Japanese

Tomoo SEKI『Real/Red Red Blossoms』『blue-and-white (SEIKA)』

©Tomoo SEKI


exhibition period21st Apr. - 21st May. 2017
openthu. - sun. 12:00 - 19:00
closemon. tue. wed.
Reception party22nd Apr. , from 18:00

Gallery OUT of PLACE TOKIO is pleased to announce Tomoo SEKI’ s upcoming exhibition, “Real/Red - Red Blossoms” “blue-and-white (SEIKA)” For our upcoming exhibition, we are pleased to present two of Tomoo SEKI's series in combination: “Real/Red,” depicting the scenery of Asian plants in Cadmium Red; and the recently undertaken “blue-and-white(SEIKA)” which uses the mineral pigment of Azurite.

Red Blossoms and “blue-and-white (SEIKA)”

Is it possible for a local expression to offer common ground to everyone in the world?

In the “Real/Red” series, I have used an overhead projector indoors to paint flowers and blossoms as motifs representing Japan. The drawings in my newest series, “blue-and-white,” were created directly in front of the actual landscape. For this series, I used natural Azurite because I wanted to realize through my artwork, the blue color created by cobalt oxide in Chinese porcelain that I greatly admire.

A recent shift in my “Real/Red” series is the inclusion of “surfaces of perforated color.” These are round-shaped perforations on colored surfaces that show greater lightness. The colored surfaces without perforations attempt to enclose the flattened surface, while those with perforations reveal an inversion of lightness working to spread sideways. It was my hope in doing so to further develop this series, taking into consideration the “lightness” between surfaces in early Cubism.

Gold leaf has been applied to the matte framing of the “blue-and-white” drawings. The combination of Azurite and gold leaf was common in Momoyama Era paneled paintings. Especially with their moveable and supportive function, they were meant to decorate an interior space. I want to express the splendor of the Momoyama Era aesthetic through this combination of blue and gold. By evoking the rise of this aesthetic at this surge of time, I want to bring back this decorative role to contemporary space as well.

For this exhibition, I include both the “Real/Red” and “blue-and-white(SEIKA)” series, where the red, blue, and gold colors are a synergy of “East-West.” In doing so, I wish for the birth of a contemporary and universal space.
Text by Tomoo SEKI

》Artist profile Tomoo SEKI



archive -2016-

yamamotohisayo『I am Dogu』

©yamamotohisayo


exhibition period11th Nov. - 24th Nov. 2016
openthu. - sun. 12:00 - 19:00
closemon. tue. wed.
Reception party12th Nov. , from 18:00

We are very pleased to announce our new photography exhibition : “I am Dogu” by Yamamotohisayo.

Yamamotohisayo's past works including, “Partiality for Cinema”, “Cruelty in friendship”, and “Strong admiration for transforming into a princess” have been based on her obsessions, mental suffering, and girlish dreaming.

She composes this exhibition as 3 series: “I am Dogu”, “Fragments”, and “Vestige of rope”. Her aim is to present a double-exposure between Dogu and herself using her own nude body, to be considered as “Self-Portraits”.

Borrowing the Dogu image, she expresses the inevitable pain she must bear both as a woman and as an artist living in today’s society.

She takes a sincere approach in focusing on her body and soul.

Please take the chance to see her works that provoke a primitive power held within the form of photography.




nakajima mugi『WM new works』

©nakajima mugi


exhibition period7th Oct. - 6th Nov. 2016
openthu. - sun. 12:00 - 19:00
closemon. tue. wed.
Reception party + artist talk : 8th Oct. , from 18:00

Gallery OUT of PLACE NARA is pleased to announce the opening of nakajima mugi’s exhibition,“WM new works.

Until now, nakajima mugi has been working with a concept of “contradiction”, as he places two completely different textured abstract paintings next to one another. With this as his foundation, he presented the series, “blue on blue” (2013) and “tristes tropiques” (2014), in his continued pursuit of stretching the boundaries of abstract painting.In his newest “WM” works, he further opens the scope for his concept in what could even be considered a series that arrives at full completion. It seems that the artist has finally overcome the theme of “contradiction” and has arrived at the theme of “resurgence.”

The title, “WM,” can also be read in Japanese as umu, meaning “presence or absence.” Perhaps its theme can then be viewed as the notion of antinomy.
At first glance, the painted surface entitled “W” (vertical vectors and countless microscopic particles make up the entire composition), and the simple surface of “M” (a giant drop of paint is dripped horizontally, covering the canvas) are put together as two seemingly different types of paintings. The two pieces, however, can be viewed as capturing the same matter.
This is to say, in the number of particles and their differing sizes, or the way gravity plays a part in making varying paint strokes, both pieces are undoubtedly “drops of paint.”

