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山谷佑介&松川朋奈 Yusuke Yamatani & Tomona Matsukawa
at home
 +
沢渡朔 Hajime Sawatari
Rain



Yusuke Yamatani 山谷佑介
house#001, 2016, chromogenic print

Tomona Matsukawa 松川朋奈
I still think of it「今でも時々思い出すの」, 2016, 80.3 x 116.7cm, oil on panel

Hajime Sawatari 沢渡朔
Rain, 2016, pigment print

>English

ユカ・ツルノギャラリーは、山谷佑介と松川朋奈による二人展「at home」と沢渡朔の個展「Rain」を2016年6月4日(土)~ 7月2日(土)まで開催いたします。

山谷佑介と松川朋奈の新作で構成される「at home」は、「家」に象徴されるような私的な日常空間に浮かび上がる、人間の営みの痕跡に焦点を当てた展覧会です。一方、沢渡朔の「Rain」は、カメラを持つ手に蓄積された時間の中、雨の情景を敢えて無意識に撮影してきたプライベートワークとなります。

国内外を放浪して様々なアンダーグラウンド・コミュニティで過ごす中で写真を実践してきた山谷は、はかない日々を捉えたストレートなスナップ写真「Tsugi no yoru e」、ライブハウスやクラブの床に原寸大の床写真を貼り、アルコールや靴跡などの痕跡を記録した「ground」、有効期限が切れたポラロイドフィルムを使ったポートレート「Usebefore」など、様々な角度から写真にアプローチをしてきています。本展覧会では、「箱」として立ち現れる家を、赤外線カメラで外部から撮影した新シリーズを発表します。昨年、新婚旅行を記録した作品を発表するなど、家庭を持った山谷は、無機質であるにもかかわらず、住人とともに変化し続け、人間の営みと切り離すことができない「家」に興味を持ち始めます。しかしながら、不可視光線に反応する赤外線カメラを使っても、厚い壁で仕切られた家の中はもちろん覗くことはできません。そのような「箱」としての家を、覗き込むことのできない諦めと、それでもなお人間の営みを覗いてみたいという欲求とともに、人間の痕跡らしきものを捉えることの可能性を探求します。

一方、松川朋奈は一貫して、同世代の女性たちの癖や生活習慣などが、身の回りの事物に「痕跡」として残されていること注目しています。近年はインタビューを重ね、その中で印象に残ったフレーズを作品の主題およびタイトルとし、彼女たちの持ち物や身体を写実的な表現方法を用いた絵画として再構成しています。踵の傷ついたハイヒールや、脱ぎ捨てられたワンピース、身体の傷など、日常生活の中でうまれる破損、形の崩れ、傷跡といった痕跡は、一般的にあまり好まれないものとして受け取られていますが、松川は、それらに表れる人間性や人間の内面に関心を寄せています。事物の忠実な再現をするのではなく、モチーフのクローズアップや筆跡を残さないフラットで美しい表面など、絵画上で再構成することで、これら人間性の影である残痕を新しい価値へと転換させることを試みています。

二人は、写真と絵画という全く異なる方法を用い、またそれぞれ別々な角度から、かつてはそこにあったという不在の痕跡ではなく、その痕跡とともに生き続けるような人々の痕跡に関心をよせています。それらは、他人の存在や日常の不可視な側面へと歩み寄っていこうという取り組みでもあります。

また、沢渡朔「Rain」においては長年ファッションフォトやヌードフォトを中心に、女性との向き合いに熱を注いできた沢渡が、無意識下の中で色として写り込む雨越しの街との出会い頭の光景を、デジタル撮影ならではの光の反射のうつくしさ、艶めきを感じながら、昭和の歌謡曲にも似た郷愁や希望の情感を自分自身の中に探ります。他人への興味を、痕跡を通して追求している山谷と松川の「at home」と、カメラが捉えた世界そのものである沢渡の「Rain」の、両者の違いについてもぜひご覧ください。

初日となる6月4日には3人の作家を囲んでレセプションを開催します。本展にあわせて、沢渡朔写真集「Rain」(国書刊行会)が出版 されます。世代とジャンルを超えて構成される本展にぜひご期待ください。


