こんにちは。
読者の皆様、はじめまして。
英文ブログ担当の勝見と申します。
11月27日に東京国立近代美術館の英九展を訪ねました。
残念ながら…アメリカ育ちの私はまだレポートを書く日本語力はありません。
本日の記事では英語で感想を少し書きました。
--
On November 27th I visited the Ei Q exhibition at the MoMAT. It was an auxiliary exhibition held in their smaller second-floor gallery. Despite it being a Sunday, there were only a handful of visitors.
The wall space was split between photo dessins from “Reasons for Sleep”, the “Real” collage series, and especially abstract sketch dessins, with table displays holding catalogues and letters between Ei Q and Yamada Koshun. There was also something of an Ei Q digest room containing various works throughout his life, including oil works and pointillist pieces.
The photo-dessins he's known best for were displayed along the right wall.
One of Ei Q's aims through this series of works was to portray the real reality - a reality beyond the misunderstood, “stereotyped” reality in his present day. Beyond that, he was grasping for the expression of a new reality that made sense in the new machine civilization of the 1930s.
He writes,
“What I am seeking is a pictorial representation of the mechanism formed amidst the twentieth-century intricacy of machinery. The light in the cold black skin of a car or the artificial light and shade that get bewilderingly entangled on the streets at night are flowers that have blossomed in our machine culture. Therefore, I believe that the beauty we perceive with our eyes needs to adapt to that sensibility and there has to be a field of painting that represents such aspects. Consequently, I sought means of a new expression in photosensitive paper, which captures the principle of light, that is to say, the most subtle secret of light.”
"Reason of Sleep" cover
1936
However, the contemporary critics were too focused on the novelty of the method itself to understand what he was trying to express. Though they lauded his breaking of technical barriers, his exploration of a new kind of beauty and the evolution of reality went unnoticed. This drove Ei Q to a depression that can be seen in the letters he shared with Yamada.
“The reality is that it is hard to fully discuss reality in reality. We live in an era in which it is difficult to talk about reality. However, that definitely should not mean that cheaply understanding reality, stereotyping it, and losing sight of it is equal to the reality,” he wrote.
How do you articulate that real reality? To me, the reality which Ei Q describes is a concept that lies beyond entanglements. Nothing we see can be perceived as reality because everything we see passes through an instant, unconscious system of interpretation.
From "Reason of Sleep"
1986
On the back wall was the series titled “Real”. These are collages of shapes and images, many laid on a black mat. Is this the state of reality? - the uncanny discomfort of recognizing something totally unknown - the cloying anxiety of failing to recognize something somewhat familiar. Abstraction lacks meaning, but our minds naturally scramble to find one.
"Bearing Face"
1937
The subjects in “Real” loom up out of the darkness. The photo dessins and other works also dance out of reach of concrete form - surreal expressions of undefined things.
The exhibit displays many of Ei Q’s representative works, as well as letters between him and Yamada which expressed his depression and state of mind over the years. Considering those, and several rare catalogues and booklets, it is a valuable resource for researchers of Ei Q and Japanese contemporary art. For me, an outsider to the art world, it was an interesting experience in terms of concepts and aesthetics.
* individual images of the works are from the gallery's own archive
英文ブログ
tokinowasuremono.tumblr.com
（かつみ みお）
＊画廊亭主敬白
本日の瑛九情報！は新人スタッフ勝見美生によるレポートです。
亭主が待ち望んだ＜瑛九 1935-1937 闇の中で「レアル」をさがす＞展が東京国立近代美術館で開催されています(11月22日～2017年2月12日）。外野応援団として＜会期終了まで瑛九について毎日発信します＞と宣言したのはいいのですが、いくら瑛九＝命の亭主でも毎日毎日新たなネタを探すのは骨が折れる。
中村茉貴さんのレポートはもちろんですが、今回はスタッフ全員にもレポート提出を厳命しました。おかげで日本語の苦手な新人スタッフは四苦八苦、上掲のような英文でのレポートとなりました。どうぞ寛容の心でお読みください。
本年の営業は本日で終了します。
明日12月28日（水）～2017年1月16日（月）まで冬季休廊です。
いつもより長い冬休みですが、お正月早々、ART STAGE SINGAPORE 2017に出展するためです。
また銀座のギャラリーせいほうで開催される「石山修武・六角鬼丈 二人展ー遠い記憶の形ー」（2017年1月10日～1月21日）に企画協力しています。
ブログは執筆者の皆さんのおかげで年中無休、年末年始も連日新鮮な情報、エッセイをお届けします。
メールやネットでのお問合せ、ご注文には通常通り対応いたします（日・月・祝日を除く）。
◆「2016年を送る～画廊コレクション展」は本日が最終日です。
画廊コレクションから7人の作家のそれぞれ大きな作品を一点ずつご覧いただきます。
出品作家：秋葉シスイ、野口琢郎、光嶋裕介、永井桃子、小野隆生、関根伸夫、瑛九
読者の皆様、はじめまして。
英文ブログ担当の勝見と申します。
11月27日に東京国立近代美術館の英九展を訪ねました。
残念ながら…アメリカ育ちの私はまだレポートを書く日本語力はありません。
本日の記事では英語で感想を少し書きました。
--
On November 27th I visited the Ei Q exhibition at the MoMAT. It was an auxiliary exhibition held in their smaller second-floor gallery. Despite it being a Sunday, there were only a handful of visitors.