You could even say that “W” pictures rain falling from the sky: the dynamism (momentum) when gravity causes it to fall vertically, while “M” pictures rain gathering in a puddle: gravity in a static state (stilled time.)

Perhaps there is actually not a huge difference in even the opposing matters of presence and absence. “WM” appears to suggest that our entire world is nothing more than the endless, oscillating universe held within one sphere. Our gallery invites you to view what can be seen as abstract painting bolstered to the next level in the immense theme underlying nakajima mugi’s newest works.
Text by Gallery OUT of PLACE Yoshinori NOMURA

》Artist profile nakajima mugi




Eisaku Ando『The Boat of Promise 2016』

©Eisaku Ando


exhibition period19th Aug. - 25th Sep. 2016
openthu. - sun. 12:00 - 19:00
closemon. tue. wed.
Reception party + artist talk : Aug. 27th, from 17:30

Eisaku Ando lost his entire belongings and artworks stored in his atelier space during the March 11th, 2011 earthquake and great tsunami that followed.
Life became even more difficult when the artist was forced to relocate after the nuclear meltdown to the Kansai region, where he now lives and works.

I was given the opportunity to work with Ando for the first time during the “Gakuen-mae Art Week 2016” event held in Nara.
The event happened to be set in an old mansion owned by the head of a major company where Ando displayed in one of its rooms, a wooden sculpture that looked like a boat or canoe. Interestingly the boat was split in two at the middle, and through a large glass screen, one half was weatherbeaten, while the other half was displayed on the inside. It was as though the two parts were connected by the glass piercing through from the inside and outside…

What did Ando have in mind when he made this artwork? The theme for the art event was “imakokokara,” or “from here on,” that invited artists to respond to the reality of the emptying of Japanese communities. But I view this work as a reflection of Ando’s own turbulent experiences into a statement that we need to row forth into anxiety towards the future because in reality, there is no such thing as a “safe place.” Even though the object is shaped like a boat, it is not simply a vehicle, as the artist sees it as a vector that gives us the right direction like the needle on a compass.

Ando has another continuing project titled, “The Children of Gaza.” The work was started in hope to lay to rest the lives of Palestinian children sacrificed during the military invasion by the Israeli army in 2014. Ando to this day, continues to sculpt these works with ceaseless effort as if possessed by an outside force.
The human-shaped dolls made for this project now number more than a thousand.
Viewers that encounter the thousand wooden sculptures cannot help sensing their powerful aura. It could even be that these figures go beyond the children of Gaza, as Ando’s powerful expression of “requiem” for all human beings of the world.

For this exhibition at Gallery OUT of PLACE, these two artworks that were sculpted by Ando from 2015 to 2016 will be boldly displayed together in the same space. These include the thousand “human shapes” that were sculpted by Ando’s axe, and the wooden construction that borrows the shape of a boat he calls, “Vector.” When visitors encounter the endless markings of Ando’s blade bored into the surfaces, they will perhaps conceive of a new direction for Japan’s future.
Text by Gallery OUT of PLACE Yoshinori NOMURA




José Pedro Cortes『José Pedro Cortes』

©José Pedro Cortes / from " COSTA "


exhibition period9th Jul. - 7th Aug. 2016
openthu. - sun. 12:00 - 19:00
closemon. tue. wed.

We would like to present a photography exhibition of one of Portugal’s up-and-coming photographers, José Pedro Cortes. Recently, Cortes has been represented as part of the bearers of a new generation of European photography. Originally active within Portugal, Cortes has now expanded his work towards Europe.

For this exhibition, he presents in the series, “COSTA,” shots of the vast shore of Lisbon’s southern coast.
Inside the bright sunlight of the west Mediterranean Sea pouring into these beautiful prints, there is somehow a mood of ennui and degeneration.
We are pleased to invite you to view these fascinating photographs.

Cortes was also selected by the EU-Japan Fest four years ago, for a photography residence in Toyama Prefecture.
He stays determined to photograph “Toyama” seen from the European photographer’s eye. This has won Cortes many fans here in Japan as well.
At the venue, we will be selling photographic prints, with the addition of four different photo-books by Cortes.

Lastly, we are grateful to the Portuguese Embassy for their support of this exhibition.

