青森EARTH2014
第1部＝追悼・豊島弘尚 彼方からの凝視
第2部＝縄目の詩(うた)、石ノ柵
「青森EARTH」は青森の大地に根ざしたアートの可能性を探究していくプロジェクトです。今年度は青森ゆかりの画家・豊島弘尚(1933-2013)を追悼する「第１部＝追悼・豊島弘尚 彼方からの凝視」、青森の縄文を代表する遺構の一つ「環状列石(ストーンサークル)」を切り口に縄文と現代の接点のありかを問う「第２部＝縄目の詩(うた)、石ノ柵」の二部構成にて開催します。
第１部でご紹介する豊島弘尚は、身体の部分をモチーフにした触知的な作品から出発、北欧で目にした極光(オーロラ)を「天と地の往復書簡」と表現し、土偶に自らのルーツを感じながら制作を行った画家です。本展では、自己の感覚を基点に置きながら超宇宙的な眼差しを探求する画家の無限の軌跡をみることができます。
第２部でご紹介する作家は、菅谷奈緒、松井茂＋王子直紀＋仲井朋子、松江泰治、村上善男、吉増剛造です。環状列石を支える縄文の論理や世界観を参照項に、詩、写真、音楽、絵画、現代美術と、様々な芸術ジャンルによる作家たちの作品を展覧する本展は、遠くかけ離れたように思える縄文と現代が隣り合せに存在し得るかを問う試みとなります。
二部構成で行われる本展は、青森の大地に根ざしたアートを通じて、血肉の備わった地勢学的視座をもたらします。それは青森という一地域を考えることから、これからの人間・文明・自然観を考える上で大切な視座の一つを培うことにつながるのではないでしょうか。
Aomori EARTH 2014
Part I “Remembering Hironao Toyoshima—Gaze from Afar”
Part II “Rope Pattern Poetry, Trails of Stones”
“Aomori EARTH” is a project that seeks out new possibilities for art rooted in the land of Aomori. This fiscal year, the exhibition is split into two halves Part I “Remembering Hironao Toyoshima—Gaze from Afar,” is in memory of painter Hironao Toyoshima (1933-2013) who had strong links with Aomori, while Part II “Poems of Knots, Fences of Stone,” explores what common ground can be found between the Jomon period and modern times, using the stone circle, which represents the Jomon period heritage of Aomori, as a starting point.
Hironao Toyoshima, featured in Part I, started by painting highly tactile works utilizing motifs based on parts of the body, but after seeing the Northern Lights (aurora) in Northern Europe, he produced works inspired by this correspondence between heaven and earth. His art was infused by a sense that his own roots lay in dogu clay figurines. This exhibition makes it possible to view the limitless trajectory of this artist, who, while making his own senses the base point, sought to explore a gaze that transcended the cosmos.
Part II introduces Nao Sugaya; the trio of Shigeru Matsui, Naoki Ohji, and Tomoko Nakai; Taiji Matsue; Yoshio Murakami; and Yoshimasu Gōzō. Referring back to the Jomon period ethics and worldview that provided the support for stone circles, the works presented here are by artists who are proficient in a variety of artistic genres, including poetry, photography, music, painting, and contemporary art. This part of the exhibition attempts to discover whether the Jomon period and modern times, which are seemingly separated by a huge chasm, could coexist side by side.
Through its use of art that is rooted in the land of Aomori, this two-part exhibition provides a topographical perspective that also has a human, physical touch. Thinking about the Aomori region will lead to the cultivation of an important perspective when considering how we view humanity, civilization, and nature.
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