『Kaze no yukue   風の行方』

『紅葉狩』

展覧会のご案内

来る 2015年11月14日より2015年11月29日まで、レッジョ・エミリア市のギャラリー「Galleria San Francesco」におきまして、日本の現代芸術家の展覧会「紅葉狩」（もみじがり）を開催致します。フロリアーノ ・テッラーノ監修によるもので、イタリア在住の日本人芸術家8人が参加します。

8人の芸術家（順不同）：

杉村 絵莉菜、Makoto (CODICE BIANCO)、佐々木 史雄、長谷川 真樹、松田 貴絵、倉石 千種、飯田貴子、加藤江美。

張り紙のグラフィックデザイン：鉾立 昌子。

紅葉狩は平安時代に遡る古い伝統です。11月に公園や丘の葉は赤や黄色に紅葉します。真っ赤な紅葉（もみじ）、あるいは黄色に変色した葉を愛でるのです。春の頃の桜の下のお花見とともに、秋の頃の紅葉狩は日本の秋を象徴する伝統です。

今回の展覧会の主題は正に、秋です。それぞれに様々な技術と経験を持つ芸術家たちの、それぞれの目を通した秋なのです。絵、彫刻、挿絵、ジュエリーなど その分野が多岐にわたる芸術家達が、各自の個性際立つ演出をお見せします。

まさに はかない命の秋の紅葉の美しさに興じるように、秋の芸術鑑賞をお楽しみいただけますなら、嬉しく存じます。

『紅葉狩』
会期：2015年11月14日〜29日                                
於：「GALLERIA SAN FRANCESCO」Via Bardi 4/B, 42121 Reggio Emilia
開館：16:00〜19:30（休館日：月水）
オープニング：11月14日（土）17時より。オープニングセレモニーと茶話会
講演会：11月15日（日）17時より。フロリアーノ ・テッラーノの講演「日本の秋～芸術、文学、映画、音楽」
※インフォメーション
「Galleria San Francesco」
tel. : 0522/440458
email : galleriasanfrancesco@hotmail.it

Television drunks 

Nam June Paik in Italy

Modena dedicates an exhibition to the relationship between Korean artist Nam June Paik (백남준, 白 南 准, 1932-2006) and Italy. 
Galleria Civica di Modena and Fondazione Cassa di Risparmio di Modena in collaboration with Fondazione Solares in Parma have organized in fact Nam June Paik in Italy at Palazzo Santa Margherita and Palazzina dei Giardini. A selection of the works that Paik made during his stay in Italy or thinking about Italy. A well-beloved country for him, where in 1993 he won the Golden Lion at the Venice Biennale.

The quintessential symbol of Italy for Paik is especially Bel canto. For him, a visual artist, music inspires images and pictures inspire music. Visual art realizes his beloved union between sound and image. Although in many images of the video no sound or only a confused noise of the absence of signal can be heard, spectator almost feels the disordered vibration following the unbroken flow of speedy running images on videos. Big, small, old, new, broken or working, televisions and radio come on the canvases of paintings - sculptures made up almost of religious worship - or combine with precious objects of traditional art from the Far East.

The selection of works of the exhibition of Modena offers a complete look and synthesis about the poetics of the Korean master. Oriental Painting, Conductor (1995) is an emblematic work in the matter of the style of Nam June Paik. A carved Indonesian wooden horse becomes the support for an anthropomorphic being formed by a television and a radio. The ancient deliberately contrasts with the modern but finally they tie together. 

The same idea of union between classical art of the Far East and television is in Young Buddha on Duratrans Bed (1989-1992) where some televisions on shape the silhouette of an absurd Buddha in meditation in the lotus position on an ancient Chinese style bed. 

Moreover the contrast or better the oxymoron between television and religion reappears often in the creation of Paik, as Sacred and Profane (1993): a South-Asian-style statue representing a Reclining Buddha in the act of reaching Nirvana - the condition of absolute absence of pain and detachment from earthly punishments - rests on two televisions that form the unique image of a naked woman lying in the same position of the Sacred Buddha. The vision of the body of the beautiful naked woman lying it’s the perfect opposite of any detachment from earthly passions!

Italian cities inspire the combination of canvas and neon: an almost romantic work called Piange nel mio cuore. Come piove sulla città (“It rains in my heart as it rains in the city”, 1990), which is very different for style and material from the other works exposed. 

His love of Italian Opera is at the bottom of Robot 5, Luciano Pavarotti (1995), an anthropomorphic arrangement of some various ages old radio which truly resembles the curve of the chest of Luciano Pavarotti taking a run-up to one of his well-known high notes. 

