池田 龍雄

Tatsuo Ikeda

【Japanese】

1928年に佐賀県伊万里市に生まれた池田龍雄は、15歳で海軍航空隊に入隊、特攻隊員として訓練中に敗戦を迎える。
占領期に故郷の師範学校に編入しますが、軍国主義者の烙印をおされ1年で追放にあう。戦中から戦後にかけた大きな価値の転回と、国家権力に振り回され続けたこの体験が、池田の創作の原点を形づくった。
1948年、画家を目指して上京した池田は、多摩造形芸術専門学校(現・多摩美術大学9へ入学。まもなく岡本太郎や花田清輝らによる〈アヴァンギャル ド芸術研究会〉に飛び込み、前衛芸術の道を歩み始める。
朝鮮戦争の勃発により社会への意識を深め、絵画におけるルプルタージュの可能性を探るなか、1954年の読売アンダパンダン展に内灘闘争を描いた「網元」を発表し、一躍注目を集めた。
以降、風刺と諧謔に満ちたペン画のシリーズを次々と生み出す。文学、演劇、映像とジャンル横断的に繰り広げられる 戦後美術のなかで、多彩な芸術家や美術批評家と交わりながら、自らの制作活動を展開していった。1960年代後半からは概念芸術にも関心を抱き自らパフォーマンスを行うとともに、宇宙と生命の深奥を描いた15年に及ぶ連作「BRAHMAN」を手がける。
個人として厳しく社会と向き合いながら、一個の生命として宇宙の成り立ちを想像する。
90歳を目前に控えたいまも、自らの活動を振り帰っての執筆や講演活動を精力的に行な卯とともに、なお歩み続ける彼の画業は、時代と切り結び思考する苦闘の足跡であり、戦後日本美術史の証人ともなっている。

▪️ プロフィール
1928 佐賀県に生まれる
1948 多摩造形芸術専門学校(現多摩美術大学)入学
1954 養清堂画廊にて初個展 以後国内外での個展・グループ展多数
1982 「瀧口修造と戦後美術」富山県立近代美術館/富山
1985 「池田龍雄の世界展」池田20世紀美術館/静岡
1985 「再構成・日本の前衛1945-65」オックスフォード近代美術館/イギリス
1986 「前衛美術の日本1910-1970」ポンピドーセンター/パリ
1988 「走図展」INAXギャラリー /東京
1992 「日本の現代美術1945-1985」東京都美術館/東京
1995 「戦後文化の軌跡1945-1995」目黒区美術館/東京
1997 「ねりまの美術 97 池田龍雄・中村宏」練馬区立美術館 /東京
1998 「瀧口修造とその周辺」国立国際美術館/大阪
2000 「万歳七唱 岡本太郎の鬼子たち」川崎市岡本太郎美術館/神奈川
2001 第21回 オマージュ瀧口修造展 「漂着」佐谷画廊/東京
2005 「瀧口修造 夢の漂流物」世田谷美術館 /東京
2009 大英博物館・日本館主催 浜田知明展において自選版画100点、彫刻16点を展示
2010 「池田龍雄アヴァンギャルドの軌跡」山梨県立美術館
2010 「池田龍雄アヴァンギャルドの軌跡」川崎市岡本太郎美術館
2010 「池田龍雄アヴァンギャルドの軌跡」福岡県立美術館
2011 「我が心のなかのメルヴェーユ」画廊香月/東京
2012 「漂着 e`pave absolue 2012」画廊香月/東京
2015 「我が心のメルヴェーユ 」Gallery MORYTA・画廊香月/福岡