》Artist profile José Pedro Cortes




Shigeru NISHIKAWA『under construction or destruction』

©Shigeru NISHIKAWA / from " Sealed House "


exhibition period20th May. - 19th Jun. 2016
openthu. - sun. 12:00 - 19:00
closemon. tue. wed.
reception21th May. 18:00 - 20:00 ※free admission

Gallery OUT of PLACE NARA would like to present its May. - Jun. exhibition of Shigeru NISHIKAWA " under construction or destruction "
Kansai-based Shigeru NISHIKAWA started displaying his work in 2009.
From this point, he has been recognized by his artworks of a delicate, yet bold sensibility.
However, in the number of years following 2013, he has completely reduced outside activity as a return to his origins as an artist, devoted to building a strong personal foundation.
In the latter half of 2015 his view has started shifting to the outside, and is a second coming geared for his newest series presented her as, " under construction or destruction."

In his newest works gathered in the series, " under construction or destruction," NISHIKAWA uses the motif of buildings covered by protective sheets during construction. Underlying these images we find the artist’s deep reflections on our environment and nature.

It is our pleasure to invite you to experience the pleasure brought forth by NISHIKAWA’s oil brushstrokes that hold a hidden message for contemporary society beneath the surface.

ーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーー
For me, painting has been the act of creating the environment and its spirit that enwrap me.
The paint sealed onto the surface has represented a world of quiet.
Yet for these past few years, I feel that something inside of me is stirring.
When an enormous school of fish flows through water, in actuality each fish is swimming independently, even though they appear to move as one.
I am never tired of watching that constantly shifting form.
By drawing and layering the touch of the brushstrokes, I wonder if I, myself, can create the very same image of momentary changes in shape.
Through the layering of images created according to methods of drawing (touch), familiar objects and commonplace landscapes become hardened as paint – then what kind of surface will rise up?
The thoughts I had about a world of harmony and quiet have started to crumble. And now, I think I might be able to paint what is being shifted and shaped into something new.
text by Shigeru NISHIKAWA

》Artist profile Shigeru NISHIKAWA




kamiserui『oxymoron』

kamiserui / oxymoron


exhibition period26th Feb. - 4th Apr. 2016
openthu. - sun. 12:00 - 19:00
closemon. tue. wed. & closed between 14th Mar. - 30th Mar.
reception27th Feb. 18:00 - 20:00 ※free admission

Gallery OUT of PLACE NARA would like to present its Feb. - Apr. exhibition of kamiserui’s " oxymoron. "
She graduated from Osaka University of Arts, after which she moved beyond working in the plastic arts to realize striking installations.In one work, she used her own body as part of the exhibit, burying viewers deep within the work where her constant presence created a space of unrest and irrationality. It can be said that her activities are public displays of contemporary art, in which she attempts to break down her spirit, intentionally bringing out its discordance with surrounding society. Perhaps this can be seen as the greater attempt at widening art’s expressive potential by capturing deep, personal challenges.
In this exhibit, the artist’s feelings towards inconsistencies are gathered under the keyword, " oxymoron, " within the gallery space. We invite you to come and view this unfamiliar world expressed by kamiserui.

ーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーー
Sometimes I feel like my personal thoughts get put in a separate " somewhere " outside of the real world.These might be something like: " I wish I wasn't made to be born as a 'self' from the 'other' " " I don't want stew that's been slow-cooked to a flavor on its own " " How did I become the criminal of a crime that I have no memory committing? " This happens because, when faced with a reality governed by physics, the limitations of this physical world cannot wholly capture something like our thoughts.

But it is these very thoughts that are essential to our being and should never be dealt with simply.Because, in my case, my thoughts need to be constantly negotiated with the real world. And in the end, I am consciously aware of this happening. And when I have a flow of emotion, these thoughts - supposedly stored up in that " somewhere " - come bursting forth into the real world. In this moment, the boundaries marking the real world and my personal thoughts become blurred. But then, the physical laws of the real world and the thoughts that escape cannot exist together and are stored up again.

So I have titled this exhibit, " oxymoron, " trying to bring together the two worlds discussed above as one.Through my failed attempts, I have gathered these thoughts as one installation piece I can call my own.
text by kamiserui

》Artist profile kamiserui




archive -2015-

Julia Baier 『LEVITATING WATER』

©Julia Baier / from " LEVITATING WATER "


exhibition period27th Nov. - 27th Dec. 2015
openthu. - sun. 12:00 - 19:00
closemon. tue. wed.

