ホワイトストーン・ギャラリー軽井沢では、現代アーティスト・MADARA MANJI (まだら まんじ)の二度目となる個展、『VORTEX』を開催いたします。

MADARA MANJIは日本古来の金属加工技術である「杢目金(もくめがね)」を駆使した立体作品を制作し、現在国内外で高い注目を集めています。2017年に軽井沢ニューアートミュージアムで初めて開催した個展『Antagonism and Transcendence(相克と超越)』では、作者自身が内面に抱える、他者とは決して相容れない感情や思考、それらが衝突や拮抗を繰り返しながらもひとつの高みを目指すさまをユニークな素材と技巧で可視化、観客に鮮烈な印象を残しました。

3年を経た今展では、それまで「個人」規模で扱っていたテーマ「混ざり合い共存する力」を「自己と他者の関係性」にまで拡張。誰もが内面に抱える「欲望と理性」などの矛盾や、社会や時代におけるパラドックスを様々な異種素材に投影します。強靭なエネルギーを要する技法でそれらが結合された作品世界では、森羅万象がひとつの物体の中に混淆し、緊迫の度を増しながら制御不能なエネルギーの渦(vortex)と化しています。

MADARA MANJI作品における、相反する個性が反発しつつも交わり、その自壊のエネルギーを自立に転化する様相は、人間の精神の普遍性を表しているように見える一方で、現代社会の傲慢さを晒しているようにも感じられます。その脆いばかりの繊細さのなかに見出される美は、侵されることのない高貴さをまとっています。

Karuizawa Gallery3

 

1F / KARUIZAWA NEW ART MUSEUM, 1151-5 Karuizawa, Karuizawa-machi, Kitasaku-gun, Nagano, 389-0102, Japan

Tel: +81 (0)267 46 8691


Opening Hours: 10:00 – 17:00 (October – June) , 10:00 – 18:00 (July – September)
Closed: Monday

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ARTIST

MADARA MANJI
Madara Manji was born in Tokyo in 1988. To learn toreutic techniques for the foundation of his further works, he moved to Kyoto after graduating from high school and worked as an apprentice under a toreutic master. After years, he aspired to become an artist in developing the foundation in various metal-processing skills and continues to self-learn and present artwork. Madara Manji creates simple and modern sculpture through mastering Mokume-gane, a traditional Japanese toreutic technique. The development of Mokume-gane began c.400 years ago in the early Edo period. Layers of different metals were stacked together to create exquisite patterns that were decorated on Samurai swords, to symbolize beauty and power. As the Samurai culture faded, the procedure-heavy and time-consuming "Mokume-gane" nearly disappeared, that was until the recent collections and studies conducted by international art museums brought the technique back onto the world stage. Above all, Madara Manji is a pioneer in first adopting the traditional craft as a method to create. Living with an austere life, Madara Manji uses the simplest tools to repetitively hammer various non-ferrous metal materials like gold, silver, copper, brass, etc. Similar to our inner thoughts, the creation that took a long period to form are not entirely compatible, but display beautiful patterns. The incompatible thoughts and feelings simultaneously collide and counteract, at the same time, thrive and advance on the verge of extremes. Such absurdities and transcendences are not confined to the intra-personal but coincide between oneself, one another, and even with the society as a whole. This is the extant virtue of human survival. The "Uncovered Cube" series may appear similar in shape and size, but there are, in fact, subtle discrepancies. The artist uses the "Cube" to manifest different silhouettes of human nature. He adopts an artistic direction to investigate humanity and the essence of materials from three-dimensional extension to plane. Over the constantly identical forging process of Mokume-gane, he then probes the limitation on integrations and coexistences of multimedia, projects his reverse studies of distinct humanities, and accumulates into a personal observation notebook packed with contradictions and recurred hearing in himself of humankind.

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