▪️ ステイツメント
<我が心のメルヴェーユ ー北の風・南の風ー>

絵とは何か。なぜ絵を描くのか。
わたしは 遂に解のないこの問題を、ずっと胸の奥に抱え込んだまま今もなお執拗に絵を 描き続けている。
まるで、絵を描き続けることそのことがその答えであるかのように。 今や 絵を描くこと,表現することは、わたしにとって殆ど「業」のようなものであろうか。
しかしそれは決して辛い「苦行」ではない。楽しく面白い「苦労」である。
面白い苦労の果てに生み出されてきた作品を、わたしは恐る恐る-内心では自信たっぷりー 他者の眼に晒す。
そこでようやく表現は完結し,そのとき作品は晴れて「Objet de Art」 (オダジュダール)となってこの世に生まれ出る。
その媒体もしくは場所となるのが,美 術館であり街の画廊だ。とりわけ画廊は,作品をいわゆる「展示価値」として扱うだけで はなく。
「貨幣価値」に替えて観客の手に渡してくれる重要な場所である。
しかし、もともと売るために作られたものではない作品,特に、難しい・分からない、などと敬遠されがちな現代美術を,お金に換える仕事は容易いものではにだろう。
しかし、 今から5年ほど前,福岡から東京へ進出してきた画廊香月は、その困難な仕事に敢然と挑 んでいる。
何よりも,その意欲を支えているのはオーナー香月人美の芸術に対するひたむ きな愛と情熱だ。
このたびその画廊香月の企画により,福岡のギャラリーモリタで個展を開くことになった。
佐賀県伊万里の出であるわたしにとって福岡は身近な都会。そして四年前、県立美術館で 回顧展を開いたので懐かしい所である。
今回並べる作品は、新作旧作とり混ぜ殆ど紙に描いたドローイングで,実はその大部分は 昨年の暮れに北海道は帯広の神田日勝美術館で展示したものだ。
北海道から九州へ一直線。 北の人たちの眼に触れたそれらわたしの分身たちが,南の人の眼にどう映る乃か,生みの 親としては大いなる楽しみである。
2015年1月12日 池田龍雄


【English】

Ikeda Tatsuo was born Imari City,Saga Prefecture in 1928.He joined tha Naval Aviation division at age 15 and entered into a losing war at age 17 as aKamikaze pilot.After the war, he transferred into the Saga Teacher’s School, but was dismissed after a year due to politics concerning the occupation of Allied Force.He moved up to Tokyo in 1948 to enter the Tama Art and Design School(currently The Tama Art University). In short time, he took his first steps onto the path of avant-garde art when he participated in the “Avangyarudo Geijyutu Kenkyukai”(Avant-Garde Study Group) formed by Okamoto Taro and Hanada Kiyoteru.

A sense of social consciousness grew with the flare up of the Korean War and, as he searched for possibilities in reportage through paintings, he presented “The Fishing Boss” at the Yomoiuri Independent Exhibition in 1954 that depicted the Uchinada conflict and subsequently launched him into fame. Following this, he put forth a continuing series of pen drawings filled satire and humor.

Afterwards, he introduced very fulfilling works in collaboration with various groups, including the “Seisakusya Kondankai”(Artist’ Discussion Group). which aimed for a synthetic art style that incorporated film and theater. This also led to the production of his own performances from the latter half of the 1960s through an interest in conceptual art, while he set out to address the profound quality of the universe and living things through fifteen years of working on the “BRAHMAN” series. Aside from continuing his dynamic work into the present era,he has been recognized as a witness to the history of post-war art in Japan as he looks back upon his activities through his writings and lectures.This led to the ‘Ba no Iso'(Phase in Fields) series that he is still working at his great age 86.
Recently, Ikeda’s work was began to known In foreign countries as well as Japan in the exhibition「Tokyo 1955-1970: A New Avant-Garde ( The Museum of Modern Art, New York/2012) and 「The Trajectory of Postwar Avant-garde Art 」(Taro Okamoto Memorial Museum・Fukuoka Prefectural Museum of Art・Yamanashi Prefectural Museum of Art )

SOLO SHOW
2014 Tatsuo Ikeda Fukuoka Art Museum, Fukuoka Japan
2011 The Trajectory of Postwar Avant garde Art – Fukuoka Prefectural Museum of Art, Fukuoka Japan
2010 The Trajectory of Postwar Avant-garde Art – Taro Okamoto Memorial Museum,Tokyo Japan

GROUP SHOW
2013 Beyond Corrupt Eye Akumulathory 2 Gallery,1972-1990 – Museum of Contemporary Art in Kraków (MOCAK),Krakow Poland
1950s/’60s – Bunkyo Art,Tokyo Japan
2012 Tokyo 1955-1970 New Avant-Garde The Museum of Modern Art New York (MOMA),New York USA
Art Will Thrill You! : The Essence of Modern Japanese Art The National Museum of Modern Art Tokyo,Tokyo Japan
Beyond Corrupt Eye Akumulathory 2 Gallery,1972-1990 – Zacheta – National Gallery of Art, Warsaw
2010 ”Japanese Art 1950 – 2010″ – The National Museum of Art Romania,Bucharest
Collection 3.Japanese Art 1950 – 2010 – NMAO National Museum of Art Osaka ,Osaka Japana
2009 Affectionate artists Shuzo Takeguchi loved – Bunkyo Art,Tokyo Japan
2006 Group Exhibition – Bunkyo Art,Tokyo Japan
2005 Shigeo Ishii / Tasuo Ikeda – Bunkyo Art,Tokyo Japan
2003 Art of Modern Japan – National Museum of Modern Art Tokyo(MOMAT),Tokyo Japan
CAMK Grand Opening Commemorative Exhibition,Vol3 – Contemporary Art Museum Kumamoto – (CAMK),Kumamoto Japan
2000 Visage:Painting and the Human Face in 20th – Century Art – National Museum of Modern Art Kyoto(MOMAK),Kyoto Japan
Visage:Painting and the Human Face in 20th – Century Art – NMWA The National Museum of Western Art,Tokyo Japan
1994 When The Body Becomes Art – Itabashi Art Museum,Tokyo Japan