Julia Baier is a photographer based in Berlin.
She visited Japan in 2005, presenting the series " The public bath " that brought her wide recognition for the first time outside of Europe at Gallery OUT of PLACE (Nara).
Traveling to pools and public baths across various regions of Europe, the instantaneous expressions and gestures of people by the water are clearly captured through Baier's photographs.
These photos brought fresh and sensational ideas to the world of photography.
During her stay in Japan, Baier gathered images in a photo series " SENTO, " to be published as a book in 2008 in Germany.
These works have been highly regarded as they distinctly raise to mind the spirituality of the Japanese people that is closely tied to the concept of " The public bath. "

Even after these series, while Baier energetically continues the expression of photography, it can be said that her motifs constantly remain in " water. "
Her beloved Leica camera is never left behind as she holds it close while walking, and like Henri Cartier-Bresson himself, she is always after the decisive moment.
In this way, even among these numerous " decisive moments " , it appears that Baier's ability is revealed in portraying " the relationship between water and people. "
The 2013 published photo series, " WATER MATTERS, " contain works taken after 2000 that show the various ways her eye has captured scenes of " water. "
These works are included in her highly acclaimed achievements as a photographer, from which she was able to be chosen as one of the artists featured in the " 10 x 10 " exhibition in 2014 in the newly inaugurated Leitzpark of Leica. (As a side note, the photographer Thomas Ruff also participated in this " 10 x 10 " exhibit.)
Some of these images were finally selected in the big exhibition " Augen auf " 100 Years of Leica Photography in various cities in Europe (e.g. Deichtorhallen, Hamburg, etc.)

In what will be her second exhibition with Gallery OUT of PLACE, we will select close to 15 pieces to introduce from the series, " WATER MATTERS " . Additionally for the first time, a number of pieces taken during her stay in Iceland this spring will be displayed.
Considering how difficult it is to view this " now " of European photography within Japan, we invite you to take the rare chance to witness this collection of works.

》Artist profile Julia Baier




Mayumi TERADA『greenhouse series temperature - humidity vol.2』
the view from someone lying in bed x someone else's view from the side

  • Mayumi TERADA『greenhouse series temperature - humidity vol.2』

©Mayumi TERADA / pivot window with coconut tree 151501p / 2015


exhibition period25th Sep. - 25th Oct. 2015
openthu. - sun. 12:00 - 19:00
closemon. tue. wed.
reception10th Oct. 18:00 - 20:00 ※free admission

'14 から始まった温湿シリーズの第2弾として、主にカラー作品を新たに発表いたします。
また近年寺田は、撮影素材の 模型としてではなく独立した立体作品を制作しており、その中から数点セレクトし公開いたします。
ミニチュアの小空間 が大きく引き延ばされる、あるいは写真を写真の中で再度撮影するなど、写真表現ならではの方法や効果を巧みに取り入 れ、銀塩のモノクローム写真作品を 2000 年以降世界各地で発表しています。
最新シリーズの中では、更に新たな表現形 式として色彩と3次元の世界に挑む寺田ですが、今回も「不在/実存」というテーマは引き継がれており、眼差しを「視る」 と「看る」に敢えて分立させ、そこに横たわっていた人がその時何をどんな風に見ていたかを浮かび上がらせようとして います。
寺田真由美の深く新しい「眼差し」を是非この機会にご高覧ください。

》Artist profile Mayumi TERADA




from 8 Selection/Collection

  • from 8,Selection/Collection,セレクト・コレクト スエヒロガリ

exhibition period21st Aug. - 20th Sep. 2015
openthu. - sun. 12:00 - 19:00
closemon. tue. wed.
reception6:00pm - 8:00pm on 22nd & 23rd Augl.
The artist will be present.admission free

When the number 8 is written sideways, it becomes the symbol for " infinity " . Also, the Chinese character 「八」represents the idea of expansion, a beloved number meaning good fortune in ancient Japan. For this exhibit, we will be featuring 8 artists, outlining their own artistic expansion into infinity. Selected from their recent, and brand new works, our theme involves works that are " small pieces that each add their own spice. " With this in mind, we have close to 30 works to introduce collectively. Although this has been a season of harsh heat, we invite you to take this chance to view the 8 pathways through this small universe of infinite, expanding art.

artists :
Yasuaki Onishi (painting)
Reina Kakurezaki (sculpture)
Katsunori Kobayashi (photography + sculpture)
nakajima mugi (painting)
Yasuo Nomura (painting)
Mayumi Yamae (painting)
yamamoto hisayo (photography)
Masami Yamamoto (sculpture)




Tomoo SEKI /『Real/Red another secret garden』

  • Tomoo SEKI
  • Tomoo SEKI

exhibition period10th Jul. - 9th Aug. 2015
openthu. - sun. 12:00 - 19:00
closemon. tue. wed.
reception6:00pm - 8:00pm on 10th Jul.
The artist will be present.admission free

In addition to the new works from the “Real/Red” exhibition held at Gallery OUT of PLACE TOKIO this March, I will be displaying a number of the monochromatic blue paintings I began last year for the series, “Blue Flowers.”

