日本語

「Comments」展 by Rui Kikuchi

 シドニーのGaffa Gallery にて現在作品展示しています!Michelle Genders氏のキュレーションにより、「コメント」は政治、社会正義、環境保護のテーマとしたジュエリーを紹介しています。

参加作家:
Alexandra Darby
Anna Davern
Claire McArdle
Felix Gill
Fiona Meller
Jan Turzo
Karen Strang
Karin Findeis
Lorena Lazard
Luke John Matthew Arnold
Melissa Cameron
Michal Oren
Neke Moa
Suse Scholem
Rui Kikuchi
Vernon Bowden
Zoe Brand

詳しい情報はこちら:https://unlimitedsubstance.wordpress.com/exhibition-5-comments/

第3回国際交流展 International Contemporary Jewelry Exhibition 2015 《young & energetic・ up-and coming》 by Rui Kikuchi

東京品川区大井町にあるジュエリー作家、平岩共代さんのギャラリーCreate Space Tokyoをクリスくんと伺いしました。駅から徒歩5分ぐらいの途中、まるでタイムスリップした懐かしい「すずらん通り」商店街を通り抜き、小さなギャラリーへ到着しました。
今回の展覧会は日本、韓国とノルウエーの若手ジュエリー作家17名作品が展示され、私の見慣れている作品への先入観かもしれないが、三島一能さんは選抜した日本代表の作品は3各国の中で一番輝いていた気がしまして、特に三島さんのシンプルで男性らしい造形とデザインに惹かれました。3月5日まで。

参加アーティスト:
JAPAN : 池山晃広・小山泰之・小嶋崇嗣・田口史樹・三島一能
NORWAY : Anna Talbot・Hedda Bjerkeli・Helene J.Linkosuonio・Runa Vethal Stølen
KOREA : Healim Shin・Hyejung Sin・Junsuk Min・Jieun Park・Jungeun Park・Joohyun Lee・Sungho Cho・Yeseul Seo


 

浜口昌子展:小実体 by Rui Kikuchi

堂島リゾームにて展覧会をされる浜口昌子さん。

5月27日(木)~6月7日(土)まで(11:30~18:30 日曜・月曜お休み)

浜口昌子 「 子実体 Fruiting bodies 」

「広く這い巡る地下茎から、菌糸が栄養分を吸収し、時満ちて目に見える形になってポッと出て来たような、不思議可愛い作品をご覧ください。」

堂島リゾーム (Gallery&Cafe)
坪文子・武藤さよみ
530-0003
大阪市北区堂島3-2-19
T/F : 06-6451-0708
Mail :info@dojima-rhizome.com
URL: www.dojima-rhizome.com
Open: 11:30~18:30
定休/日・月・祝  不定休/土

トーネ•ヴィゲランド展 by Rui Kikuchi

私に凄く影響を与えているトーネ•ヴィゲランドさんはノルウェーのBergen Kunsthalle にて展覧会をされます。彼女は長年、古い鉄釘を鍛金されて世界中から注目を集めています。いきたい!!!ノルウェーはちょっと遠い!

Tone Vigeland
22. MAY 2014 - 17. AUG 2014 KUNSTHALLEN

"The Festival Exhibition 2014 - Muster. Opens Thursday 22nd of May at 1pm
This year’s Festival Artist is an international figure central to recent Norwegian art history. Tone Vigeland has won many awards and enjoys almost legendary status in some circles. As a jewellery artist she has occupied a special position since the end of the 1950s. In the mid-nineties, for the first time, she exhibited works that were independent of the body as ‘bearer’ of the objects, and which were instead self-bearing as free-standing sculptural objects.

In "Muster" Vigeland takes her sculptural activities into what is a hitherto unexplored format for her. The sculptures in this exhibition lie close to a kind of encompassing installation art — where each space is dominated by a single, fully cut work with dimensions that are directly related to the scale of the architecture.

When you see Vigeland’s early jewellery photographed against a neutral background, you lose the sense of the size and function of the object. What may look like a sculpture by Richard Serra, with large heavy surfaces leaning against one another in a strict balance, is perhaps in reality a bracelet consisting of four thin plates in steel and silver. Similarly, a jewel consisting of two hovering lines on metal that are accurately joined at a single crucial point may recall a suspended mobile by the sculptor Alexander Calder.

Such photographs bring out the parallels of Vigeland’s early jewellery with international modernism — and at the same time with her own later sculptures. But the photographs lose sight of the connections between the objects and the human body, some¬thing that for Vigeland has always constituted an indissoluble link in the jewellery art. If one of the works in the Festival Exhibition was photographed in a similarly ‘neutral’ way, without visualizing the spatial context in which the works are inscribed, you might perhaps think that they similarly look like jewellery. Like the jewel¬lery, these works too are dependent on a ‘bearer’, in this case the actual exhibition space.

