akashic works

news 2012.01

2012-01-19T18:46:00.002+09:00

●菅かおるさんが松陰芸術賞を受賞(2011)
●藤信知子さんの作品が京都の文化博物館にて開催の京都美術工芸ビエンナーレ(2012)に出展中

HISASHI EGUCHI,JIRO TANIGUCHI,TAIYOU MATSUMOTO POP-ART EXHIBITION

2011-08-31T14:24:00.006+09:00

We are pleased to announce the second exhibition by Japanese popular Manga writers ‘POP-ART SERIES’ with their print art will soon to be held at Gallery ANTENNA, Kyoto Japan (Touring from Tokyo. The show in Tokyo ended).
2-19 Sep, 2011
Gallery opens on Fri, Sat and Sun only, from 1 to 7pm.
For basic information about the Kyoto show in Gallery ANTENNA :
http://www.antenna-re.info/page/exhibition/schedule.html

About ‘POP-ART SERIES’ by Freestyle :
http://webfreestyle.com/shop/pop-art-top.html
Taking into consideration that sooner or later the print art by Manga writer will be collector’s item internationally, Freestyle has started to sell the prints by popular Japanese Manga writers. In ‘POP-ART SERIES’ Freestyle has produced the print arts by Hisashi Eguchi, Taiyo Matsumoto, and Jiro Taniguchi. The first solo show (Tokyo/Kyoto, Mar 2011) by Hisashi Eguchi got attention in both venues, and the second one will be coming soon(as above mentioned) in Kyoto. Their high-quality prints were produced by a printer Masashi Ozaki, who studied the printing technique not only in Japan but also in France as one of the artists provided by the Agency for Cultural Affairs in Japan. Ozaki has produced the prints for Japanese artists such as Akira Kurosawa, Kaii Higashiyama and some other masters in Japanese art.

About the writers :
Hisashi Eguchi (1956-), in his representative Manga ‘Stop!! Hibari-kun!’ which was firstly published in 1981, illustrates the daily drama of the main character, a boy (Hibari-kun) who believes that he is a girl. Eguchi’s comical illustration seems to soften such a serious (and somehow, still be seen as a taboo) issue as gender identity disorder in early 80’s in Japan. He won Akatsuka Prize (1977) , Bungei Shunjyu Comic Prize (1992), etc. http://www.kotobuki-studio.com/

Taiyo Matsumoto(1967-) was influenced by Katsuhiro Otomo who produced ”AKIRA” series. In 2006 his animation ‘Tekkon Kinkreet’(directed by Michael Arias) received MOMA’s Best Film of the year, which was the first prize ever given to the Japanese films. He is one of the influential and charismatic Manga writers in contemporary Japanese comic. He received Tezuka Osamu Award. About the animation ‘Tekkon Kinkreet’ see the following Website … http://tekkon.net/ (http://www.shogakukan.co.jp/taiyo/)

Influenced by B.D.( bande dessinée), Jiro Taniguchi(1947-) focuses on the daily drama. Some critics point out that his style has something in common with the films by Yasujiro Ozu. In 2011 Taniguchi was given Chevalier from French Minister of Culture.
http://www.jiro-taniguchi-fan.com/

藤信知子「トーキョーワンダーウォール公募２０１１」入選

2011-06-09T18:35:00.002+09:00

藤信知子さんの作品「TENNMA宇宙器」が

「トーキョーワンダーウォール公募２０１１」
（立体・インスタレーション作品部門）

の入選作品になりました。
（応募者数113名、入選者数６名）

入選に伴い作品展が開催されます。

「トーキョーワンダーウォール公募2011」の入選作品による展覧会
「トーキョーワンダーウォール公募2011入選作品展」を開催します。

●会期　　平成２３年５月２８日（土）～６月１９日（日）
●場所　　東京都現代美術館　企画展示室３階
　　　　（江東区三好４－１－１　木場公園内）　
●時間　　10：00～18：00（入場は17：30まで) ／毎週月曜日休館　
●入場料　無料　

詳しくはこちら＞トーキョーワンダーウォール

菅かおる展　「水中トリップ」

2010-11-03T18:56:00.016+09:00

「水中トリップ」
-蝋燭の灯でみる水の絵-
菅かおる　展
■協力　京和ろうそく丹治蓮生堂
■会場
ギャラリーアンテナ
〒600-8332
京都府京都市下京区五条堀川東入ル中金仏町215-6　増田屋ビル2階D
■会期
2010年12月15日～12月26日
■開廊日時
会期中無休　17:00～20:00
■URL
菅かおる

このたび、　　　
ギャラリーアンテナで「蝋燭の灯でみる水の絵」を
発表をすることになりました。

私は、水を主題に絵を制作しています。
水の表現に金箔を使用するにあたって
いつも考えさせられることはその絵を鑑賞する時の光の状況です。
絵画の素材として、金箔は古代より使用されてきました。
日本で箔は、雲や空、空間としての象徴であったり、
様々な言葉にできない「間」の表現として使用されてきたように思います。

