The Dying Style 様式の死

Yuki Higashino solo exhibition

2018.4.27 – 5.13

Closed on Mondays

ANEWAL Gallery 現代美術製作所

・地下鉄烏丸線「鞍馬口駅」から西南に徒歩約5分 妙顕寺南側路地内
・地下鉄烏丸線「今出川駅」から北西に徒歩約5分 妙顕寺南側路地内


2018.4.26 19:00-21:00

様式の死 様式とは何か?それは単純でありながら簡単な答えの無い問いである。経済、政治、芸術とデザインの歴史、社会の動向、実際の気候、趣味、技術などを含む複数の要素が特有のコンフルエンスの結果であるため、ある一つの様式について語ることすら難しい。例えば19世紀のフランスのジャポニズムや16世紀の日本の南蛮美術の場合に見られるように、外国文化を賞賛するようなものもあれば、或いは民族的ロマン主義のように(常に失敗しながら)外部からの影響を拒絶するものもある。言い換えれば、様式とは、不安定なハイブリッド性を審美的な解決策として一時的に停止したものであり、本質的に一時的で形成されるとすぐに無数のバリエーションに分解されるものなのだ。




制作中の意見交換の結果としての作品アンサンブルは、スタイルそのものの概念と類似の関係を持っている。私は、戦後の西洋のネオ・アバンギャルドの流れをくむ教育を受けた、ヨーロッパに住む日本人アーティストであり、私の父親は、兵庫に拠点を置くユダヤ人の陶芸家で、伝統的な日本の備前焼の修練を受けた。本展覧会の準備のために我々が共同で制作した際の文化的ダイナミクスは、複雑な歴史や審美的な質問を反映されているが、そこには混乱があり、その混乱は様式の厄介な問題に適合していると言えるだろう。 (東野雄樹)

The Dying Style What is style? It is a simple question with no easy answer. It is already difficult to talk about a style because any style is a result of idiosyncratic confluence of multiple factors that include economy, politics, art and design history, social climate, actual climate, taste, technology, etc. A style could overtly celebrate a foreign culture, as was the case of for instance the 19th century French Japonism or the 16th century Japanese Nanban art, or rejects (always unsuccessfully) outside influences, which National Romanticism for example tried to do. In other words, style is unstable hybridity temporary suspended through aesthetic resolution, and by nature ephemeral, always dissolving into countless variations as soon as it was formed.

Initially, I was intrigued by the apparent historical pattern in the relationship between rapid technological advance and architecture/design. I noticed that when there is a major reap in production technology, the first instinct of designers is to go curvy, to produce complex and opulent space whose main aim is to dazzle users with its obvious virtuosity in fabrication. That was the case with Art Nouveau, the first genuine style of the industrial revolution, and that is the case with contemporary (though aging) Parametricism and its relationship with the digital revolution. It seemed to me that both their naïve delight in complex forms and their rhetoric of transforming the world into a total design are the symptoms of the fever induced by new technologies.

However, my interest quickly expanded to the notion of style itself, and more precisely how style age, die, decay and become something else. I believe that death of Zaha Hadid, and the megalomaniac and slightly tragicomic pantomime Patrik Schumacher continues to perform, contributed to the change in my sentiment.

So I am developing this series as a reflection on how a style exhausts itself, and whether it is possible to make work out of an exhausted style.

I commissioned ceramicist, and my father, Avi Beracha to produce a series of sculptures based on his interpretation of Art Nouveau vases. Meanwhile, my new paintings respond to the language of Parametricism.

The exchange during the production and the resulting ensemble of works have an analogous relationship with the notion of style itself. I am a Japanese artist living in Europe, and I was trained in the tradition of post-war western neo avant-garde. My father is a Hyogo-based Jewish ceramicist trained in traditional Japanese pottery in Bizen. The cultural dynamic created by us working together to prepare this exhibition, which reflects on a complex historical and aesthetic question, is messy, and this messiness is appropriate to the messy question of style.  (Yuki Higashino)