮风海风，为何在四处徘徊？》2016 Acrylic on canvas 210.2×259.7×7.6cmKenjiro Okazaki《正如波纹生于大海、叶片生于树木，我们诞生于这个世界。波纹各自在不同斜面上捕捉光线、闪烁生辉；即使枝条静止不动，树叶也在颤动（竖起耳目）。对眼、对耳、对手来说，仿佛是完全不同的事件。然而当意识把握世界时，身体便如退潮般退向背景。我说（因此不要依赖耳目）：起来吧。》2016 Acrylic on canvas 73×91.4×6.4cm展示现场
Kenjiro Okazaki的Zero Thumbnail系列也展出了约8件作品。
Kenjiro Okazaki《Kambia no / Kamby Bolongo mean River meant Freedom》2018 Acrylic on canvas 18.3×24.4×3.7cm展示现场Kenjiro Okazaki《Tahoma / Mount Rainier》2020 Acrylic on canvas 20.3×16.3×3.5cmKenjiro Okazaki《Loowitlatkla / Mount St. Helens》2020 Acrylic on canvas 20.3×16.3×3.2cmKenjiro Okazaki《Côte d’Azur》2015 Acrylic on canvas 18.5×16.1×3.1cmKenjiro Okazaki《Infanta Margarita / 熏陶 / Il Pomo d’Oro》2018 Acrylic on canvas 20.3×16.5×3.1cmKenjiro Okazaki《Bosque de colina alta / 前来食用无花果 / Paseo》2018 Acrylic on canvas 18.2×23.2×2.9cmKenjiro Okazaki《十四时 / Ix chel / 天空之水瓶》2015 Acrylic on canvas 16.8×20.1×3.1cmKenjiro Okazaki《Le piège mystique de la licorne / 橄榄柑橘 / But my horn shalt thou exalt》2018 Acrylic on canvas 25.2×18.1×4.4cm
“5,471 miles” BLUM&POE
Blum & Poe에서 개최된 전시 “5,471 miles”를 관람했습니다.
“5,471 miles”는 BLUM&POE의 거점인 미국과 일본, 두 도시 간의 물리적 거리에서 따온 것으로, 각 도시 근교를 거점으로 활동하는 작가들을 주로 소개한다는 본전의 취지에서 명명되었습니다.
“5,471 miles” BLUM&POE(도쿄)
두 도시를 회장으로 삼아 전개되는 국제적인 전시임에도 불구하고, 팬데믹의 영향으로 이동과 운송이 본질적으로 로컬한 영역 안으로 제한되어 버린 현 상황의 역설이 본전의 큐레이션 주제입니다. 본전은 한 회장만으로는 그 전모를 볼 수 없지만, 현지에 전시된 작품과 물리적으로 그곳에 존재하지 않는 작품 양쪽으로 동등하게 구성된 매우 독특한 전시입니다.
전시 전경왼쪽: Yoshitomo Nara “on the carpet” 2019 Pen and color pencil on paper 37.5 x 29.6 x 3.7 cm 오른쪽: Yoshitomo Nara “watching girl” 2019 Pen and color pencil on paper 37.5 x 29.6 x 3.7 cm왼쪽: Yoshitomo Nara “drumming girl” 2019 Pen and color pencil on paper 37.5 x 29.6 x 3.7 cm 오른쪽: Yoshitomo Nara “star on the finger” 2019 Pen and color pencil on paper 37.5 x 29.6 x 3.7 cm왼쪽: Yoshitomo Nara “ukulele girl” 2019 Pen and color pencil on paper 37.5 x 29.6 x 3.7 cm 오른쪽: Yoshitomo Nara “think about something” 2019 Pen and color pencil on paper 37.5 x 29.6 x 3.7 cmKishio Suga “Intervals of Existence Arising” 2020 Acrylic and varnish on wood 120x90x28cm전시 전경Kazumi Nakamura “Mulberry Tree on a Solitary Island II” 2016–2018 Oil on canvas 160x130cmYukie Ishikawa “Impermanence—Kobushi Magnolia” 2020 Acrylic and sand on canvas 100x100cmYukie Ishikawa “Impermanence—Tanjitsu” 2020 Acrylic and sand on canvas 91x91cmKenjiro Okazaki “들판은 초록빛이었고, 작은 새들이 노래하고, 이슬이 반짝이며, 연기가 피어오르고, 여기저기 보이는 것은 모두 ‘누군가’였다. 빛 속에서 모습을 드러내고 모습을 바꾸는, 마음을 움직이는 모든 것은 분명 ‘누군가’의 소행일 것이다. 만약 식물들이 감정을 갖고 있지 않다면 대지를 채우는 감각도 빈약하고 성겨질 것이다. 꽃 주변을 날아다니는 곤충의 모습을 한 마음도 분명 외로울 것이다. 숲속을 달리는 짐승들의 눈에도 귀에도 어떤 것 하나 닿지 않는다. 그러나 물웅덩이 앞에서 짐승이 문득 갈증을 느낄 때, 그 갈증이야말로 ‘누군가’이다. 개암나무 가지가 흔들리고, 해는 서쪽으로 진다. 조류풍, 해풍, 무엇을 찾아 떠도는가.” 2016 Acrylic on canvas 210.2×259.7×7.6cmKenjiro Okazaki “잔물결이 대해에 일어나고 잎이 나무에 자라듯, 우리는 세계에 태어났다. 잔물결은 빛을 각기 다른 경사면에서 붙잡아 반짝이며, 가지가 움직이지 않아도 나뭇잎은 흔들린다(귀와 눈을 곤두세우며). 그것은 눈에도 귀에도 손에도 마치 전혀 다른 사건처럼 일어난다. 그러나 의식이 세계를 붙잡을 때 몸은 썰물처럼 배경으로 물러난다. 나는 말한다(그러니 눈과 귀에 의지하지 말고) 일어나라.” 2016 Acrylic on canvas 73×91.4×6.4cm전시 전경
Kenjiro Okazaki의 Zero Thumbnail 시리즈도 8점 정도 전시되어 있었습니다.
Kenjiro Okazaki “Kambia no / Kamby Bolongo mean River meant Freedom” 2018 Acrylic on canvas 18.3×24.4×3.7cm전시 전경Kenjiro Okazaki “Tahoma / Mount Rainier” 2020 Acrylic on canvas 20.3×16.3×3.5cmKenjiro Okazaki “Loowitlatkla / Mount St. Helens” 2020 Acrylic on canvas 20.3×16.3×3.2cmKenjiro Okazaki “Côte d’Azur” 2015 Acrylic on canvas 18.5×16.1×3.1cmKenjiro Okazaki “Infanta Margarita / 훈도(薫陶) / Il Pomo d’Oro” 2018 Acrylic on canvas 20.3×16.5×3.1cmKenjiro Okazaki “Bosque de colina alta / 무화과를 먹으러 / Paseo” 2018 Acrylic on canvas 18.2×23.2×2.9cmKenjiro Okazaki “십사시(十四時) / Ix chel / 하늘의 물병” 2015 Acrylic on canvas 16.8×20.1×3.1cmKenjiro Okazaki “Le piège mystique de la licorne / 감람감귤(橄欖柑橘) / But my horn shalt thou exalt” 2018 Acrylic on canvas 25.2×18.1×4.4cm
