今回は、現代アート作家の出口道吉さんをご紹介します。
出口さんの作品は、形や視覚的な要素だけでみてもかっこいいのだが、コンセプトを知ったうえで鑑賞すると、より面白い。
海外のアートフェアで発表を続けている理由や、アトリエの様子をYouTubeでご覧いただけます！
In this issue, I would like to introduce you to Michiyoshi Deguchi, a contemporary artist.
Mr. Deguchi’s works are cool even if you only look at the shapes and visual elements, but they are even more interesting when you appreciate them after knowing the concept.
You can learn more about why he continues to exhibit his work at art fairs overseas and see what goes on in his studio on YouTube!
YouTube
↓作品についてのご紹介【Introduction to the work】
↓海外のアートフェアに出展する理由【Why exhibit at overseas art fairs?】
コンセプト
東京を拠点に活動するアーティストDEGUCHIには、ミニマリズム絵画の哲学の継承と発展が念頭にあります。
ミニマリズム絵画が絵画史の弁証法の終点であると認識する彼は、「描くことと表現すること」を放棄し「絵画を素材として扱う」ことを選択しました。彼の見解では、ミニマリズム絵画は絵画史の膨大な弁証法の積み重ねからなる瞑想空間であり、私たちが自らの想像力をもって対峙するならば絵画と人類の歴史を感じることのできる空間です。
そのため、DEGUCHIは画布の上での展開を放棄し「瞑想空間」に替わる新たな空間を作ることを目指しました。そして彼は自身の絵画を求めず既製の絵画表現を使用しました。さらに重要な点は写真を使用したことです。その目的は、人々の絵と向き合うさまざまなシーンを記録することにありました。 彼が撮影したのは、絵を描き、鑑賞し、絵の存在する環境に暮らす人々の多様な姿です。
そしてついに鑑賞者の目の前に彼が提示したのは、一枚の絵と複数の写真の融合によるあらたな絵画空間です。その 絵画空間に足を踏み入れた鑑賞者の前には、過去の人々が一枚の絵画に向き合った様々な場面の記録が存在します。
つまりそれは、一枚の絵を介して過去と現在の人々が出会う場の出現なのです。
DEGUCHIは、かつてミニマリズム絵画によって獲得されていた空間を、過去と現在の人々が出会うことのできる空間へと発展させたのです。
Concept
Tokyo-based artist DEGUCHI has in mind the inheritance and development of the philosophy of minimalist painting.
Recognizing that Minimalism-painting is the end of the dialectic of painting history, he abandoned “drawing and expressing” and chose to “treat painting as a material.” In his view, Minimalism-painting is a meditation space consisting of a vast accumulation of dialectics in the history of painting, a space where we can feel the history of painting and humans if we use our imagination.
Therefore, DEGUCHI abandoned the development on the canvas and aimed to create a new space to replace the “meditation space”. And he used ready-made pictorial expressions without asking for his own paintings. More importantly, he used photographs. His purpose was to record the various scenes in which people face the painting. He photographed a variety of people who paint, appreciate, and live in a painting environment.
Finally, what he presented in front of the viewer was a new painting space created by the fusion of a single picture and multiple photographs. In front of the viewer who has set foot in the painting space, there are records of various scenes in which people in the past faced a painting. In other words, it is the emergence of a place where people of the past and present meet through a single picture.
DEGUCHI has developed the space that was once acquired by Minimalism-painting into a space where people of the past and present can meet.