作家プロフィール
山谷佑介
1985年新潟県生まれ。立正大学文学部哲学科卒業後、外苑スタジオに勤務。その後、移住した長崎で出会った東松照明や無名の写真家との交流を通して写真を学ぶ。近年の展示に「KYOTOGRAPHIE」(2015年、無名舎、京都)、「Yusuke Yamatani: Recent Works」 (2015年、アリソン・ブラッドリー・プロジェクツ、ニューヨーク)、「Four From Japan」(2015年、 コンデナスト、ニューヨーク)、「東京国際写真祭」(2015年) など。写真集・モノグラフに『Tsugi no yoru e (2nd ver)』(YUKA TSURUNO GALLERY)、 『ground』(lemon books)、『RAMA LAMA DING DONG』(self published)、『Use Before』(a0)など。

松川朋奈
1987年愛知県生まれ。2011年多摩美術大学絵画学科油画専攻卒業。近年の展示に「シェルアーティストセレクション」(2013年、国立新美術館、東京)、「クウキのヨメナイ、ワタシたち」(2013年、CAPSULE gallery、東京)、「Artist Meets 倉敷vol.12 松川朋奈」(2016年、大原美術館、岡山)など。ホルベインスカラシップ(2010年)、福沢一郎記念賞(2010年)を受賞。現在、「六本木クロッシング 2016展:僕の身体、あなたの声」(森美術館、東京)に参加中。

沢渡 朔
1940年東京生まれ。日本大学芸術学部写真学科在学中より写真雑誌等での作品発表を始め、日本デザインセンター勤務を経て、1966年よりフリーの写真家として活動、現在に至る。1973年日本写真協会年度賞、1979年講談社出版文化賞写真賞受賞。写真集・モノグラフに、主に女性を被写体とした写真集の『NADIA 森の人形館』(毎日新聞社)、『少女アリス』、『海からきた少女』(河出書房新社)、『小沢征爾』(集英社)、『昭和』伊佐山ひろ子(宝島社)、『hysteric ten』、『a girl』(hysteric glamour)、『Cigar』三國連太郎(パルコ出版)、『60’s』、『60's 2』(ワイズ出版)、『森山大道×沢渡朔』、『Kinky』、『Nadia』新編版(Akio Nagasawa Publishing)、『Showa 35,JAPAN』(MATCH and Company)、『なぎさホテル』(SUPER LABO)など。他、個展、グループ展多数。


開催概要
山谷佑介&松川朋奈「at home」+ 沢渡朔「Rain」
会期:2016年6月4日 - 7月2日
オープニングレセプション: 6月4日(土)18:00-20:00
開廊時間: 火 - 土 11:00 - 19:00


協力:ICAS Enterprises IDAS division



 Yuka Tsuruno Gallery is pleased to present two exhibitions, at home by Yusuke Yamatani and Tomona Matsukawa and Rain by Hajime Sawatari, from Saturday, June 4 to Saturday, July 2, 2016. The exhibition at home, which showcases new artworks by Yusuke Yamatani and Tomona Matsukawa, focuses on traces of people's activities that appear on spaces of private everyday life, as symbolized by the "home". Rain by Hajime Sawatari, on the other hand, is composed of private works in which the photographer, informed by the significant amount of time captured by his camera over the years, unconsciously captures scenes of rain.

 While wandering around Japan and abroad, Yamatani took photographs while spending time in various underground communities. From Tsugi no yoru e, a collection of straightforward snapshots depicting transient life, to ground, which documented traces such as alcoholic drinks and shoe imprints by placing a full-scale photograph of a floor in a live music club, and Use before, a series of portraits made using expired Polaroid film, he approached photography from various angles. In this exhibition, he will showcase a new series composed of photographs of houses taken with an infrared camera from the outside, in which the houses emerge as mere "boxes".
 Through the life with his family, as documented in his honeymoon series, Yamatani came to be interested in the home, a structure that continuously changes with the residents and their activities from which it cannot be detached, despite being inorganic. The use of an infrared camera does not, of course, allow him to look inside the home. What he pursues is the faint possibility to discern traces of human activity or anything resembling them, accompanied by the unabaiting desire to find them despite the resignation that comes with seeing the inherent "box"-like quality of a house.
 Tomona Matsukawa has been drawn to the habits and lifestyles of women of her generation that leave "traces" on their things belongings. In recent years, she has been taking note of phrases the made an impression on her during interviews with other women, and adopted them as subjects or titles of her works, reconstructing their belongings and bodies employing figurative painterly techniques. From high-heel shoes with damaged heels, to a dress thrown onto the ground or scars on the body, traces of daily life are generally recognized as presenting an unfavorable quality. However, Matsukawa discerns an expression of human nature and the inner life of people in such damages, scars, or deformities. By refusing to merely replicate her motifs on the canvas, and instead choosing to reconstruct them as close-ups or flattening the surface to a smooth layer that shows no traces of the brush, she attempts to transform the traces, the shadows of human nature, into a new value.
 Both Yamatani and Matsukawa are interested not in the traces of absence, but rather in the traces of people who continue to live alongside them. Their practice could be understood as an attempt to get closer to the existence of others and the invisible aspects of everyday life.

