Tag Archives: アンディ・ウォーホル

Patrick Keiller: The Robinson Institute / Tate Britain Commission 2012

Duveen galleriesに設置される、テートの収蔵品に呼応した作品創りをアーティストに依頼するアート・プロジェクト・Tate Britain Commissionの今年の作品は、アーティストで映像作家のPatrick Keiller(パトリック・キーラー)のインスタレーション「The Robinson Institute(3月27日〜10月14日)」。


イギリスの風景、政治、経済、歴史を考察するというこの「The Robinson Institute」は、時に超現実的でバラエティに富んだ、数世紀に渡る120以上の作品を集めている。ロビンソンのイメージは、主にテートのコレクションから選ばれた作品や、歴史家、地理学者、地図製作者、地質学者の研究と共に見ることが出来る。7部に分かれたインスタレーションでは、ジョゼフ・マロード・ウィリアム・ターナーアンディ・ウォーホルアンドレアス・グルスキージャクソン・ポロックデニス・オッペンハイムといった、内外の著名アーティストの作品の横に、1795年にヨークシャー州に落ちた隕石や、政府の修正法案、ビアトリクス・ポターの作品、SF映画「宇宙からの侵略生物(Quatermass 2)」の映像など、ちょっと趣向の変わった作品が並んでいる。


Artist and independent film-maker Patrick Keiller created an unique installation called “The Robinson Institute” (Mar 27  –  Oct 14) at the Duveen galleries for Tate Britain Commission 2012, an art project which invites an artist to develop a new work in response to the Tate Collection.

Over the past 30 years Patrick Keiller has developed a range of films which combine expressionless images of British landscape, rural and urban, with a narration which draws together wide-ranging literary anecdotes, historical episodes, current affairs, economic critique and offbeat humour. “The Robinson Institute” is inspired by Keiller’s best known films in which his fictional creation – an elusive scholar named Robinson – wanders the English landscape and records his chance encounters on an old cine camera.

The exhibition is the reflection of the British landscape, politics, economics and history and it brings together more than 120 diverse and often surreal artworks and objects from across several centuries. Robinson’s images are shown alongside other artworks, mainly from the Tate’s own collections, as well as works by historians, geographers, cartographers and geologists. The seven-part installation includes renown international artists such as JMW Turner, Andy WarholAndreas Gursky, Jackson Pollock and Dennis Oppenheim, together with unusual objects such as meteorite that fell in Yorkshire in 1795 and a parliamentary amendment, as well as Beatrix Potter and clips from the Hammer’s sci-fi horror Quatermass 2.

Individual works are impressive and the choice of works are interesting, but it is not easy to understand the connection between each work and messages behind, for me as a foreigner who don’t know about UK fully. I wish there were an explanation at each part of the installation that helps me understand what it is about (or did I miss it??).


Yayoi Kusama Exhibition @ Tate Modern

水玉(Polka Dots)を多用した作品で知られる前衛芸術家・草間彌生さんの展覧会「Yayoi Kusama」が、現在テート・モダンで開催されており(〜6月5日)、絵画、ドローイング、彫刻、映像、コラージュ、パフォーマンス、インスタレーションなど、60年以上に渡って制作された作品の数々が展示されている。草間さんは、イギリスでは、故ジョン・レノンの妻・オノ・ヨーコさんに次いで有名な日本人女性アーティスト。この展覧会に際しご本人も渡英、真っ赤なおかっぱ頭にこれまた赤地に白い水玉模様のお召しものという、ド派手且つド迫力なお姿で、様々なメディアに登場した(ガーディアン紙)。

強迫性・反復性・律動性を特徴とする彼女の作品は多様。男根に似せたイソギンチャクのようなオブジェで覆われた「Sex Obsession(性への強迫観念)」シリーズ(写真上から2番目)や、マカロニを貼付けた「Food Obsession(食べ物への強迫観念)」、ショッキングピンクの着物を着てニューヨークの街を歩く草間さんを撮影した作品「Walking Piece」、裸の参加者が互いの体に水玉模様を施す1967年のパフォーマンス「Body Festivals」の様子を、他の作品とともに記録した映像「self-obliteration(自身の抹消:YouTube パート 1 / パート2)」、「The Clouds」「Accumulation sculptures」等大規模インスタレーション、そして目や鼻、水玉、横顔のセルフポートレート等をモチーフにした近年の極彩色の絵(写真下から二番目)と続き、合わせ鏡を使った幻想的な「Infinity Mirror Rooms(無限の鏡部屋:写真最下)」で締めくくられている。

長野県松本市出身の草間さんは幼少時からアートに興味を示し、若くして才能を開花。日本画を学んだが旧弊な日本画壇に失望、雑誌や本で独学でヨーロッパやアメリカのアバンギャルドを学ぶ。「too small, too servile, too feudalistic and too scornful of women(狭小で独創性がなく、前近代的で女性を軽蔑する)」だった当時の日本を離れ、1957年に世界のアートの中心・ニューヨークに渡る。当時西洋人男性が優勢を誇ったNYアート界で、アウトサイダーであるアジア人かつ女性という二重ハンデを負いながら、ドナルド・ジャッドアンディ・ウォーホルジョゼフ・コーネルクレス・オルデンバーグ等有名アーティストと交流を持ち、コンテンポラリー・アーティストとしての地位を確立した。1973年に体調を崩して帰国。幼い頃から幻聴・幻覚に悩まされていた草間さんは、現在82歳と言うご高齢ながらも、自身が「自宅」と呼ぶ入院先の精神病院からスタジオに日参、日々作品を創り続けている。その強迫的ともいえる制作活動は、自身の心理的トラウマからの逃避、言わばセラピーのようなものなのかもしれない。


A Japanese contemporary artist, well-known for her repeating dot patterns, Yayoi Kusama‘s retrospective “Yayoi Kusama” is currently running at Tate Modern until June 5th. The exhibition gathers her artworks over 60 years of her career in variety of media, including painting, drawing, collage, film, sculpture, performance art and installations. Kusama is the second known Japanese female artist in UK, after late John Lennon’s soul mate, Yoko Ono. Kusama came to UK on the opening of the show, and appeared all in red, not just red but bright red – red bob cut and the same red dress with big white dots (the Guardian article).

