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“Shinbism” Continues/ What the Union Has Achieved

“Shinbism 5” exhibition will soon open. Until now, we have held four “Shinbism” exhibitions and introduced 65 artists connected to Nagano Prefecture, in 14 venues totally. This time, an additional 11 artists will participate in the circle of “Shinbism” anew.
TAKAMIZAWA Fumio, one of the exhibitors in this “Shinbism 5,” had pursued abstract paintings with layers of lines drawn by his bare fingers with paint, and also objects consisting of layered paint, since the era of “anti-art” in the 1970s. After that, he came to create abstract paintings expressing patterns of water surface with mesh-patterned brush strokes, intersecting with that above, as if searching for deeper water. As for NAGATO Hiroyuki, the oil paintings characterized by the depth of color mixing are the main feature of his works. However, what constitutes his work is not completed as a single painting. It continues to change in the form of compositions of plural surfaces and materials. The paintings of AKAHANE Fumiaki with paints and other materials that rise up, giving a sense of pressure of underground, convey viewers overwhelming vitality and materiality contained in the earth, together with the human figures buried there. On the other hand, HIKITA Yoshiaki, who produces idyllic paintings in the theme of everyday events, including families, pursues pure expression in his paintings where strong colors stand out.
MOCHIDA Atsuko, who built an installation entitled “Steps,” that combines literally a number of steps, overwhelms viewers by the scale of her works. By contrast, stone sculptures by MARUYAMA Tomiyuki, conveying a profound and consistent feelings of existence, seem to sincerely reflect his consciousness, not only toward the space around the objects themselves, but also toward the exhibition spaces as a whole, which can be seen as early as the beginning stage of his production. He says, “I’m chiseling a space, not a stone.” Then, those artists pursuing expressions which draw viewers’ consciousness toward the space, as well as toward the constructions or objects as substances to be placed there, are YOKOYAMA Masanobu, MUKAIYAMA Tatsuya and MARUYAMA Shinichi. They explore their respective expressions as if their works are embodying the dividing lines themselves between the two- and three-dimensional works, trying to synchronize two-dimensional works (paintings or photographs) with the concepts and shapes in three-dimensions.
Moreover, two kinds of ceramic works are introduced as well. The one is TSUGANE Taro’s ceramic works. Entire views of his works are completed by including the gaps left between the layered ceramic materials. Along with ceramic works, his pencil drawings derived from them will be on exhibit as well. The others are ceramic works by NAKAMURA Hikaru, which keep changing while arousing various kinds of tactile sensations. They evoke a positive image in the viewer, though seeming harsh at first glance.
There are four museums belonging to the venues of the “Shinbism 5” exhibition, which include the Koumi-machi Kougen Museum of Art, the Maruyama Banka Memorial Museum (in Tomi City,) the TAKATO MUSEUM OF ARTS (in Ina City) and the Shigakogen Roman Museum (in Yamanouchi Town). Three of them are new additions. Because of the special circumstances of the museums in Nagano Prefecture, where museums are sparsely scattered over the prefecture and are under the strong influences of their local environment, history, culture and arts, something unique to “Shinbism” is expected to be seen in the “fusion” of these respective museums themselves, with the various artists assigned there and their works as well.

Shigakogen Roman Museum

Suzuki, Kazufumi