→ O

[56] - 2008/02/20 (18:23)

伊藤真乗ニューヨーク展会場構成 - MILK Gallery, CHELSEA, NY

Shinjo Ito Centennial Exhibition The Vision And Art of Shinjo Ito

総合プロデュース:Hiroko Sakomura迫村裕子/S2
会場構成:Shoji Oshio押尾章治/UA+Armen Gharabegian/ETHOS DESIGN
照明デザイン:Shozo Toyohisa豊久将三/KILTPLAN
グラフィックデザイン:Alexander Gelman/GelmanStudios

Title名称: The Vision And Art of Shinjo Ito   NYT     

Term会期: New York 2/21 - 3/30, Reception 2/20,6pm- Chicago 4/ 8 - 5/ 1, Reception 4/7,7pm- Los Angeles 5/ 8 - 6/29, Reception 5/7,7pm-

Venue会場: MILK Gallery 450West 15th Street New York, NY 10011 Chicago illuminating Company 19East 21st Street Chicago, IL Westwood Art Forum 1028 Westwood Boulevard Los Angeles, CA 90024

Organizing Committee実行委員:
Donald Keene, Professor Emeritus, Columbia University;
Robert Thurman, Founder, Tibet House
Margaret R. Miles, Emeritus Professor of Berkeley, California
Yasuaki Nara, Emeritus Professor if Komazawa University 駒沢大学名誉教授
Masahiro Shimoda, Professor of Buddhism, Tokyo University 東京大学名誉教授
Hiroko Sakomura, Producer 総合プロデューサー


場所に応じて局所的な一対一関係で仏像に出会いながらも、常に全体にある他の仏の存在も意識させる構成自体が、周辺環境を孕みながらも佇む、きわめて仏教的な空間概念を表していると考えたのである。本来的に仏像が持っていた多様な周辺環境との補完関係を抽象化・再構成し、ルーバーという材料を使って表現してみた。 (押尾章治)

(The Concept of the Exhibition Space)
This is the first time for me to have an exhibition abroad, and my focus to this exhibition is a little bit different from the ones in Japan.
Through this exhibition, I would like to show not only the whole world of Shinjo as a religionist and a Buddhist sculptor, clearly, but also the Buddhism world itself as the expression of space.

Because Buddhist image is originally for prayers, it is supposed to be in a space of temple. Meeting with a Buddhist image for a prayer is a part of his/her sequential experience in a temple, such as looking over the skyline of mountains around, walking through the approach steps, crossing over the threshold to the Buddhist hall, and so on.
In a sense, displaying a Buddhist image in a gallery means the replacement of its purpose, from worship to appreciation. Then the appreciation is the separation from its original context, space of temple and its landscape, and the loss of its original meaning as an object for prayers.
My challenge for this exhibition is to represent the essence of the Buddhist world in the space of modern gallery. I believe that it is also the better way to realize Shinjo’s world more clearly without any space of temple.

The space of this exhibition consists of several screens with vertical thin lines, called louvers. Buddhist images are displayed in between the louver screens, and by this screens, each corner of the gallery space is softly separated from others. As the louver screen is not a complete interruption, the view goes through the screens.
This character of louver makes you possible to overview the whole space from any route of display, so that you can encounter each Buddhist image on the route in the situation of always awareness of other Buddhist images as a whole.

The condition of space with the louver screens mentioned above enables to express the very Buddhism world. You are not only in a simple relationship with each Buddhist image, there, but also involved in a kind of whole environment. Along with the viewer’s movement, Buddhist images are hidden and revealed from the louvers, and this experience could make the place as the place for a sort of unexpected encounter.
In an ambiguous space as a whole, like in a mist of louvers, the space for various encounter and discovery appears both in partial and total.

Also, such an approach to create a space reminds me the Modernist process of abstraction and representation. (OSHIO,Shoji)

伊藤真乗The Vision And Art of Shinjo Ito-01押尾章治
伊藤真乗The Vision And Art of Shinjo Ito-02押尾章治
伊藤真乗The Vision And Art of Shinjo Ito-03押尾章治
伊藤真乗The Vision And Art of Shinjo Ito-04押尾章治
伊藤真乗The Vision And Art of Shinjo Ito-05押尾章治
伊藤真乗The Vision And Art of Shinjo Ito-06押尾章治
伊藤真乗The Vision And Art of Shinjo Ito-07押尾章治

Designed by Design601