At the start of my career, I was inspired by Cubism and Japanese nanga (Edo-period ink landscape paintings). In order to capture similar effects to these, I wondered how I should view my subject matter. These thoughts came to me when I first encountered early Cubist works and felt strangely about their use of geometric shapes all based in brown and grey tones. At around the same time, I also learned about nanga paintings, which I also felt were equally odd in the way they confined the foliage of trees to an array of dots. These expressions were far from what I personally understood as real nature.

Yet my desire to recreate these kinds of works has always been growing. I am drawn to aspects like the inversion of light and shadow on leaves in nanga – while with Cubism there exists an inversion of elements in the foreground and background. Also, nanga has a distinctive rhythm in its brushstrokes. Moreover, I am greatly interested in the way both of these art forms use what I call, “tactile brushstrokes.” It was precisely this treatment of shape that brought me such a great impact when I first experienced early Cubism and nanga. This same fascination continues to resonate within me to this day.
text by Tomoo Seki

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Dreaming in White / Review of Real/Red another secret garden

 Tomoo Seki's " Red Paintings " as their name implies, are painted in only red. This red draws our attention due to its blood-like color, evoking danger - even destrudo, associated with the toxic substance of Cadmium Red. Yet when made to face the surface, one cannot ignore the equal use of both red, as well as, white. The foundations of these works are Crescent watercolor canvases, which are undercoated with white. This type of surface is ideal for minute details of painting, such as small dots and fine lines. Seki combines the use of watercolor and oil paint in his brushwork, but he also uses mineral pigment with vibrant touches that leave undulations across the surface. Not one texture is to be overpainted as if planes of brushstrokes struggle with each other for their own territory, and under this tension the narrow white spaces manifest themselves as contours.

 What Seki depicts is the “image” of landscapes projected onto the canvas with an overhead projector. In tracing photographs as the abstraction of three-dimensional scenery, Seki’s brushstrokes do not stay on the front of tableau. He paints all the five surfaces ― the front and four sides ― perhaps attempting to bring the world into the three-dimensional as a phenomenon in front of our eyes. The regions where nothing is painted, or the blank white without color, correspond to the empty space to which the plants belong. When motifs are transformed into detailed brushwork like that of Nanga (Japanese-style literati painting), every touch describes not only the first moment when color was applied, but the space becoming a part of the landscape as well. With such, Seki calls, “tangible brushstrokes” he generates voids in “Red Paintings” as a methodology for the perception of space. 

 In this exhibition another secret garden, the different kinds of paint are never layered over one another. However, Plum Blossoms and Deserted House, the 71st work in the Real/Red series, shows some oil paint dotted over the mineral pigment. These touches are not on the white canvas, but on portions of red mineral pigment. Although there is not a huge visual effect, this reveals the emergence of other leaves from under the shadow, which allows us to delve deeper into the tableau. We can find here the artist developing a new frontier, but considering the fact that his solo-exhibit titles all begin with the term, “Real/Red,” the overall purpose of these " Red Paintings " is not to depict the scene as " real, " but rather its representation. Through this, Seki has constructed a perception of landscape, since the " red " draws our eyes inside the white blanks.

Mare Isakari
b. 1990 The University of Tokyo, Komaba
Graduate School of Arts and Sciences (Art Criticism/Comparative Art)

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》Artist profile Tomoo SEKI




河野滋子『メランコリア カオリとカタチ』

©Shigeko KONO / melancholia / 2015


展示期間2015年 5月22日(木)- 6月21日(日)
開廊時間12:00 - 19:00 (木〜日曜日)
休廊日月・火・水曜日
openthu - sun 12:00 - 19:00   closed on mon,tue,wed
5月23日(土)18:00 ~ 19:30 作家を囲んでレセプション・パーティーを行ないます。ぜひご来場下さい。※入場無料