Much has been said and written about Vigeland’s ‘transition to sculpture’ in the nineties. This transition also made it possible to use larger formats, and the Festival Exhibition can in that sense be seen as a natural continuation of an ongoing development. All the same, the large formats do not seem to be the main issue in the exhibition. The format seems rather to be pragmatically adapted to the physical setting of which the objects are a part.

Vigeland’s works still consist of a few recognizable components where a limited range of materials — all with a basis in the craft tra¬ditions of jewellery art — are tirelessly explored again and again. The colour scheme of Vigeland’s exhibition is often compared to a Norwegian winter landscape: cool, clear and pure. But this palette must first and foremost be attributed to the closeness to and honesty towards the material; the lustre of polished metals or the light-absorbing grey in a surface of oxidized silver. Lead. Steel. Iron. Aluminium.

Among Vigeland’s best known jewels there are a number of works that are assembled from many small repetitive elements into a network or a form that adapts to the body. In this way the hard material appears soft and malleable, almost like ‘knitted metal’. Another repeated element has been the principle of ‘one form — one piece’. Both these techniques are also clearly present in the Festival Exhibition. A few of the works exploit the principle of rep¬etitions of small elements assembled into a larger whole. Others clearly relate to the principle of one cohesive form.

The parallels with minimalism in visual art are palpable. While this connection has earlier existed at a formal or conceptual level, the Festival Exhibition comes closer to the most fundamental project of sixties minimalism. The artworks of minimalism were not to be regarded as objects from a distance, they were to be experienced by the body in the gallery space as phenomenological entities. The differences between Vigeland’s works and minimalism, however, are just as clear as the similarities. Instead of industrially produced ‘specific objects’, Vigeland’s installations are situated first and foremost in the transition between the overall format and the tiny details of the craftsmanship. The tension lies in the relationship between the total extension of the work as one form and the many details. One such detail is the handmade join¬ing of two metals: a small circular silver plate that is soldered like the head of a nail to a related steel pin — and which is repeated in the exhibition over 6000 times.

TONE VIGELAND (b. 1938) lives and works in Oslo.

The Festival Exhibition has been produced by Bergen Kunsthall since 1953, annually highlighting a contemporary Norwegian artist. The exhibition is well established as one of Norway’s foremost individual expositions."

MAD NYC: Multiple Exposures by Rui Kikuchi

ニューヨークのMADミュージアムに面白そうな展覧会があります。マッドミュージアムは一度訪れたことありますが、充実した内容の展示がありまして本当に楽しい時間を過ごせました。若い世代が集まりやすいイベントや環境作りに取り組んでいるようで、またいつか行けることを願っています。

ヘルマン•ヘルムセン展 by Rui Kikuchi

ジュエリー展のお知らせです!:

2014年5月9日 - 5月18日 1F
Herman Hermsen Jewelry Exhibition 『CROSS ROAD』
「この度ギャラリードゥポワソンでは、5年ぶり4回目となるオランダ人ジュエリー作家、
ヘルマン・ヘルムセンの作品展を開催いたします。

モノトーンの合成樹脂を幾重にも重ね、削り、研磨する事により形と積層の断面の美しさが
同時進行しながら生まれる新作を始め、人工大理石の中にカラーストーンが潜んでいる
遊び心にあふれたシリーズや、直線と曲線で構成された新鮮なデザインがインパクトのある
日本未発表のシリーズも含む約70点の新作と、過去のコレクションが一同に並びます。

どうぞ会場にてご高覧ください。」

http://www.deuxpoissons.com/exhibition/ex14/herman/herman.html
〒150-0013
東京都渋谷区恵比寿2-3-6 B1F+1F
Phone:03-5795-0451
Open 12:00-20:00
Closed on Mandays
info@deuxpoissons.com
http://www.deuxpoissons.com

るい、作家活動やり直し by Rui Kikuchi

3.11の後、宮城県と岩手県にボランティア活動して、復興の問題を見てきたらだんだん作品を作る意味が分からなくなってしまった。落ち込んだりし て、日本を離れて世界一周することにした。自分を試すためにか、新たな挑戦をしたいか、深い理由は自分にもよく分からなかったが、自分は日本人として生ま れたという恵みさを感じたかったんでしょう。

一年後、やっと帰国して作家活動を復活中。古い友だちの友好関係を確認したり、新しい友だち作りに忙しいし、これからも新しい芸術