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インゼル ホンブロイヒ アーティストインレジデンス(ドイツ)Stiftung Insel Hombroich Gastatelier 2019



この度、ドイツ・ノイス市にあります”インゼル ホンブロイヒ(Stiftung Insel Hombroich)のアーティストインレジデンスプログラムに招かれ、福田周平(1997年〜)、福田篤夫(1958年〜)が滞在制作、及び二人展「【家流派】(RYUHA=Inheritance of School of Art Inheritance of Style of Art)が開催される運びとなりました。今回のインゼル ホンブロイヒでの滞在制作と展覧会は、2014年に引き続き、2回目の招聘となります。

インゼル ホンブロイヒは、アメリカのドナルド・ジャッドによるチナティ ファンデーションのレジデンス同様に、インゼル ホンブロイヒの広大な敷地に点在する美術館と、アーティストのスタジオ、及びレジデンス施設よって、世界各国からアーティストを選定し、国際交流と同時に国籍や思想を超えて文化交流し、アートワールドとしての機能を図ろうとする有意義な試みです。

今回は、Roketenstation Gastatelier 2019 プログラムとして開催されます。安藤忠雄氏設計の美術館近隣のアトリエ兼展示会場において、「日本美術と伝統の継承」、「古典美術の素材と技法」、「古典と現代の美術」などのサブテーマによって、如何に日本美術が国境をを越えて機能すべきかを問う美術展覧会として注目されています。福田周平は、大学において日本画技法を習得し、和紙、膠、銀箔、などを素材にしながら、銀箔特有の経年変化、”腐食=変色”を表現の核として作品展開し、若干19才の海外での作品発表で高評価を得て、毎年欧州を中心に招聘されています。一方福田篤夫の制作する作品材料の金箔、和紙、漆やヨードなどの素材は、素材の普遍性(不変性)の特徴をそのまま活かしながら、日本の”侘び寂び”や”へうげもの”に代表される未完、いびつ、不完全なものを愛でる、日本人の特殊な民族性と伝統技法の現れと評価されています。



Stiftung Insel Hombroich


Ryuha is a school of art in which stylised and structured skills, techniques, traditions are inherited collectively. Normally this happens by bloodlines of the patriarch or through the students of the school – just as it does for Ikebana, tea ceremony, martial arts, amongothers. In Japanese painting, Tosa-ha, Kano-ha or Rin-pa are generally the most well-known of these Ryuha schools and styles. The style known as Rin-pa today in particular was initiated in 17th century Kyoto by Koetsu Honami (1558−1637) and Sotatsu Tawaraya (year of birth and death unknown). It was then significantly developed in the 18th Century by Korin Ogata (1658−1716) and his younger brother Kenzan Ogata (1663−1743). The style was inherited and introduced to Edo by Hoitsu Sakai (1761−1828) among others thereafter. The main characteristics seen in the Rin-pa style are: employing gold/silver leaves for flat background foundation of painting; repeating the same ornamental patterns; establishment of a painting technique called ‘Tarashikomi’ (*1); asymmetric composition rather than symmetric; and tabulating all these elements onto one single flat surface – for example, a gold/silver leaved background, graphically painted tree, and ornamental patterns. What makes Rin-pa so outstanding amongst other schools is that firstly, a number of collaborations were attempted across different disciplines (for instance, Koetsu Honami made calligraphic work onto Sotatsu Tawaraya’s painting, Korin Ogata painted onto his brother Kenzan’s potteries, and so on). Secondly, it has been inherited and developed over time not by bloodlines or pupils, but by indirect relationships of followers with their own free-will and admiration. Such aspects also seem to reflect the Japanese people’s instinctive personality and talent, as well as the rather organic development of Japanese art itself. These were once explained as ‘awaiting new things coming from beyond the ocean [from China since ancient times, and from the Western world since the Meiji Restoration], accepting them, altering them as they please based on their own environment and views, sometimes turning them into parody - this sense of curiosity and applied skills.’ (*2)

Atsuo Hukuda (b.1958) is a sculptor who has been employing traditional Japanese painting techniques and materials such as gold leaf, silver leaf and/or Japanese Urushi lacquer. The minimal body of work, visualised strictly according to Hukuda’s concept ‘Dry / Light / Clear / Sharp’, consciously appeared along the lines of Rin-pa. Shuhei Fukuda (b.1997) on theother hand is an art student and a son of Hukuda. He is currently studying traditional Japanese painting, and exploring his own approach to the world by using traditional techniques and materials such as silver leaf. The relationship between the two artists - they coincidentally picked the same materials to work with, and are father and son - is certainly one of the forms of inheritance of tradition or skill. Hukuda, in addition, is also known as an active curator for over 35 years, notably through his achievements at CONCEPT SPACE. SUKI-MONO-TACHI: Ways Since Rin-pa is one of the exhibition series that he has been curating since 1991 under the aim of discovering today’s interpretations towards Rin-pa style within contemporary art. The concept of this has been borrowed temporarily by an independent curator Naoko Mabon (b.1982) for her curation of Hukuda’s solo exhibition in Scotland in Summer 2016. This isalso another organic, therefore Rin- pa styled, form of inheritance.

Since historically the Japanese are agricultural people living in a small island country with a great chance to be attacked by many natural disasters, they have been always belonged to communities of different shapes and sizes, such as family, village, company, society and nation. And they have always followed rules and strict hierarchies therein. Keeping ‘Wa’ - harmonious relationship in group - is the most important thing to them for their own survival. If we think, however, that it has been long since we have become familiar with the idea of Western rationalism and individualism even in Japan, it might sound rather anachronistic to try to recognise Ryuha once again - where skill/tradition/style/house are inherited collectively not individually - in the context of contemporary art, not even in the context of traditionalcrafts. But with this attempt we aim to re-discover the ‘collectivity’ attached to the Japanese characteristics in contrast to the ‘personality’ favoured by Western modernism. This contrast, we believe, will then lead us to explore wider discussions around the difference and/or identity between The West and The East. We also hope that through the relationship andun-relationship between three people involved - Hukuda, Fukuda and Mabon - this curatorial practice will provoke a unique opportunity to think about ‘inheritance of school/style/ house’ across cultures, generations and disciplines in a wider sense.

Naoko Mabon, Independent Curator

(*1) It directly means ’dripping in’. A Japanese painting technique in which a second layer of paint is applied before the first layer becomes dry. Reportedly Sotatsu Tawaraya was the first person to consciously employ the technique.

(*2) Nobuo Tsuji,– How to Overview Japanese Art: Iwanami: The Stream of Japanese Art #7, Iwanami Shoten, 2001, p.108.

プログラム:    Stiftung Insel Hombroic Gastatelier 2019

展覧会:             【家流派】RYUHA=Inheritance of School of Art Inheritance of Style of Art

          福田 周平

          福田 篤夫

オープニング:   2019年9月7日 15:00〜19:00

会期:                 2019年9月7日〜9月22日

会場:                  Roketenstation Hombroich4

          D-41472 Neuss

          tel  +49 2182 887-4009

Fax  +49 2182 887-4005

キュレーター:   Michael Growe

アーティスト:   Fukuda Shuhei (福田周平・日本)

          Hukuda Atsuo  (福田篤夫・日本)


                              CONCEPT SPACE/R2                               309-8,Ishihara,Shibukawa,Gunma,                               377-0007,Japan                               AIS Gallery                                Tanaka Art Program                                1763-12,Shibukawa,Shibukaewa,Gunma                               377-0008,Japan                               +81(0)279-24-5252                               +81(0)90-8582-0414





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