この度 Gallery OUT of PLACE NARA は、河野滋子による個展「メランコリア カオリとカタチ 」を開催いたします。
河野滋子の日常は、自身の精神と格闘し続けることにあると言えます。この十数年というもの彼女は「どこにも置き場のない心」と対峙し、石塑粘土と布で人体(おそらく本人そのもの)のカタチを生みだす事で、荒ぶる精神を鎮め、彼女という存在理由を世に問うて来ました。
彼女のカタチは以前にも増して鋭さと柔らかさを獲得しながらも、今回カタチの他にもう一つ、カオリが付け加えられることになりました。
彼女は日々精神の平衡状態を求めて香りを独自に調合しているのですが、展覧会ではそれを立体作品と合体させ、作品に触れると同時に作品を嗅ぐという行為を鑑賞者に体験してもらうことにしたのです。
河野滋子の新たなチャレンジとなる今回の個展 メランコリア を、是非ご高覧ください。

》河野滋子 プロフィール




中島崇『KIKU SURU #2 NARA』

©Takashi NAKAJIMA / KIKU SURU Installation / 2015


展示期間2015年 4月9日(木)- 5月10日(日)
開廊時間12:00 - 19:00 (木〜日曜日)
休廊日月・火・水曜日
openthu - sun 12:00 - 19:00   closed on mon,tue,wed
4月10日(金)19:00 ~ 20:30 作家を囲んでレセプション・パーティーを行ないます。ぜひご来場下さい。※入場無料

この度 Gallery OUT of PLACE NARAは、中島崇によるインスタレーション&リレーショナルな要素を含んだ展示として「キクスル #2 ナラ」を開催いたします。
本年3月末大阪グランフロントで行なわれた【ナレッジキャピタルフェスティバル】で、関西のアートシーンに中島崇の存在を強烈に印象づけ、インスタレーション作品の醍醐味をいかんなく発揮した「キクスル」。今回は Gallery OUT of PLACE NARA の画廊空間に小さくアレンジされた状態で再び登場します。 そもそも「キクスル」は【ナレッジキャピタルフェスティバル】からの要請をうけ、人々をつむぎ、つなぎ、ついでゆくインスタレーションプロジェクトとして、2014年12月に始動し、2015年3月ナレッジプラザの巨大吹き抜け空間に設置されたものです。
しかしこの作品はフェスティバルをゴールに完結するものではなく、今後も増殖/進化していくプロジェクトとして、制作と発表を繰り返すことになっています。今回は奈良に会場を移し「キクスル #2」として展示し、来場者が直接作品にリボンを編み込み円を描いていきます。このような機会を経て、より多くの人々の思いと手技が作品に反映され密度を増していきます。
5年後10年後のキクスルを想像しながら皆様がこのプロジェクトに すすんでご参加くださる事を願っております。

》中島崇 プロフィール




内山聡『The human being to click, the animal to click, the machine to click』

©Satoshi UCHIYAMA / injected painting / 2014 / Acrylics, Bubble wrap


展示期間2015年 1月16日(金)- 2月15日(日)
開廊時間12:00 - 19:00 (木〜日曜日)
休廊日月・火・水曜日
openthu - sun 12:00 - 19:00   closed on mon,tue,wed
1月17日(土)18:30 ~ 20:00 作家を囲んでレセプション・パーティーを行ないます。ぜひご来場下さい。※入場無料

この度 Gallery OUT of PLACE NARA は、内山聡による新作展「The human being to click, the animal to click, the machine to click」を開催いたします。
内山聡は2005 年に多摩美術大学大学院美術研究科修了後、独自のスタンスを保ちながら積極的に作家活動を続けてきました。
飼い馴らされた絵画に疑問を投げかけ、近年は絵画を「行為」「時間」「物質」など様々な視点から解体し再構築することを制作の中心に据えています。
今回は、通信に代表されるテクノロジーの急速な発展に脅かされつつもそれを賞賛し受け入れざるをえない現代人が、その中にこそ我々のリアリティが存在するのではないか? 
徒労を繰り返す行為が人間的であり、また動物的、機械的でもあるという前提のもと、全長41 メートルにもなるエアマットを使った作品や前作Soaked Paintings の流れを汲む新作を発表します。
内山聡が提示する「絵画論」をこの機に是非ご高覧下さい。

》内山聡 プロフィール



archive -2014-

中島麦『悲しき南回帰線』

©nakajima mugi


展示期間2014年 11月7日(金)- 12月7日(日)
開廊時間12:00 - 19:00 (木〜日曜日)
休廊日月・火・水曜日
openthu - sun 12:00 - 19:00   closed on mon,tue,wed
11月8日(土)17:30 ~ レセプション・パーティーを行ないます。
ぜひご来場下さい。※入場無料