Otherwise the work Maria Callas (1995) is more graceful and really feminine in shape and it reminds of the famous Greek soprano in her melancholic childish sensitivity. 

Radio, televisions, cables, electric mechanisms assembled by Paik’s hands really look like human beings. Although images which flow on video and make spectators’’ eyes and mind drunk are not only the mirror of our society. It would be very easy and even banal to interpret Nam June Paik’s works as a blast against television society only. Paik uses the video and changes it into a pure art object, without any didactic purpose.

Paik turns things of everyday  usage -  above all television – into artworks nevertheless his works don’t look away from mystery, from metaphysics which are at the base of pure and genuine art. 

In his work called senza titolo / untitled (1990) we see the projected image of a burning candle on the screen of a dark television shot by a camera. Yesterday as today, in the modern or old times, the mystery by which we are enclosed is still the same. As long as we know how to hear from that mystery, as long as we know how to grasp it by outlining, giving a hint of it. No matter if with old or new artistic material. Nam June Paik is actually the master of mystery’s portrayal, although of the mystery glimpsed in the screen of a broken television.

(Nam June Paik in Italy https://www.youtube.com/watch?v=WtpiIHBWpf4)

Floriano Terrano

The screen canvas

The video art by Paik Nam June

Paik Nam June (백남준, hanja 白南準, Seoul, 1932 – Miami, 2006) is known as the father of video art the subjects of which are screens and images. Television is used by Paik as a sculpture to admire and 

his compositions often hark back to classical art by using ancient works like Buddha wooden statues or bronze horses.

At the beginning Paik studies classical music as a pianist and after that - before at University of Tokyo and then in Germany – he deepens his study of contemporary music and his interest in visual arts begins. Even if art will be his main path, music will be always central in the work by Korean artist. His first solo exhibition Exposition of Music - Electronic Television in Germany in 1963 is regarded as the birth certificate of video art. From that moment on the TV screen - in every shape and dimension – will be the main distinguish element of works by Paik.

After his German experience Paik moves to New York in 1964 where he finds the suitable background for his experimental art. In 1965 he begins to look around and record the world and everyday life by his portable video recording device Sony Portapak. In the same year he creates the installation art TV Magnet in which a magnet on a television seems to attract the visual waves of the screen.

In New York he meets the American cellist Charlotte Moorman (1933- 1991) with whom he puts on three famous music and screen images performances: Opera Sextronique in 1966 in which Moorman played the cello bare breast and for this reason both the artists were arrested, TV Bra for

Living Sculpture in 1969 in which cellist played wearing a bra composed of two small TV screens broadcasting images and TV Cello in 1971 in which Moorman played a cello made of three TV screens with transparent cases placed one upon another.

From that moment on the television in his works becomes more than before a symbol of culture massification and consumerism and of contrast between contemporary society and tradition. In his installations art since 1970s television are often linked with traditional art elements like ancient statues.

In his work Tv Buddha made in 1974 there is a Meditating Buddha statue in lotus position in front of a television which broadcasts his image as a mirror. We can interpretate this work in many ways: from irony to awareness of how small screen can debunk everything even religion. There are references to Buddhism in other works like the following installations art Tv Buddha, the series Zen for Tv begun in 1963 in which one light line crosses the dark screen as a calligraphy painting or the work Reclining Buddha made in 1994, in which a Laying Buddha statue is supported by two televisions which broadcast the image of a seductive naked woman reclining as the Buddha.

Paik uses television as an element of artistic creation. In 1963 he declared yet that he used cathode ray tube as painter’s canvas.

The sculpture Pre-Bell-Man placed in front of Museum für Kommunikation of Frankfurt am Main is composed of a man with body made up of televisions and radio sets on a bronze horse’s back. The contrast between the TV-man and the horse is immense. The man made up of screens recurs often in the following works by Paik, like Beuys Voice made in 1990 in which a TV-man wears an hat.

On the occasion of 1988 Seoul Olympics Paik assembles The More the Better, a work composed of 1003 monitors on overlapping cylinders as a more than 17 meters high birthday cake in the Ramp Core of National Museum of Contemporary Art of Seoul. During inauguration ceremony of this work Paik wore a white hanbok and at the feet of the big TV cake there were some drummers of Korean drum janggu. In this occasion tradition and modernity of Korea were showed together creating an image of an irreconcilable break. Big installations art which form images recur in following years like in American Flag (1985-1996) and Electronic Superhighway: Continental U.S., Alaska, Hawaii (1995) in which many monitors make up American flag and American states respectively.

