巧術7.5/KOH-JUTSU chapter 7.5 開催のおしらせ

Roentgenwerke is pleased to announce the group exhibition titled “KOH-JUTSU chapter 7.5”.


■展覧会名:巧術7.5/KOH-JUTSU chapter 7.5
■出展作家:悠、平林貴宏、石黒昭、石黒賢一郎、石野平四郎、
亀井徹、松本涼、満田晴穂、森本愛子、佐藤好彦、山本タカト
■会期:2017年6月2日(金)~ 6月27日(火)
※休廊:水曜日、木曜日、6月12日(月)〜19日(月)
☆オープニングパーティー:6月2日(金)19:00~
ぜひお誘いあわせの上ご来場くださいませ
■営業時間:12:00-18:00
■会場:ラディウムーレントゲンヴェルケ 東京都中央区日本橋馬喰町2-5-17 ■tel/fax:03-3662-2666 ■URL:http://www.roentgenwerke.com/
■問い合わせ:info@roentgenwerke.com
■出展協力:ギャラリー小暮

 

■Exhibition Title : “KOH-JUTSU chapter 7.5”
■Artist:
HARUKA、Takahiro HIRABAYASHI、Akira ISHIGURO、Ken-ichiro ISHIGURO、
Heishiro ISHINO、Toru KAMEI、Ryo MATSUMOTO、Haruo MITSUTA、
Aiko MORIMOTO、Yoshihiko SATOH、Takato YAMAMOTO
■Date : June 2th [Fri.] – 27th [Tue.], 2017
closed on Wed., Thu. & June 12th – 19th
☆Opening Reception : June 2th [Fri.] 19:00-

■Opening Hours : 12:00-18:00
■Venue : Radi-um von Rögenwerke AG
■Address : 2-5-17 Nihonbashi Bakurocho Chuo-ku Tokio 103-0002 Japan
■TEL & FAX :+81- [0]3-3662-2666
■URL : http://www.roentgenwerke.com/
■Email :info@roentgenwerke.com
■Co-operated with Gallery Kogure

 巧術DM用_S

「巧術 7.5」
昨年金沢で開催された其之柒 駿傑」で7回目となった「巧術」というグループ展。2010年の第1回目のステートメントに書かれた基本概念には、西欧的美術観に対する”日本らしい美術”の在り方として、エキゾチシズムに頼らない「技巧」というテーゼ(These:運動の基本的な方向・形態などを定めた方針・綱領)が語られていた。

以降、各出展作家が毎回見せてくれる作品には、制作のなかで発揮される秀逸なる技巧だけでなく、その先にある独自の表現の有り様が余すところなく示されてきた。つまり、技巧が最終目的ではなく、作品として表象されるための手段として必要欠くべかざるものであることも併せて伝えてきたのである。
そして回数を重ねるなかで、もはや「日本的である/ない」「工芸的である/ない」という議論を通り越し、次に何を見せてくれるのかという、「表現」への期待感がますます大きくなってきていることを感じるものである。

昨年、ハワイ大学マノア校アートギャラリー及びホノルル美術館日本ギャラリーで開催された展覧会「今様」展の企画・監修をされた、同校日本美術史准教授のジョン・ショスタック氏のステートメントに、その回答ともいえる内容が記されていた。
「画材の素材的な限界と作家たちが格闘し、問題を解決しようと努力することを通して発展し生まれる、他には代えがたい確かな特徴的な効果というものがある」。氏がここで指摘する「画材」は必ずしも伝統的なものではない。
そして「このような素材や手法による技巧的な取り組みは“新たなる伝統主義者”の作家たちに、過去に発展した戦略とともあわせてさらなる実験的な試みをさせ、素材に特化した現代の視覚表現形式をつくりげる可能性をはぐくませている」と語る。
 
つまり「巧術」は、これら“実験的な試み”が、日本発信でありながら“日本的”という枠組みを超えて、ひとつの様式をつくっていく可能性があるということを示唆している。今年、馬喰町ラディウムで開催される「巧術 7.5」は、あらためてこうした点を確認する契機として、またそれは、artの語源、ラテン語のars(アルス)が本来もっていた「技術」「資格」「才能」という意味に立ち返る時宜を得ることになろうことを期待するものである。

レントゲンヴェルケ

 

“KOH-JUTSU 7.5″
There are exhibitions named the “KOH-JUTSU” series . The seventh group exhibition called “SHUN-KETSU(駿傑) ” was held last year in Kanazawa, Japan.

Since then, every work by the artists showed not only excellent technique to be demonstrated in the production but also the existence of unique expressions of it.
In other words, it has also provided that hand skill is necessary as a means to be expressed as a work, which isn’t just its final purpose.

The exhibitions were repeated several times and passed the argument that “it is Japanese / not” or “crafty / not”. And an expectation of this “expression” that can we see next, is getting bigger and bigger.

 

Last year, the exhibition “IMAYOU(今様)” was held at the Hawaii University Manoa Art Gallery and the Honolulu Art Museum Japan Gallery.
In the statement of John Szostak, Ph.D., Associate Professor of Japanese Art History of the same University , who planned and supervised this exhibition, the contents were commenting on the question.

He said “There are certain signature effects that cannot be so replicated, many of which evolved through the problem-solving efforts of artists struggling against the material limits of their media”.
This “Materials” pointed out here, that are not always traditional. And he said ”Technical engagement with the materials and methods in this way allows for ‘new traditionist’ artists to further experiment with strategies developed in the past, thus developing their potential to achieve new media-specific forms of contemporary visual expression”, too.

 

This is what he defined as “KOH-JUTSU”: There is a possibility that these “experimental attempts” will create a style beyond the framework of “Japan – oriented” while being originated in Japan. The ” KOH-JUTSU “suggested it.
“KOH-JUTSU 7.5″ is to be held at Bakuroucyo Radi–um, Tokyo this year which is a chance to confirm it this point again. Moreover, it expects that it will become time to get back to the meaning of the origin of art, the meaning of “sill” “qualification” , and “talent”. They are originally possessed by Latin word ars.

 

===KOH-JUTSU BASIC CONCEPT===

After the concept of fine art was established in the West in the 18th century, art and applied art having the practical value has been distinguished. Fine art which was called the pure art apart from the applied art, was separated with the practical function, and its value was raised.

This concept was introduced to Japan since the Meiji Era, more than a hundred-year ago. The painting and the sculpture of the pure art were produced under initiative of the government since the Meiji Era though there was no work of art apart from practical use in the long history of Japan’s art. On the other hand, the superior sense of beauty that has been cultivated until the Edo Era and the techniques that support the beauty back were contented with the position as the craft goods.

A Japanese art those divided into the pure art and the craft (applied art) will receive the baptism of “contemporary art” that became the next current afterwards, and established a newer style. Now, only the artwork of a part of artists who received blessing of the modern art attracts the attention from the world’s art society. However, the market in Japan is narrow and has filled with the cooped-up feeling. Even though the evaluation of the world to the Japanese antique is very high, a lot of people feel the crisis of today’s Japanese art.

For not just being based on simple exoticism and Japonaiserie, the key to seek for the real existence of Japan’s art would be the techniques supporting the craft work found in the DNA of Japanese art, we consider.

KOH-JUTSU aims at the creation of the new sense of values in order to mark the line with the conventional contemporary art by the step of a steady effort of artists who express their polished concept using their hyper techniques as a new weapon to carry themselves to the higher place without any compromising.
In other words, the exhibition schemes to continuously suggest the future of the Japan’s art and its originality and the possibility concretely by featuring the ability that Japan has from ancient times.