“The World of Contemporary Calligraphic Art 2 – Symbols and the Times”

現代アート書道の世界2 【記号と今】
Ayako Someya
Haru Yamaguchi

会期:2020年2月8日(土)- 3月7日(土)
会場:Yumiko Chiba Associates viewing room shinjuku
〒160-0023 東京都新宿区西新宿4-32-6 パークグレース新宿#206
営業時間:12:00-19:00 定休日:日、月、祝日


2020年2月8日(土)より、Yumiko Chiba Associates viewing room shinjukuでは、書家 Ayako Someya、小林真由香、Haru Yamaguchi、 日野公彦、宮村弦、矢野童観、山本尚志の展覧会、「現代アート書道の世界2【記号と今】」を開催いたします。







例えば宮村弦は、点字を題材とすることで、そこに宿る文字としての美や、点字の文化構築の在り方に注目し、Ayako Someyaは、万物を表す元素記号を可視化した、その構造図一つ一つを文字に見立て、書道独特の滲みの中に浮かび上がらせる。小林真由香は禅の思想を現代語訳化するように作品として重厚な筆致で再構築し、日野公彦は日常の通勤路という狭い領域から見る世界のおかしみを軽い筆触で表した。矢野童観は、世の中に蔓延る上下関係のアンバランスさを、文字の大小やデフォルメを通じて揶揄し、Haru Yamaguchiは墨の滴りを重力に抗えない人間の矮小さと考えた。私、山本尚志は、ソシュール言語学以来の「モノと文字」との関係を、「モノにモノの名前を書くこと」で、捉え直す試みを続けている。




The World of Contemporary Calligraphic Art 2 -“Symbols and the Times”

Ayako Someya
Mayuka Kobayashi
Haru Yamaguchi
Kimihiko Hino
Gen Miyamura
Doukan Yano
Hisashi Yamamoto

Saturday, February 8, - Saturday, March 7, 2020
Venue: Yumiko Chiba Associates viewing room shinjuku
Park Grace Shinjuku Bldg. #206, 4-32-6 Nishi-Shinjuku, Shinjuku-ku, Tokyo 160-0023
Gallery Hours: 12:00 - 19:00
*Closed on Sundays, Mondays, and national holidays

Opening Reception: Saturday, February 8, 18:00-20:00

Yumiko Chiba Associates viewing room shinjuku is delighted to present the World of Contemporary Calligraphic Art 2 – “Symbols and the Times”, a group show by Ayako Someya, Mayuka Kobayashi, Haru Yamaguchi, Kimihiko Hino, Gen Miyamura, Doukan Yano, and Hisashi Yamamoto from February 8, 2020.
Three years have passed already since the 2017 group exhibition “The World of Contemporary Calligraphic Art,” and during that time there has been steady but growing interest in us calligraphers, with over a dozen successfully making the leap to commercial galleries in Japan.

Amid this, the question arising time and time again is, exactly why do we contemporary calligraphic artists write text?

The history of modern Western art includes a number of artists who have incorporated written text in their creations. One example would be Jean Michel Basquiat, whose work was presented in Japan last year in a major retrospective. Those clusters of text penned in 1980s New York, amid persistent discrimination against African-Americans, represented a roar of defiance on the artist’s part.

Such use of text to express soul-stirring emotions that demand release has of course been going on for centuries in the world of calligraphy as well. In his Draft of a Requiem to My Nephew, eighth-century Chinese calligrapher Yan Zhenqing, for example, expressed in the unrestrained style of his brushwork deep sorrow at the loss of a close family member in the An Lushan rebellion.

Silent suffering voices confronting discrimination and the chaos of war: both had reasons to write text, reasons that flowed, untrammeled, through their arms and hands to find expression.

Reflecting on those of us in the present, one wonders if we really have serious reasons comparable to these. Yet each of the contemporary calligraphers here is dealing with something in their life; each has come to represent their individual challenges in characters this way, this being what we think of as “calligraphy.”

Gen Miyamura for example takes Braille as his subject matter, focusing on the beauty that dwells within these letterforms and the building of Braille culture, while Ayako Someya visualizes the elemental symbols of all things in creation, and likening their structures to text, throws them into relief in the bleeding peculiar to calligraphy. Mayuka Kobayashi employs thick, luxurious brush strokes to reconstruct Zen thought as art, as if to translate it into modern language, while Kimihiko Hino has used a lighter touch to present a humorous side of the world witnessed from the narrow confines of his daily commute. Doukan Yano mocks the chronic imbalance of hierarchical relationships in the world through misshapen characters, and characters of different sizes, while Haru Yamaguchi thinks of drops of ink as the puniness of humans unable to defy gravity. I, Hisashi Yamamoto, continue my attempts to reinterpret the relationship between objects and text since Saussure linguistics by “writing the names of things on things.”

Thus our individual “symbols and now” are definitely here, albeit modestly, unmistakably living and breathing as shodo, the art of calligraphy unique to Japan.

Hisashi Yamamoto
(The World of Contemporary Calligraphic Art 2 “Symbols and the Times” participating artist and curator of the exhibition)

Press Release