COLLECTIONS
JAPAN
Tokyo Metropolitan Art Museum,Tokyo/National Museum of Modern Art Tokyo(MOMAT)/The Museum Modern Art,Toyama /Saga Prefectural Art Museum /Yamanashi Prefectural Museum of Art / The National Museum of Art,Osaka/The Setagaya Art Museum / The Tokushima Modern Art Museum / Hiroshima City Museum of Contemporary Art / Takamatsu City Museum of Art /Niigata City Art Museum / The National Museum of Modern Art Tokyo / Mie Prefectural Art Museum / Itabashi Art Museum / Nerima Art Museum / Tochigi Prefectural Museum of Fine Arts / Aichi Prefectural Museum of Art /
The Museum Modern Art,Wakayama / The Miyagi Museum of Art / Fukuoka Art Museum / Utsunomiya Museum of Art / Nagoya City Art Museum /
Machida City Museum of Graphic Arts / Fukuoka Prefectural Museum of Art / Tokyo Art Museum / Kanda Nissho Memorial Museum of Art etc

▪️ review
Pablo Picasso once said, “Art is the lie that enables us to realize the truth”.
Tatsuo Ikeda says, “Art is the desperate play and battle. ”
As for me, I opened Gallery KAZUKI after 3.11, having the question, “Is there hope in a case?”
If art doesn’t ask us any question, there is nothing to be the exsistance of art. It does not need to tell us the answer, but should ask the question that has no answer. It does not have a courage to ask questions, which already have a answer to be prepared. How far does art show their playing?
Art gives shape to something it’s looking for, and it demands places to be with humanbeing. It’s persistently asking the question and chasing a dream endlessly.
Why Tatsuo Ikeda, young kamikaze squad who lived his life to the fullest at the age of 15, draw a picture?
We show a lot of objects and paints that Ikeda made, a man who could have lived only by drawing.

Gallery KAZUKI Hitomi Kazuki

▪️ “My Merveille in My Heart ~the eye of North and South~”

What is the paint? Why does people draw a picture?
I have been continually drawing pictures with a question, which would never be solved so far, as if the action itself is an answer.
Painting and expressing may be “Karma” for me now.
However, it is not an asceticism, but is more likely an enjoyable “hardship”.
I am afraid; but have a full of confident inside of my heart, of showing my work created by an enjoyable hardship, to others. When they see my work, finally it becomes an “Objet de Art”.
The museums and local art galleries take roll of mediation or place for our works.
Galleries are especially important in terms of treating the art not only as “value of objects”, but also as “value of currency”, and convey to customers.
However, these works are not created for selling at the first point, so it is very hard to convert contemporary arts, which are often said to be difficult to understand and evaluate, from “value of objects” to “value of currency”.

Gallery Kazuki, moving from Fukuoka to Tokyo 5 years ago, are now trying to face this difficulties resolutely. The owner Hitomi Kazuki’s passion and loves for art are the source of energy for maintaining this gallery.
In this time, the solo exhibition produced by the “Gallery Kazuki” is going to be held at “Gallery MORYTA” in Fukuoka.
Fukuoka is the nearest metropolitan city for me who was borned in Imari city, Saga.
Fukuoka also reminds me of my retrospective exhibition at Fukuoka Prefectural museum of art, held for 4 years ago.

In this exhibition, I will show you a bunch of drawings in both old works and new works. Most of them have been exhibited last year at KANDA NISSHO MEMORIAL MUSEUM of ART in Hokkaido.
These works moved from Hokkaido to Kyushu directly. As a generator of this occasion, I am looking forward to seeing how people in Fukuoka react for this exhibition, which already have been seen in Hokkaido.
Tatsuo Ikeda


 


「場の位相-A」
mixed media・paper

「場の位相-G」
mixed media・paper


「窓」
mixed media・paper