TV takes everyday life shape and space more and more in his latest

works and it turns into other objects of human existence like the bed made up of screens in TV Bed (1972-1991) or the aquarium-screen of TV Fish series begun in 1975.

Paik Nam June elevates television and electronics to art and his works show a classic style though in a profound contrast with tradition. Paik interprets art using technological materials and his works still continue yearning for mystery which is the key to reading the genuine work of art. His works are not provocative but they are a meditation on contemporary society, on its paradoxes, its hyperboles, its lying myths. They are also a celebration of beauty which can bud from contemporary technology. 

Floriano Terrano

브라운관의 캔버스

백남준의 비디오 아트

비디오 아트의 아버지로 유명한 백남준(1932년 서울에서 태생 – 2006년 마이애미에서 사망)은 예술의 소제를 비디오와 영상물로 선택했었다. 텔레비전의 비디오 영상은 백남준을 통해서 뛰어난 일종의 조각예술의 형태로 탄생되었고 일반적으로 그 창작품들은 고전예술에서 재 탄생된 것으로 불상이나 청동말상과 같은 것이다.
그는 처음에는 피아니스트로서 클래식 음악을 가까이 한다. 그래서 일본의 도쿄, 독일로 건너가서 동시대 음악에 대한 공부를 하고 점차 시각예술을 가까이 하게 된다. 비록 그가 시각 예술에서 최고의 거장이 될 것이지만 음악은 한국예술 작품에 기본적으로 항상 남아있게 된다.
그의 첫 번째 개인 전시회는 1963년 독일에서 “음악의 전시-전자 텔레비전”이라는 타이틀로 시행됐으며 비디오 아트의 탄생을 예고했다. 그 때부터 텔레비전의 모든 종류의 형태와 크기는 백남준의 작품에서 지속적인 소제가 된다.
독일에서 있었던 전시회의 경험을 바탕으로 1964년 백남준은 미국 뉴욕으로 거주지를 이전한다. 그는 뉴욕이 그의 실험적인 예술세계에 합당하다고 생각했기 때문이다. 1965년에는 소니 포타팩 (Sony Portapak)의 이동 텔레카메라로 세계의 모습을 담기 시작하고, 그를 중심으로 이루어지는 일상생활을 담기 시작한다. 같은 해 자석 TV가 탄생되는데, 이는 텔레비전 화면 위로 자석을 놓음으로써, 이는 꼭 화면 속에 있는 영상을 밖으로 끌어당기는 것 같은 착각을 보여준다.
한편, 뉴욕에서는 미국의 첼로연주자 샬럿 무어먼(1933- 1991)과 역사적인 만남이 이루어지고 뮤직 퍼포먼스와 비디어 영상에 관한 가장 유명한 작품 들 중 세 작품을 그녀와 함께하게 된다. 1966년의 “오페라 섹스트로니크” 에서 모먼은 가슴을 누드로 한 채 첼로 연주를 시도하다가 두명의 예술가는 동시에 경찰에 체포 되기도 하였다. 그리고 1969년 “살아있는 조각을 위한 TV 브라” 에서 모먼은 두 개의 작은 영상 스크린으로 만들어진 브래지어를 입은 채 연주를 했고 스크린을 통해서는 영상물이 반영되었다. 1971년에는”TV 첼로”를 연주했는데 이는 첼로 위에 투명 케이스 모양의 영상TV세 개가 설치된 작품이다.
