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[ 観念美術 ]

松澤 宥

MATSUZAWA Yutaka

 

松澤 宥
1922
諏訪郡下諏訪町生まれ(2月2日午前2時)
1941
四季派の文学に傾倒。この頃、詩作をはじめる
1946
早稲田大学理工学部建築学科卒業
建築事務所勤務を経て、1948年に帰郷
1949 − 84
諏訪実業高等学校定時制下諏訪分校で数学を教える
1955
フルブライト交換教授として渡米。ウィスコンシン州立大学から翌年コロンビア大学大学院に移り、現代美術、宗教哲学を学ぶ
1964
6月1日「オブジェを消せ」との啓示を受け、絵画やオブジェなどの制作から、文字や記号、言葉や行為で表現する観念美術へ移行
1970
美学校(東京)にて「美術演習」を担当
1973
美学校・諏訪分校にて「最終美術思考」開講
1979
観念美術の創始を評価されアカデミア・ティベリーナ(ローマ)の永久会員に推挙
1992
『量子芸術宣言』(岡崎球子画廊)刊
2006
逝去(84歳)
When I was sleeping in the Urazashiki, or the back parlor of my old house where, I was told, I was born, suddenly, at midnight on June 1, 1964, I heard a voice, saying “Vanish matter.” In the sheer darkness, I haphazardly opened the book set at the side of my futon mat, and wrote down the words “Vanish matter,” so as not to forget it. The next morning, when I got up, of course, I found I hadn’t forgotten it, because it was an extremely strong and vivid revelation for me. What the words of “Vanish matter” meant was quite clear and left me with no doubt. (Text partly omitted) My works consisted of both objects and language. At my exhibitions, I used to display my objects together with my original comments describing my way of thinking. To “Vanish matter” means to leave only language, discarding all objects, that is, to leave only thoughts, meanings or concepts, which form your works. I pondered over it for three days and nights thoroughly. (Text partly omitted)
Then, I decided. That’s it. The methodology of complete denial, or, even the antithesis of contemporary civilization. It was June 4,1964.
References:MATSUZAWA Yutaka “Vanish Matter” (Discourse No.2, 1980.7.8, 6:15-30 A.M. (NHK Radio 1)), “Yutaka Matsuzawa ΨBox” ZOKEISHA Publishing Co.Ltd, 1983)

おもな作品発表歴

1952
「第4回読売アンデパンダン展」(東京都美術館/東京都)以降63年まで8回出品
1963
「ψによる松澤宥個展」(青木画廊/東京都)
1967 − 68・70 − 71
ハガキ絵画発信(1次・2 次 各12回)
1969
「美術という幻想の終焉展」(長野県信濃美術館/長野市)
1970
「ニルヴァーナ-最終美術のために-」(京都市美術館/京都府)
1971
「音会」(泉水入“瞑想台”/下諏訪町)
1972
「カタストロフィーアート・フロム・ザ・イースト展」(サン・フェデーレ画廊/イタリア)
1976
「ヴェネツィア・ビエンナーレ〈現代芸術の動向〉部門」(ヴェネツィア/イタリア)
1977
「サンパウロ・ビエンナーレ〈カタストロフィー・アート〉部門」(サンパウロ/ブラジル、サンパウロ・ビエンナーレ賞受賞)
1988
「量子芸術宣言一」(岡崎球子画廊/東京都)
1994
「ミメントゥ・モーライ 死を念え」(山口県立美術館/山口県)
1995
「第15回オマージュ滝口修造展 松澤宥」(佐谷画廊/東京都)
1997
「スピリチュアリズムへ・松澤宥1954 -1997」(斎藤記念川口現代美術館/埼玉県
2019
「荒野のラジカリズム:グローバル60年代の日本の現代美術家たち」展(ジャパン・ソサエティー/ニューヨーク)

What Kind of Person is MATSUZAWA Yutaka? What is the Meaning of His Work?

In 1964, MATSUZAWA Yutaka, who had received a revelation to “vanish matter” at midnight, discarded his artistic visual expression and materiality in his w o r k s , a n d b e g a n p u r s u i n g t h e r o a d t o “dematerialization of work of art = vanishment,” using only letters and symbols in his expression. In addition, his message, “Humans, Let’s Vanish, Let’s Go, Gate, Gate,” which was written in his work, “Banner of Vanishing” (1966) was strongly sent as a prophecy for which the fine arts should proceed from that point on. His own style, representing the conceptual world which was perceived in his mind and captured with his consciousness, was created anew. MATSUZAWA’s works and performances might be seen as a device to make viewers look at the world, and invite them to the world of conceptual art.

Suzuki, Kazufumi / Shiga Kogen Roman Museum

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