シンビズム4

> シンビズム展 ご来場のみなさま、イベントご参加のみなさまへのお願い

[ 彫刻、パフォーマンス ]

北澤 一伯

KITAZAWA Kazunori

 

北澤 一伯
1949
長野県伊那市生まれ
1974
日本大学藝術学部美術学科彫刻コース卒業
1976
日本大学藝術学部芸術研究所修了
俳句誌『銀漢』同人
Poem within Seven Steps by Cao Zhi People boil beans to cook soup Filtering them to extract essence.
The beanstalks were burnt under the cauldron And the beans in the cauldron wailed: “We were originally grown from the same roots; Why should we hound each other to death with such impatience?”
Cao Zhi (192 – 232 A.D.) was a son of Cao Cao, the late king of Cao Wei, an ancient Chinese kingdom. It is said that he was asked to compose a poem within seven strides, or he would be executed by Cao Pi, his elder brother, and so he composed this poem. Though some say it’s not his poem, I got a lot of suggestions from it. One of them might be a strong will to break through the crisis as a poet, who got through the difficult situation by way of expressing himself in his poem, facing extreme conditions. Composing a poem within seven steps duration is equivalent to engaging in creating a work of art within a limited time to overcome the difficulty, and thereby survive. The story of composing a poem, reminiscent of the Dadaistic improvisation, is also true when creating art, which conveys the essence of power, characteristic of fine art.I was inspired by this ancient Chinese poem when I was confronting very personal land disputes, which made me ponder over the sculpture installation spaces and sites at length. It’s a strange way of saying, however, that the bruise, or something like that, which I received from the ill-conceived emotions of the evil person, will not disappear forever.Hence, “The Place of the Bruise.”

おもな作品発表歴

1974
「台座を失った後、台座のかわりを、何が、何故するのか」(日本大学藝術学部 旧構内/東京都)
1980 − 1996
農村地形と〈場所〉論をテーマにしたインス
タレーション「囲繞地」を制作、発表
1994 −2008
廃屋や旧家の内部を「こころの内部」に見立
てて美術空間に変える『「丘」をめぐって 死んだ水うさぎ』を連作
1994 − 1999
「アートキャンプ白州」に参加(山梨県)
1994
「立ち上がる境界展」(辰野町郷土美術館、旧日本通運事務所/辰野町)
1996
「プサイ亀と死んだ水うさぎ『量子芸術について』」松澤宥とのコラボレーション(旧日本通運事務所/辰野町)
2000 −
彫刻の手法による「脱構築 こころの容器」連作
2003 −
「NIPAF」参加「セルジ・ペイ頌歌」連作を発表
2006 − 2012
「くりかえし対立する世界で白い壁はくりか
えしあらわれる 固有時と固有地」No1〜7(松代大本営地下壕/長野市)
2008
約14年間かけた「残侠の家」制作を終了、「残侠の家つづき物語」の制作を開始
2009
「第1回所沢ビエンナーレ引込線」(埼玉県)
2012
「池上晃事件補遺No 5 刺客の風景」(伊那北高校薫ヶ丘会館/伊那市)
2015
「Void house 何もない家」Nine Dragon Heads 企画〈Border Crossing〉に参加(韓国)
2016
「段丘地 四徳 折草 平鈴」(アンフォルメル中川村美術館/中川村)
2017
「光の筏」(FLATFILESLASH /長野市)
2018
「場所の仕事 刺客の巻貝圖」(からこる坐/長野市「Acción ! MAD 18」参加(スペイン)
2019
「2 019 DMZ International Art Politics-Project
Border Crossing ONSAEMIRO」(Camp GREAVES DMZ /韓国)、「TAMAVIVANTII 2 019/ ART・漂う場所として」(多摩美術大学アートテークギャラリー/東京都)
現在
生家で体験した山林問題と土地事件から「場所の仕事」論を展開した「Reconquista(西語/失地回復)プロジェクト」を継続中

Sculpture for Regeneration

KITAZAWA Kazunori studied the practice and theory of sculpture at university, then switched to sitespecific expression. He produced his works by incorporating the memories of sites to his inner self. Then, he further developed them into a series of works by regarding the ruined places or old buildings as existing in his inner self, demolished or repaired, and finally transfigured them into artistic spaces. His production process, in which he named his agony the “hill” to get over, is a journey toward “life” by way of healing his wounds and reviving himself.
His installation work, which is presented as “Pedestal,” composed of a variety of materials, such as building materials and plant seeds, i s “documents” of materials, incorporating metaphors and memories.
Expressions by KITAZAWA, who considers fine arts to be “the art of survival,” are unique enough to prevent them from being scooped up by “will” which attempts to place them in the context of art history.

Akahane, Yoshihiro / INFORMEL NAKAGAWAMURA MUSEUM

[安曇野会場] 終了しました

2021.8.14sat - 9.12sun

安曇野市豊科近代美術館

9:00-17:00休館日 = 月曜日(祝日の場合は翌日)

 

長野県安曇野市豊科5609-3電話 0263-73-5638