そして電気がなかった時代、薄暗い屋敷内で油や蝋燭の灯で観ていた絵画は、
今とは全く違った表情をみせたであろうと想像できます。

蛍光灯、白熱灯、または自然光、それぞれ光の状況によって箔の見え方は違い、
他の絵画素材よりも光の影響を受けやすく、また、それこそが箔の魅力です。

今回展示する絵は蝋燭の灯りを前提として制作しました。蝋燭の灯りのもと、
私の水の絵がどのような表情を見せるのかを観てみたい、
という考えが事の始まりです。
そしてそれならば、公開して皆様にも見て頂こうという試みになりました。

時間は、日が沈み始める17時から始まります。
ぜひ皆様で足をお運び頂き、ご高覧頂けますと幸いです。　菅かおる

About works by Kaoru Kan (text by Ami Fukuda)

‘ The world could be upside down.
Or it might be accurate to say that the world exists “totteringly”.
It is swinging all the time and could roll upside down at any moment.‘

On the way back home after visiting the exhibition by Kaoru Kan for the first time, the words of the French critic Jean Rouseet were recalled to me. While walking, looking up the sky above, clouds upon my head seemed as if they were the ocean waves telling me about the passage of time by coloring their edges into a fiery scarlet.

A clear, achromatous ‘water’ motif can be found in her paintings. However, what was painted in black was a gloom that seems more like turned-over cosmos.

Water is a fluid substance, and it has a specular surface as long as it lives where the light can reach it. In that sense, the paintings of watery surfaces reflect the imagery of the painter herself, in turn, reflecting the mental picture of the viewer. The paintings imprint the variety of aspects of their minds, changing every time they see the paintings.

The reflected light on water is wildly painted like a crystal in combination with lines, and to some extent, into deformation. Hiroshi Senju, the master of Nihonga, who taught her painting in art school in Kyoto, once mentioned of her works, ‘What do we see in her paintings, that are ever so indifferent and even unconsciously and finely expressed by her naive and innocent sensitivity? ’
I also felt this innocence, as Mr.Senju pointed out in her oeuvre, when I focused on the somehow bold way she expresses light in simple combination with lines; looking like some sort of symbol or sign, or even cryptogram.
Since 2008 I have held onto this image of a being with a matured odor within her paintings. This image can be found in the art of female painters who have worked for more than a decade.

For instance, in the series entitled “origin”, which she has been producing since 2008, the artist has based her theme on the ‘ocean’. While standing in front of the painting the roar of the waves gradually gets muted and move far away from me. Eventually I encounter the spread of the sea water which sounds close to me, like a murmur in my bloodstream. Hundreds of blood vessels inside the human body are worming on rocks and stretching into sea foam. We all come from the ocean and the ocean is the metaphor for our origin.

Here, the viewers will see some parts of human organs drifting through lukewarm blood. Looking at one of her paintings from the same series which is entitled ‘a red rock’, the painter murmured me ‘This may be the heart of ocean’.

In 2010, she started working on a new series with the motif of a glass vessel. Some are empty or partly broken, and others are filled with water. Among those, what caught my eyes the most is the painting of a small turquoise bottle. Fluid brushwork in Chinese black ink presents a shadow reflected on the bottle; glass is a solid substance. At the same time, it shares a common feature with water on a physical level. Both glass and water reflect the volatile factors on their surfaces. While viewing the painting, I was lost in the moment and fell back to a time of being lost in oblivion, sensing nostalgia. The imagery awoke my senses and the image of the painting opened up my memory and twisted the fabric of time. I should find myself and sew the open seam. This is not a bottle, but a mirror, I noticed. I could hardly believe what was painted in her work; it was not just a still-life bottle, but a mirror. It could reflect the past and the inner being of the viewer.

In the coming exhibition “Under water trip”, visitors will see her paintings of water candlelit after sunset.

“Water is transparent, yet limitless colors dwell in it.
　Memories never disappear but last with changes.
　I want to keep ever-changing memory alive.”
（excerpt from artist’s statement）
Water changes from moment to moment, just as the ocean. On a physical level, water is antithetical to fire. 　How could the pictured water provoke and unravel the frozen memories with the power of fire? How can pictured moments be released in her pieces?

We call December ‘Rou-getsu’, following the Chinese tradition of festive events held for Gods and ancestral spirits. ‘Rou’ means ‘to connect’ in Japanese. The exhibition will be held in the period just before the year meets with the new year in a space where the pictured water meets with candle flames. We hope you enjoy the odoriferous water during a tranquil evening by candle light.

ex-chamber10/8のブログに掲載

2010-10-18T17:54:00.000+09:00

藤信知子　展
「さらば　愛しき日々　もう戻れぬ」
が、
ex-chamber10/8のブログに掲載されました。
展示の様子をご覧いただけます。
こちら＞ex-chamber

藤信知子展　「さらば　愛しき日々　もう戻れぬ」

2010-08-25T10:27:00.031+09:00

「さらば　愛しき日々　もう戻れぬ」
藤信知子　展
■会場
ギャラリーアンテナ
〒600-8332
京都府京都市下京区五条堀川東入ル中金仏町215-6　増田屋ビル2階D
■会期
2010年10月1日～10月24日
■開廊日時
金、土、日のみオープン　13:00～19:00