Kusama’s works are characterized by compulsion, repetition, and rhythmicity in a wide variety of mediums. In the exhibition, you see Accumulation sculptures such as phallus-covered Sex Obsession series (the second photo) and Food Obsession, consisting of objects covered with dry macaroni; Walking Piece, a series of colour slides with Kusama wearing a bright pink kimono walking the streets of New York; Self-Obliteration (YouTube Part 1 / part 2), a film documented her Body Festivals in 1967, in which naked participants were painted with brightly colored polka dots, along with images of her paintings and installations; large multi-part installations such as The Clouds and Accumulation sculptures; recent paintings with repeating motifs of eyes, flowers, hieroglyphic self-portrait in profile, and dots in an intense bright colours (second bottom photo); and mesmerising Infinity Mirror Rooms (bottom photo) that concludes the show.

Born in Matsumoto, Nagano Prefecture, she developed her passion for art from a young age, but at the same time started to suffer neurotic and obsessional symptoms. She studied Nihonga painting but was frustrated by its conventionality,   and started to teach herself about the European and American avant-garde from books and magazines. After her certain success in Japan, she decided to go to New York, center of the art world, in 1957, leaving Japan where is “too small, too servile, too feudalistic and too scornful of women.” Kusama came into contact with renown artists including Donald JuddClaes OldenburgAndy Warhol, and Joseph Cornell. She established herself as a prominent contemporary artist, with an identity of “outsider”, both as an Asian and as a woman in a male-dominated Western art world. In 1973, she returned to Japan in ill health. As an age of 82, she commutes to her studio from a mental institution where she lives and calls ‘home’ , and still work vigorously. Her obsessiveness in making art is largely coming from a desire to escape from psychological trauma, and art seems to be very therapeutic to her. →reference: LOUIS VUITTON×Yayoi Kusama site

Kusama’s life is more intriguing than her works for me. Her vitality and strength that helped her survive the tough period when the status of women and ethnic minority is subordinate, and made herself the most prominent female artist in Japan, is truly exceptional and amazing. However, the exhibition doesn’t succeed to fully express her power and intensity, unfortunately.

POP LIFE: Art in a Material World @ Tate Modern


10月1日より、テート・モダンの新しい展覧会「POP LIFE: Art in a Material World」が始まった。アンディ・ウォーホルは在りし日、「Good business is the best art.(よいビジネスは、最高のアート)」とのたまったが、「POP LIFE」は、1980年代から現在まで、商業とメディアを巻き込み、自身を「ブランド」として確立したアーティスト達に注目。ポップ・アーティスト元祖のウォーホルから始まり、キース・ヘリングジェフ・クーンズ等のアメリカ人アーティスト、ヤング・ブリティッシュ・アーティスト(YABs)の代表のダミアン・ハーストトレイシー・エミン、そして日本代表・村上隆と、マスコミ露出とセンセーショナルな作品で名を売ったアーティストたちの、カラフルで派手、良い意味でも悪い意味でも「POP(大衆的)」な作品が、一堂に展示されている。ブルック・シールズが10歳だった頃に撮影されたヌード写真が、当局によって「わいせつ物」として撤去されたとのエピソードや、一卵性双生児を自身の作品の前に2人揃って座らせるというダミアン・ハーストのアイデアも、ニュースになった。



A new exhibition of Tate ModernPOP LIFE: Art in a Material World” started from today. Andy Warhol claimed “Good business is the best art.” – Tate Modern brings together artists from the 1980s onwards who have embraced commerce and the mass media to build their own ‘brands’. The exhibition includes; American pop artists Andy Warhol, Keith Haring, and Jeff Koons; YBAs (Young British Artists) Damien Hirst and Tracey Emin; and the Japanese king of pop Takashi Murakami and more – who have created sensational ‘arts’ and their own styles, have happily exposed themselves to media, and as a result, have sold their works for millions. Their artworks are colorful, loud, and ‘pop’ in good ways and bad ways. There were some episodes hit the news: a nude photograph of Brooke Shields when she was 10 years old was withdrawn after a warning from Scotland Yard that it could violate obscenity laws; and Damian Hirst was looking for identical twins to let them sit in front of his painting.

Bald sex scenes, a female figurine with big breasts,  a baby cow immersed in formaldehyde in a vitrine, dead horse, Nazi officers in movies – full of provocative works there. On contrary to his funny & cute “Popeye series” at Serpentine Gallery, Koons’ huge sculpture and photographs of himself having sex with his ex-wife and ex-porn star Cicciolina, filled in one entire exhibition room – are these ‘arts’? For me these are mere pornography other than the fact that they were retouched to look ‘kitsch’ to moderate its obscene nature.  Scandalous artist Emin’s works are exhibitionistic and vulgar. Murakami sadly reinforce the stereotypical image of eccentric Japan – unfortunately many British have a image of Japanese as ‘weirdos’, thank to Maid cafes and girls & boys in gothic lolita fashion in Harajuku, often seen in the British media. In “POP LIFE”,  Warhol’s works look the most decent among all others, after all. Be aware, if you have small children with you!

Sounds very critical, but I am one of the masses who like gossips and craps, and I fell the artists’ trap and quite enjoyed the exhibition, pretty embarrassed to say,…


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