 In Rain, Hajime Sawatari, who has for years faced women through his works, mainly in the form of fashion and nude photography, seeks inside himself a feeling of nostalgia and hope, reminiscent of Japanese popular songs of the Showa period. In doing so, he takes inspiration from the sight of a rainy street he happened upon, which was engraved in his unconscious as an intricate play of colors, as well as the beauty and glossiness of the reflection of light that only digital photography can capture.
 The two exhibitions, at home, where Yamatani and Matsukawa pursue their interests in others through their traces, and Rain, which presents the world itself as caught by Sawatari's camera, present interesting differences. We are pleased to invite you to the reception party on the opening day of the exhibitions, June 4. The three artists will also attend the party. Sawatari's photo book Rain (Kokushokankokai) will be published in conjunction with the exhibition. We look forward to seeing you at the gallery.


Artist Profile
Yusuke Yamatani (b. 1985, Niigata) graduated from the Department of Philosophy of Rissho University, and worked at Gaien Studio. He later relocated to Nagasaki where he met Shomei Tomatsu and other photographers from whom he learnt about photography both in terms of knowledge and technique. His recent exhibitions include KYOTOGRAPHIE (Mumeisha, 2015), Yusuke Yamatani: Recent Works (Alison Bradley Projects, New York, 2015), FOUR FROM JAPAN: CONTEMPORARY PHOTOGRAPHY (Condé Nast Gallery, New York, 2015), and Tokyo International Photography Festival (2015). Yamatani has also published Tsugi no yoru e 2nd ver. (YUKA TSURUNO GALLERY), ground (lemon books), RAMA LAMA DING DONG (self published), and Use Before (a0).

Tomona Matsukawa (b.1987, Aichi) graduated from Tama Art University in 2011, having specialized in oil painting. Her recent exhibitions include Shell Artist Selection (The National Art Center, Tokyo, 2013), We, Who Can't Read Between the Lines (CAPSULE gallery, Tokyo, 2014), and Artist Meets Kurashiki vol.12 Tomona Matsukawa (Ohara Museum of Art, Okayama, 2016). She was awarded the Fukazawa Ichiro Memorial Award (2011) and The 25th Holbein Scholarship (2010). She is currently taking part in the group exhibition Roppongi Crossing 2016: My Body, Your Voice (Mori Museum, Tokyo).

Hajime Sawatari (b.1940, Tokyo) started to present his works on photographic magazines since he was still a student at the Department of Photography, College of Art, Nihon University. After working for Nippon Design Center, he has worked as a freelance photographer until today. He won the Annual Award of The Photographic Society of Japan in 1973 and the Kodansha Publication Culture Award in Photography in 1979. He has published numerous books that mainly take women as the subject such as Nadia: Mori no Ningyokan (Mainichishinbun-sha), Alice / Arisu, Alice from the Sea (Kawade Shobo Shin-sha), Seiji Ozawa (Shueisha), Showa, Hiroko Isayama (Takarajima-sha), hysteric ten, a girl (hysteric glamour), Cigar: Mikuni rentaro (PARCO), 60's, 60's 2 (Y's Publishing), Daido Moriyama x Hajime Sawatari, Kinky, the new edition of Nadia (Akio Nagasawa Publishing), Showa 35, JAPAN (MATCH and Company) and NAGISA HOTEL (SUPER LABO), and he has also presented his works in solo and group exhibitions.


Exhibition Outline
Yusuke Yamatani & Tomona Matsukawa, at home + Hajime Sawatari, Rain
Date: June 4 - July 2, 2016
Opening reception: Saturday June 4, 18:00-20:00
Gallery opening hours: 11:00-19:00, Tuesday - Saturday


Special thanks: ICAS Enterprises IDAS division