The wall space was split between photo dessins from “Reasons for Sleep”, the “Real” collage series, and especially abstract sketch dessins, with table displays holding catalogues and letters between Ei Q and Yamada Koshun. There was also something of an Ei Q digest room containing various works throughout his life, including oil works and pointillist pieces.
The photo-dessins he's known best for were displayed along the right wall.
One of Ei Q's aims through this series of works was to portray the real reality - a reality beyond the misunderstood, “stereotyped” reality in his present day. Beyond that, he was grasping for the expression of a new reality that made sense in the new machine civilization of the 1930s.
He writes,
“What I am seeking is a pictorial representation of the mechanism formed amidst the twentieth-century intricacy of machinery. The light in the cold black skin of a car or the artificial light and shade that get bewilderingly entangled on the streets at night are flowers that have blossomed in our machine culture. Therefore, I believe that the beauty we perceive with our eyes needs to adapt to that sensibility and there has to be a field of painting that represents such aspects. Consequently, I sought means of a new expression in photosensitive paper, which captures the principle of light, that is to say, the most subtle secret of light.”
"Reason of Sleep" cover1936
However, the contemporary critics were too focused on the novelty of the method itself to understand what he was trying to express. Though they lauded his breaking of technical barriers, his exploration of a new kind of beauty and the evolution of reality went unnoticed. This drove Ei Q to a depression that can be seen in the letters he shared with Yamada.
“The reality is that it is hard to fully discuss reality in reality. We live in an era in which it is difficult to talk about reality. However, that definitely should not mean that cheaply understanding reality, stereotyping it, and losing sight of it is equal to the reality,” he wrote.
How do you articulate that real reality? To me, the reality which Ei Q describes is a concept that lies beyond entanglements. Nothing we see can be perceived as reality because everything we see passes through an instant, unconscious system of interpretation.
From "Reason of Sleep" 1986
On the back wall was the series titled “Real”. These are collages of shapes and images, many laid on a black mat. Is this the state of reality? - the uncanny discomfort of recognizing something totally unknown - the cloying anxiety of failing to recognize something somewhat familiar. Abstraction lacks meaning, but our minds naturally scramble to find one.
"Bearing Face"1937
The subjects in “Real” loom up out of the darkness. The photo dessins and other works also dance out of reach of concrete form - surreal expressions of undefined things.
The exhibit displays many of Ei Q’s representative works, as well as letters between him and Yamada which expressed his depression and state of mind over the years. Considering those, and several rare catalogues and booklets, it is a valuable resource for researchers of Ei Q and Japanese contemporary art. For me, an outsider to the art world, it was an interesting experience in terms of concepts and aesthetics.
* individual images of the works are from the gallery's own archive
英文ブログ
tokinowasuremono.tumblr.com
（かつみ みお）
＊画廊亭主敬白
本日の瑛九情報！は新人スタッフ勝見美生によるレポートです。
亭主が待ち望んだ＜瑛九 1935-1937 闇の中で「レアル」をさがす＞展が東京国立近代美術館で開催されています(11月22日～2017年2月12日）。外野応援団として＜会期終了まで瑛九について毎日発信します＞と宣言したのはいいのですが、いくら瑛九＝命の亭主でも毎日毎日新たなネタを探すのは骨が折れる。
中村茉貴さんのレポートはもちろんですが、今回はスタッフ全員にもレポート提出を厳命しました。おかげで日本語の苦手な新人スタッフは四苦八苦、上掲のような英文でのレポートとなりました。どうぞ寛容の心でお読みください。
本年の営業は本日で終了します。
明日12月28日（水）～2017年1月16日（月）まで冬季休廊です。
いつもより長い冬休みですが、お正月早々、ART STAGE SINGAPORE 2017に出展するためです。
また銀座のギャラリーせいほうで開催される「石山修武・六角鬼丈 二人展ー遠い記憶の形ー」（2017年1月10日～1月21日）に企画協力しています。
ブログは執筆者の皆さんのおかげで年中無休、年末年始も連日新鮮な情報、エッセイをお届けします。
メールやネットでのお問合せ、ご注文には通常通り対応いたします（日・月・祝日を除く）。
◆「2016年を送る～画廊コレクション展」は本日が最終日です。
画廊コレクションから7人の作家のそれぞれ大きな作品を一点ずつご覧いただきます。出品作家：秋葉シスイ、野口琢郎、光嶋裕介、永井桃子、小野隆生、関根伸夫、瑛九
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