履歴 Biograph
Michiyoshi DEGUCHI
Solo Exhibition
1980 SHOWER – AI gallery Tokyo 1981 WINDY SPACE – AI gallery Tokyo
1982 WINDY SPACE – G Art gallery Tokyo , Kobayashi gallery Tokyo
1984 SHADOW WORK – Het Apollohuis Eindhoven Holland , De Kapel Den Haag Holland
1987 SHADOW WORK – Muramatsu gallery Tokyo
1989 SHADOW WORK – Kobayashi gallery Tokyo, gallery Surge Tokyo
1990 SHADOW WORK – Akiyama gallery Tokyo, gallery
1992 PAINTING ON THE WHOLE – Muramatsu gallery Tokyo
1994 PAINTING ON THE WHOLE – Muramatsu gallery Tokyo , SUDOH Tokyo
1995 STUDIO – Muramatsu gallery Tokyo
PAINTING ON THE WHOLE 91～92 – gallery Surge Tokyo
1996 STUDIO – Muramatsu gallery Tokyo
GALLERY SURGE as a PAINTING – gallery Surge Tokyo
PAINTING for MOTIFS “FORM OF REASON AND IMAGINATION” – INAX gallery Tokyo
1997 GALLERY SURGE as a PAINTING – gallery Surge Tokyo
1998 PAINTING ON THE WHOLE – Gallery SUDOH Tokyo
1999 presentation of “View of COLOGNE ” – Gallery SUDOH Tokyo
“Puddles” T.E.N.T as a PAINTING – T.E.N.T Rotterdam Holland
2002 LATEST WORK- Gallery SUDOH Tokyo
2005 SCA INNER DRAWING – Gallery SUDOH Tokyo
2007 MEETING POINT-DOT FIFTY ONE Gallery Miami U.S.A.
2009 SCA – Gallery SUDOH Odawara
2012 Immagini Spazio Arte Cremona Italy
Gallery SUDOH Odawara
2013 Galerie Eulenspiegel Basel Switzerland
2017 Michiyoshi Deguchi – INNER DRAWING Gallery KITAI Tokyo
2018-19 Michiyoshi Deguchi – INNER DRAWING Didot Tokyo / Gallery KITAI projects
Group Exhibition
1982 “PICNIC 1” WINDY SPACE – Hosei University Tokyo
1983 report of “PICNIC 1”- Jyoshibi gallery Tokyo
”Japanese in the Summer” WINDY SPACE – residence site of U.S. Armed Forces Tokyo
1989 SHADOW WORK – Meguro Ward gallery Tokyo,Oya Material Museum Tochigi 1990
PAINTING ON THE WHOLE – gallery αM Tokyo
1991 Japan-Belgium Contemporary Art Exchange Exhibition Tokyo-Brussels
1997 Hermit Project “Near the Beginning” – Plasy Czec Republic
2010 3 Japnese Artists Exhibition – Galerie Eulenspiegel Basel Switzerland
2019 EinBlick – COLLECTORS CHOICE Galerie Eulenspiegel projects Basel Switzerland
2019 Navigating the Japanese Future 2019 – the Hive Gallery and Studios LA .U.S
2021 “KLEIN FORMATE”－Galerie Eulensoiegel Bazel Switzerland
“Drawin Room” – virtual exhibition curated by Jan-Philipp Fruehsorge
Art Fairs
1999 Art Cologne Germany
2005 Art Santa Fe U.S.A.
2007 Art Miami U.S.A.
2008 Mi Art Italy
2009 Art Karlsruhe Germany
2010 Art Karlsruhe Germany
2012 Art Santa Fe U.S.A.
2013 Art Gent Belgium
Art Karlsruhe Germany
2015 Houston Fine Art Fair U.S.A
2016 LA ART SHOW U.S.A
Houston Fine Art Fair U.S.A
2017 Texas Contemporary U.S.A
2019 LA ART SHOW U.S.A
2020 LA ART SHOW U.S.A
2024 Clio Art Fair U.S.A
作品はこちらのサイトからご覧いただけます。
His works can be viewed at this site.
YouTube
作品についてのお問い合わせは、トップページのお問合せからご利用できます。お気軽にコメントお待ちしております。
If you have any questions about his works, please feel free to use the inquiry form on the Top page. We look forward to your comments.
編集後記
アトリエはギャラリーのように作品が展示され、未完成のものには試行錯誤の跡が残る。
”絵をやめた時、写真を使った今の手法になった。
当時（20代前半）のアトリエ（屋根だけある屋外）を撮ったことが始まりである。
絵を描くパッション、動機はないが、絵や写真を利用することで、自分の周りの事を記録できると思ったら、動機になる。
今、目の前にある景色は10年後、20年後に存在しているだろうか？
私の知る景色の幾つかは、10年前にあったものが今は無い。あの木も、あの建物も…。
焦点を絞り、範囲を狭めると、不思議に広い世界が見えてくる。
今の情勢、パンデミックで行動範囲が狭まると、更に世界は近く感じた。”
出口さんが訥々と話す言葉には、これまで如何に作品に向き合い、美術を介して人間に向き合ってきたかが表れている。
Editorial note
His studio is like a gallery where his works are displayed, and unfinished pieces show signs of trial and error.
“When I stopped painting, I turned to my current method using photography.
It all started when I took pictures of my studio (outdoors with only a roof) at that time (in my early twenties).
I don’t have a passion or motivation to paint, but if I think I can document things around me by using painting and photography, it becomes my motivation.
Will the landscape that is in front of me now exist in 10 or 20 years?
Some of the landscapes I know that were there 10 years ago are not there now. That tree, that building….
Narrowing my focus and scope, I find myself looking at the wider world.
I felt
Mr. Deguchi’s words, spoken in a halting manner, show how he has been confronted with artworks and how he has been confronted with human beings through art.
It even more so when the current situation, the pandemic, narrowed the scope of my activities.”
【出口道吉さんのYouTube「現代アートのアトリエからNo.4」補足】
Related Articles▶“To create, to buy, and to preserve contemporary art.” [Supplement to YouTube “From one of a contemporary art studio. No.4” by Michiyoshi Deguchi on YouTube]
協力 すどう美術館
Cooperation Gallery SUDOH
作品の著作権は、作家にあります。複製、無断転載等はご遠慮ください。
The copyright of the work is held by the artist. Please do not reproduce or reprint without permission.
Translated with www.DeepL.com/Translator (free version)