この度 Gallery OUT of PLACE NARA は11 - 12月期の展覧会として、中島麦による個展『悲しき南回帰線』を開催いたします。

本展は弊廊がこれまで開催して来た同作家の個展「悲しいほどお天気」(2011)、「星々の悲しみ」(2013)に続く【悲】シリーズ第三弾にあたります。
大学を卒業後12年間、様々な表現に取り組み新しい絵画の可能性を模索して来た作家の重要なターニングポイントになるこの展覧会を、是非ご高覧下さい。

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今回の展覧会は、1色の絵具を均質に塗ったミニマルな画面と複雑なテクスチャーを持つ重層的な画面という、対極にある2種類の抽象絵画によって構成されている。

ここまでは前回の展覧会で提唱した『カオスモスペインティング』※ を踏襲したものであるが、今回の2種類の異なる絵画の対比は、見方を変えれば最小単位とその集合体の補完関係でもある。

近くから鑑賞すれば両者の大きな差異が主題に見えるが、遠く離れる程に実は2つが1種類の作品に近づいていく事に気づくだろう。

更にこれらの2つは、同一のキャンバス上での固定された組み合わせでは無く、それぞれの個体は独立しており、組み合わせ自由を前提にインスタレーションされている。

何でも白黒をはっきりさせようとするシステムが加速化している現代社会が、自閉という弊害をもたらしているとするならば、私は抽象絵画が持つ構造を認識する事が、その一つの打開策になるのではないかと思っている。

抽象絵画の表面に見えているテクスチャーやインスタレーションの方法論が、或る個人の物語や思想ではなく、世界の根底を流れる社会構造を映し出し、結果、過度な自縛から私達を解放してくれる事になるのではないか…

新しい抽象絵画の構造を通して、私自身が何ものからも自由で何ものをもつなぐメディウムでありたいと考えている。

text by 中島麦

※ 平田剛志(京都国立近代美術館研究補佐員)に拠る。

》中島麦 プロフィール




山本 昌男 『Shizuka 浄』

©Masao YAMAMOTO gelatin silver print


展示期間2014年9月26日(金)- 10月26日(日)
開廊時間12:00 - 19:00 (木〜日曜日)
休廊日月・火・水曜日
openthu - sun 12:00 - 19:00   closed on mon,tue,wed
9月27日(土)17:30 ~ レセプション・パーティーを行ないます。
ぜひご来場下さい。※入場無料

この度 Gallery OUT of PLACE NARA は9 - 10月期の展覧会として、山本 昌男『Shizuka 浄』を開催いたします。

世界各国で益々多くのファンを魅了する写真家 :山本昌男の新シリーズ『Shizuka - Cleanse』を中心に、これまでのシリーズからも作品をセレクトし展示いたします。 モノクロームの写真に込められた山本の研ぎすまされた美意識が堪能できる内容となっております。

新シリーズ『Shizuka - Cleanse』は、作家が居を構える山梨県八ヶ岳で出会った石や木の根を被写体にしたもので、孤立した彫刻的フォルムが暗い不確定な背景の中で静謐に撮影されています。
石のフォルム、木肌のテクチャーが、時を刻印した人物の顔や官能的な人体に、あるいは箱庭から眺望する壮大な風景にすら見えてきます。

一見新シリーズは、過去の作風と一線を画しているようでいて、実はその根底に、物体と宇宙、物体と精神との繋がりをテーマにした山本の詩学が引き継がれて表現されています。 この機に是非、山本昌男の写真世界をご高覧ください。

今回の展覧会では『Shizuka 浄』から約10点、以前のシリーズから約30点を選りすぐり展示いたします。

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浄(しずか) Shizuka

数々の宝が息を潜めて存在する気配を、私は、森の中で常々感じています。
そんな気配を私は“浄 Shizuka”と名付けました。

浄とは、きよらかな、すみきった、汚れのない、明らかな、にごりがない、といった意味です。
森を廻って地から採集した宝 “Shizuka” が発する微細な光から、私の目は、レンズは、何かを捉えることができたでしょうか。

老子(古代中国の哲学者)によって編まれたとされる道徳経に「大器は晩成し、大音は希声、大象は形無しと。」という言葉があります。宇宙の運行によって発せられているであろう大きな音のように人間には聞くことのできないたくさんの音が地球上には溢れているが人間は自分たちが聞こえる音しか存在しないかのように振る舞っている。つまり人間自身が人間の能力の限界を謙虚に受け止め自分たちが知ることのできる物事は全体からみればほんのわずか一部にも満たないものであることを認識せよ、と言った意味です。