이때부터 그의 작품에서 텔레비전은 처음보다 더 더욱 문화와 소비의 대중매체의 상징이 되고 현대 사회와 전통 사이의 대조를 확실히 구분하는 획이 되기도 한다. 한편, 1970년부터 텔레비전은 종종 고대의 조각상과 같은 전통 예술의 형태로 만드는데 이용되어 지기 시작한다.
1974년 “TV 부처” 라는 작품에서는 불상은 연꽃의 자세로 명상하고 있고 그 앞에는 TV가 있다.
TV는 마치 거울처럼 불상의 이미지를 반영한다. 이 작품에서는 굉장히 복합적인 감정이 느껴지는데 부처의 명상하는 모습에서는 풍자에서 깨달음에 이르기까지 다양한 감정을 느낄 수 있다. 텔레비전이라는 매체가 어떻게 그 신성을 박탈시키는지를 여실히 보여준다. 다시 말해 종교 그 자체의 신성을 박탈시키기도 한다. 불교는 그의 다른 작품들에서도 이용되는데 TV 부처에 이어서 만든 작품들을 보면 알 것이다. 1963년 “TV를 위한 젠” 은 초기의 시리즈 작품 중 하나이다. 이 작품에서는 꼭 일종의 서체 같은 밝은 선 하나가 어두움을 관통하고 있다. 그리고 1994년의 “누워 있는 부처”라는 작품에서는 두개의 텔레비전이 누워 있는 불상을 지탱하고 그 화면 속 에서는 신성한 포즈를 한 미성속한 여인의 영상물이 반영된다.
백남준에게 있어서 TV는 무엇보다 예술을 창안하기 위한 요소이다. 1963년에 이미 캔버스지 대신에 CRT의 모니터를 사용을 확신했다. 독일 “프랑크푸르트의 커뮤니케이션 박물관” 의 입구에 세워진 “프리-벨-맨” 이라는 조각상에서 우리는 텔레비전과 라디오로 몸이 만들어진 사람을 만날 수 있는데 이는 청동으로 된 말을 올라타고 있다. 텔레비전 모양의 사람과 말의 대조성은 굉장히 크다. 이 모양의 사람은 백남준의 다음 작품에서도 종종 볼 수 있다. 1990년 “보이스/보이스” 라는 작품에서 모자를 눌러 쓴 같은 모양의 텔레비전 사람을 발견할 수 있다.
1988년 서울올림픽을 맞아 그는 “다다익선” 이라는 작품을 선보였다. 1003개의 비디오 모니터를 이용한 작품으로 이는 생일 케잌 같은 모양으로 실린더가 위쪽으로 싸여가는 모양으로 17미터 보다 더 높은 크기로 서울 국립현대미술관에 전시되어 있다. 백남준은 작품의 기념 행사 동안 그는 하얀색의 한복을 입었었고 이 거대한 작품 앞에는 한국의 전통북인 장구 고수들이 있었다. 한국의 전통과 현대는 돌이킬 수 없는 파괴 모습을 담은 영상으로 표현되었다. 이처럼 대형 비디오를 통한 설치예술의 작품들은 계속에서 그의 후속 작품들에서 보여진다. “미국국기” (1985-1996) 그리고 “전자 초고속도로” 와 같은 작품들이다. 1995년의 “미국대륙, 알레스카, 하와이” 라는 작품에서는 수많은 TV모니터가 미국기와 각각의 미국의 주를 표현했다.
그의 최근 작품 중 에서 그는 텔레비전을 이용하여 사람의 존재를 구성하는 사물들을 변화 시키는 등 텔레비전은 일상생활의 공간을 더 크게 더 다양한 형태로 표현한다. 1972-1991년 작 “TV 침대”의 브라운관으로 된 침대나 1975년에 시작된 “TV 물고기” 작품 시리즈의 수중 브라운관 같은 것이다.
백남준은 텔레비전과 전자를 예술의 주류로 편입시켰다. 그의 작품은 전형적인 고전적인 스타일을 가지고 있지만 전통적인 것과는 커다란 차이를 보인다. 그는 사실상 예술을 현대의 기술 매체를 통해 해석하고 그의 예술 작품은 여전히 수수께끼 같은 열망을 보여준다. 그리고 이러한 열망은 진정한 예술의 창조성을 보여주는 것이기도 하다. 그의 작품의 일반적 해석으로서는 선동적이라기 보다는 현재 사회의 모습을 역설적이고 과장적으로 표현하거나 현대의 거짓 신화적인 인물에 대해 다시 한번 조명해 보도록 한다. 또한 그의 작품은 현대 테크놀로지를 통해 탄생될 수 있는 예술의 아름다움을 찬양한 것이기도 하다.

