展览预告 | 《关根美夫 YOSHIO SEKINE》
展期 / Duration: 2020.12.26 - 2021.02.03
开幕 / Opening: 2020.12.26, 16:00 - 19:00
地址 / Address: 中国上海市黄浦区鲁班路68号花样年·卢湾68四楼
4F, Huayangnian·Luwan68, Luban Rd., Huangpu District, Shanghai, China
弥金画廊荣幸的宣布将于2020年12月26日推出日本“具体派（Gutai）”创始人之一关根美夫（Yoshio Sekine,1922-1989）的同名个展。关根美夫于1922年出生于日本和歌山县，50年代初通过“自由画家协会 (Jiyu Bijutsu Kyoukai)”结识吉原治良（Yoshihara Jiro, 1905-1972），1954年追随后者创办“具体美术协会 (Gutai) ”。此次展览集中呈现了关根美夫艺术生涯中最具特色和影响力的算盘作品系列，并以独特的微观视角诠释了“具体派”的艺术精神。同时，感谢东京画廊对此次展览的支持！
自20世纪60年代初以来的25年多时间里，关根美夫持续的创作描绘“算盘”、“大门”、“马车”和“富士山”等主题的作品。其中，算盘作为一个特定的描绘对象和主题反复的出现在艺术家的绘画中。尽管这些作品仍属于具象绘画的范畴，但其描绘对象“算盘”，因为被刻意剥离了物体本身形象的外壳，从而体现出了某些文化符号的特征。“算盘”成为了某种图像构成元素而被简化为水平、垂直和倾斜的排列结构，且这种结构所创造的空间具有重复和循环的隐喻。在其中，观众被邀请去发现自己在幻觉和具体之间的边界。
“算盘”作为传统货币计算的代表工具，在日本经济告诉增长的时期逐渐被电子计算所取代。其内在所蕴含的机能性本质，经由关根美夫的画笔被记录了下来，既成为日本社会变迁的缩影，也成为对活在电子化世界的现代人的一句调侃——数字化的时代，我们是虚拟的，还是真实的？
Gene Gallery is pleased to announce that it will be exhibiting a solo exhibition with the same name by Yoshio Sekine (1922-1989). Yoshio Sekine was born in Wakayama,Japan,1922. He met the influential painter Jiro Yoshihara(1905-1972) through the Jiyu Bijutsu Kyoukai (Free Artists' Association) and was involved in the founding of the avant-garde Gutai group in 1954. This exhibition presents the most distinctive and influential series of Abacus works in Sekine's art career, and interprets the artistic spirit of Gutai from a unique micro perspective.
For more than 25 years, since the early 1960s, Sekine has continued to create works depicting such themes as "abacus," "gate," "carriage," and "Mount Fuji." Among them, the abacus, as a specific depiction object and theme, appears repeatedly in artists' paintings. Although these works still belong to the category of figurative painting, the object they depict, "abacus", has been deliberately stripped of the shell of the object's own image, thus reflecting the characteristics of some cultural symbols. "Abacus" has become a kind of image component and is reduced to a horizontal, vertical and slanted arrangement structure, and the space created by this structure has the metaphor of repetition and cycle. In it, the audience is invited to find themselves on the boundary between illusion and concretization.
As a representative tool of traditional monetary calculation, the abacus was gradually replaced by electronic calculation during the period of economic growth in Japan. The functional nature contained in it, recorded by Sekine's brush, has become both a microcosm of Social change in Japan and a joke about modern people living in an electronic world -- are we virtual or real in the digital age?
关于艺术家 ABOUT THE ARTIST
关根美夫，1922年出生于日本和歌山县，曾工作生活于东京。自1963年参加第15届读卖独立展后，关根美夫以“算盘”为主题发表了一系列作品。在对“算盘”的机能性本质进行抽象化提纯之后，“算盘”成为一个波普化符号在关根美夫的作品中反复呈现，而画面整体构成了一面几何学的抽象体。关根美夫试图记录高度经济成长下商业活动的电子化，以及处于这种特定时代背景下日本人的意识行为。
往期展览有：《关根美夫》同名个展，（弥金画廊，上海，中国，2020）；《第1回日本现代版画大赏展》，（松屋百货店，东京，1977）；《关根美夫个展》，（Steampfli Gallery，纽约，1975）；《第11回日本国际美术展》，（东京，1974）；《第1回Japan Art Festive》，（纽约，1970）；《关根美夫个展》，（东京画廊，东京，1966/1975）；《现代美术的动向-绘画与雕塑展》，（国立近代美术馆京都分馆，京都，1965）等。
Yoshio Sekine was born in Wakayama-Ken, Japan in 1922. He used to live and work in Tokyo. Since his participation in the 15th Yomiuri Exhibition in 1963, "Abacus" has become an important theme of Sekine’s artistic creation . After abstracting and purifying the functional essence of "abacus", Sekine uses "abacus" as a pop symbol to present an abstract geometric body of a painting. By this way, Sekine tries to document the electronization of business activities and the conscious behavior of the Japanese in this particular era of high economic growth.
Previous exhibitions include: “Yoshio Sekine”(Gene Gallery, Shanghai, China,2020)“The First Exhibition on Modern Japanese Prints" (Matsuya Department Store, Tokyo, 1977); Solo exhibition of Yoshio Sekine, Steampfli Gallery, New York, 1975; The 11th International Art Exhibition in Japan (Tokyo, 1974); The first return to Japan Art Festive, (New York, 1970); "Ganguenmeo Solo Exhibition", (Tokyo Gallery, Tokyo, 1966/1975); "Trends in modern art: An Exhibition of Painting and Sculpture", national Museum of Modern Art, Kyoto, 1965, etc.
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