この言葉を知って、私が感覚的に感じていた事に通じる部分がありました。計り知れない宝の存在を気配として感じていた、ということ。そして、私の感じる事のできたほんの些細なものの向こうに、ぼんやりと見える何か大きな存在が有るかもしれない…という予感と期待によって、私は“Shizuka”の採集をしてきたのだと確信しています。

“Shizuka”からの発信されている何かは、人間の五感に働きかけて来る微かな空気の流れ、大地の香り、ささやかな音やひとすじの光のようなものを通じて、私は受け取っていると感じます。
光を捉える事こそ写真技法の神髄です。写真とは人間が光を捉えたい、という意思から出て来た技法であることを改めて実感しています。

私の手によって印画紙に定着された森の宝 “Shizuka”を皆様に楽しんでいただけることを切望しております。

山本昌男

》山本昌男 プロフィール




寺田 真由美
『six foot bed -温湿シリーズより- 』

©Mayumi TERADA 2014 gelatin silver print


展示期間2014. 08.08 (fri.) - 09.14 (sun) 
開廊時間12:00 - 19:00 (木〜日曜日)
休廊日月・火・水曜日
open thu - sun 12:00 - 19:00   closed on mon,tue,wed,
お盆の期間も通常に開廊いたします。

8月9日(土)17:30 ~ レセプション・パーティーを行ないます。ぜひご来場下さい。※入場無料

この度Gallery OUT of PLACE NARAは8-9月期の展覧会として、 寺田真由美『 Six Foot Bed – 温湿シリーズより – 』を開催いたします。 寺田真由美は2001 年よりニューヨークに拠点を置き、一貫して自作のミニチュアを用いた虚実が交錯する仮想空間を、モノクロームの写真作品として発表しています。
近年世界各国の美術館やギャラリーで作品を発表している寺田真由美ですが、Gallery OUT of PLACE においては、2010 年9 月に開催した『LIVING ABSENCE』以来4年ぶりの個展となります。
昨年より寺田は「温湿」をテーマにした新シリーズを制作しはじめています。新しく展開されつつある寺田真由美の写真世界を、この機に是非ご高覧ください。

six foot bed
このベッドに横たわっていた人は…
このイメージを観てくださる方が、それぞれにその人を想像してくださっていい。
私は、その横たわっている人に、心地よい温度と湿度を提供したかった。

》寺田真由美 プロフィール




鍵 豪 『A Distance 』

©Takeshi KAGI
A Distance 2014 type-C print


展示期間2014. 6.06 (fri.) - 07.06 (sun) 
開廊時間12:00 - 19:00 (木〜日曜日)
休廊日月・火・水曜日
open thu - sun 12:00 - 19:00   closed on mon,tue,wed,

6月7日(土)17:30 ~ 作家を囲んでレセプション・パーティーを開催します。ぜひご来場下さい。※入場無料

この度Gallery OUT of PLACE は、鍵豪による写真展『A Distance』を開催いたします。鍵が切り取る風景には、鑑賞者の甘い期待を拒絶するかの様なフラットな「冷徹さ」が写し出されています。しかし同時にいかなる欲望をも受容し、決して飽和する事の無い「奥ゆき」を湛えています。作家がここ数年他を排し、自己の内面を見つめ続けた末に辿り着いた境地が、ここに表現されています。
『A Distance』とは換算できない距離を示す。
そしてそれは、何でもない光景の中に最も端的に示される。ひとつの光景には、理解できる、理解できない、あるいは時間を掛けて理解しなければならない様々な関係(距離)が存在しており、私は作家としてその関係と向き合っているのだ。つまりこれらの作品は、視覚芸術と私の精神との間で構築してきた一つの形であると言える。
作家ステートメントより抜粋

》鍵 豪 プロフィール




関 智生 『 REAL / RED 花々と 』in 奈良

Tomoo SEKI painting
No. 59 さくらと廃屋 2012 キャンヴァス、油彩、岩 絵具、水彩 162.0x130.3cm


展示期間2014. 2.07 (fri.) - 03.09 (sun) 
開廊時間12:00 - 19:00 (木〜日曜日 )
休廊日2月 火・水曜日
open thu - sun 12:00 - 19:00   closed on mon,tue,wed,

東京で開催した展覧会が奈良に巡回します。

外来種であれ在来種であれ今の日本に根付いた植物、自然とその環境に尊厳を与えたい。
これこそが、この国に住む人々が血を流しながらも脈々と受けついだ、触ることのできる確かな存在であるからだ。

》関智生 プロフィール

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