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번역: 정근영 jgyoung0252@gmail.com

(www.paikstudios.com)

플로리아노 테르라노

The importance of carved gesture

Bangasayusang

the serene smile of Buddha

China has influenced Far East for long and profoundly in language, culture, art. Korean artists get inspired by Chinese examples in sculpture too developing their own simple and elegant style. Korean artistic models reach Japan soon because of geography of Korea which is a peninsula-bridge between China and the Land of Rising Sun. Sculpture begins to develop at the same time of Buddhism diffusion through Far East due to Chinese monks. Buddhism officially gets to Korea in IV century during Three Kingdoms (57 BC – 668 AD ) and it is keenly received by Baekje dynasty in South Western peninsula. In this kingdom the most original Buddhist statuesque art of Korea develops and it profoundly influences contemporary sculpture of Asuka (538 – 710) and Nara (710 – 794) Japan. Baekje carved sacred images are extremely different from Goguryeo and Silla kingdoms ones. Baekje statues show softer and more delicate shapes and their visage has got a kind expression and a gentle sweet smile called “Baekje smile” (백제인의 미소) which is the most peculiar characteristic of this style.
Geumdong Mireuk Bosal Bangasayusang or Bangasayusang (“Gilt-bronze Maitreya Bodhisattva Half-sitting Thinking Statue”, 반가사유상) is the most significant and well-known Baekje statue - National Treasure of Korea No. 83 - currently stored at National Museum of Korea. This work probably dates back to early VII century in late Baekje (18 BC – 660 AD) even if it could perhaps be carved in early Unified Silla (668 – 935) as attested by drapery style and by sharp nose. However serene and graceful smile and harmonious form are typical of Baekje style. The gilt-bronze statue is 93.5 centimetres tall and it represents Maitreya the future Buddha (Mireuk, 미륵) i. e. Buddha before next coming into the world. Maitreya is sitting with right hand resting on cheek in a meditative attitude which gives tranquillity and hope. His right leg is leaning on the left knee and left hand is resting on bent leg ankle. This is the typical position of Maitreya in Korean and – by reflex - Japanese statues. Carved drapery is realistic and the shape is lithe and nimble and it gives vitality and harmony. As all Maitreya statues Bangasayusang is devoid of adornments too and his chest is bare since that emphasizes the simplicity of future Buddha.
The Nihon Shoki (日本書紀) – book of Japanese history completed in 720 – mentions that in 552 king Seong of Baekje sent some Buddhist monks to Nara, Japan. In fact Buddhism reaches Japan from Korea and Japanese artists hark back to Korean Buddhist art especially in sculpture. Chinese and Korean monks bring Buddhist images with themselves during their journey and these representations are the models to be copied by local artists.
In Japan Miroku Bosatsu or Hōkan Miroku (弥勒菩薩半跏像 or 宝冠弥勒) at Kyoto’s Kōryū-ji is a red pine carved statue of Maitreya - National Treasure of Japan No. 1 – 84.2 centimetres tall. It is quite the same of Bangasayusang in proportions and appearance. For years it was regarded as a work by a Japanese artist inspired by a Korean statue but now it is considered as a Korean work itself. Miroku of Kyoto probably dates back to VII century as well. The smile of this statue is slightly more marked than Bangasayusang and Mireuk’s necklace is absent in this sculpture to underline more profoundly - together with the wood as utilised matter - the future Buddha cleanness before his coming down to the world. Kyoto’s Miroku statue conveys a bigger feeling of naturalness of grace and of vivacity compared to Bangasayusang. Korean artist who carved Miroku creates a work in elegant realism style which is typical of Japanese sculpture.
Nihon Shoki also mentions that in 584 Baekje kingdom – called Kudara by the Japanese - sent an image of Maitreya to Japan. The idea that this mentioned statue could be the same carved wooden of Kōryū-ji based on Bangasayusang model is very fascinating. In this period many Miroku statues of several dimensions are brought from China and Korea to Japan. However Japanese artists are influenced mainly by Korean models and later on they develop their own style.
Maitreya thinking statue probably develops in Three Kingdoms Korea when continual wars of this period make Korean people hope for a saviour who could bring peace i. e. Maitreya the future Buddha. Mireuksa – one of the most important temples of Baekje Kingdom completed in 602 by king Mu – is in fact devoted to Maitreya.
Geumdong Mireuk Bosal Bangasang (금동 미륵보살 반가상) – National Treasure of Korea No. 78 – distinguishes itself among Maitreya statues of Korea and it represents Maitreya the future Buddha half-sitting and meditating like Bangasayusang. The gilt-bronze statue is 83.2 centimeters tall and it could date back to middle or end of VI century. Its origin is uncertain. The mannered style and the stylized drapery are typical of Silla kingdom art. Nevertheless the serene smile on the statue’s face is characteristic of Baekje.
Often in China Maitreya statues have got an inscription which indicates them as representations of the future Buddha. Korean and Japanese Maitreya statues haven’t got any inscription since Maitreya statue model is formalized and peculiar and consequently recognizable to everybody.
Maitreya statue shows not only the half-sitting pose with the bent leg and the hand resting on cheek but it shows also the smile, that serene and mysterious smile which speaks and teaches even if in silence giving an unknown tranquillity to observer.

Floriano Terrano