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Kenjiro Okazaki

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Infomation

Physica – 自然哲学としての芸術原理
5 March, 2018

Physica – 自然哲学としての芸術原理

MUSEE F+表参道画廊企画「Physica -自然哲学としての芸術原理」に、新作ドローイングを出品。

出品作家:岡﨑乾二郎、白井美穂、松浦寿夫

■時間:2018年3月5日[月] - 3月17日[土]・日休
    12:00-19:00(最終日17:00まで)
■会場:表参道画廊
■企画:MUSEE F+表参道画廊

Works

Writings

  • under constraction

Writings

A twilight

It is a great honor for me to be able to give this talk at Anthroposophical Society today. I thank you for the opportunity. I am basically an artist, though in parallel to my artistic activities, I have thought and written about things around art so I’m also regarded often as a critic. But my concern is art, and my interest in culture in general is only an extension of this primary focus.

However, if one attempted to understand the shifts that occurred in modern art, its background obviously concerns culture in general. When a big change occurs in the fine arts, it is always the case that this change cannot be comprehended as a development that pertains strictly to art. For instance, the emergence of abstract art represents one of the biggest shifts in art in the Twentieth Century. But the shift of cognition underlying abstract art had already taken place in the nineteenth century. Abstract art corresponds to the core problematics of what is broadly called “Modernism.”

Based on these ideas, I curated an exhibition from April to June this year, at the Toyota Municipal Museum of Art, which reconsidered the emergence and development of Abstract Art.〝Abstract-Art-As-Impact〟(抽象の力) . A part of what I thought in connection to this exhibition is written in the text I’ve handed out so I’d be grateful if you could read it.

The exhibition was organized based on the thesis that the premise for the emergence of abstract art lay in the doubt towards grasping something through its visual representation. This suspicion towards the visible, so to speak, has three aspects:

A visual image represents something merely through convention which is itself limited to a specific tradition or region. If the expressive form or style differ, the represented image also changes. A singular visual image cannot represent the real figure of an object. The figure itself is constantly changing and never stable. The exterior appearance does not represent the reality of an object. The similarity in shape does not suggest identity of character. Dolphins and sharks look alike, but as species, dolphins are closer to hippopotamus. 1. is the awareness that what is represented is reduced to a method pertaining to a particular culture; 2. is the awareness of a radical increase in observable data brought about by shifts in technology; and 3. is about the transformation or evolution of scientific cognition. These all reflect structural shifts in culture that occurred in modernity.

The late nineteenth century development in art from Realism to Impressionism corresponded precisely to such shifts of cognition. This was already apparent in the works of Turner or Constable. The poet Rimbaud and Cezanne, who was the same age as Rimbaud, gave a name to the experience of intensity that goes beyond the senses to grasp an object in a direct manner: “sensation.” As is well known, correspondence was a phenomenon where individual senses resonated together despite their differences, forming a singular, holistic experience. The search for this immediate experience was already of interest to artists around the world by the end of the nineteenth century. The logical basis of abstract art is located here.

Exhibitions

「泥とジェリー」21 January–6 April, 2014│東京国立近代美術館│東京

Curation

「抽象の力」

Profile

造形作家。武蔵野美術大学客員教授。 1955年東京生まれ。1982年パリ・ビエンナーレ招聘以来、数多くの国際展に出品。総合地域づくりプロジェクト「灰塚アースワーク・プロジェクト」の企画制作、「なかつくに公園」(広島県庄原市)等のランドスケープデザイン、「ヴェネツィア・ビエンナーレ第8回建築展」(日本館ディレクター)、現代舞踊家トリシャ・ブラウンとのコラボレーションなど、つねに先鋭的な芸術活動を展開してきた。東京都現代美術館(2009~2010年)における特集展示では、1980年代の立体作品から最新の絵画まで俯瞰。2014年のBankART1929「かたちの発語展」では、彫刻やタイルを中心に最新作を発表した。長年教育活動にも取り組んでおり、芸術の学校である四谷アート・ステュディウム(2002~2014年)を創設、ディレクターを務めた。2017年には豊田市美術館にて開催された『抽象の力―現実(concrete)展開する、抽象芸術の系譜』展の企画制作を行った。 主著に『ルネサンス 経験の条件』(文春学藝ライブラリー、文藝春秋 2014年)、『芸術の設計―見る/作ることのアプリケーション』(フィルムアート社 2007年)。『ぽぱーぺ ぽぴぱっぷ』(絵本、谷川俊太郎との共著、クレヨンハウス 2004年)。

Publication

『ルネサンス経験の条件』

Public collection

「あかさかみつけ 5」1987-1989

Lecture

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