美術館の「枠組み」を超越!ポリープ石像やカラフル骸骨

美術館という空間は、たとえ胸が震え、息を呑むようなアートと向き合うことができたとしても、同じ事を繰り返すように感じ、退屈だと感じてしまいがちだ。作品を見て、訪れている人たちの偉ぶった意見を耳にし、また次の作品へと進んでいく。しかし、サヤ・ウールフォークの「The Empathics」展は別だ。訪れた者はお互いに顔を見合わせながら、「これは現実か空想か?」と首をかしげ、子どもたちは「なんでこの像はパジャマを着ているの?」などと言いながらキャッキャと騒ぐことだろう。



「展覧会は、夢想的なアイディアであると同時に、カルチャーがいかに生まれていくかについて語ったもの」と本人が語るこのThe Empathicは、カルチャーにおけるアプロプリエーションを力強く表現したものだ。

個展は円形の部屋からスタートするが、この部屋に入ると、草間彌生が描いたようなキノコに覆われた、クラシックな大理石の石像が飾られている。伝統的な美術館への入り口となるべき場所は、個展のテーマの中心である、ギラギラと輝く夢想的な交配によって支配されており、オートクチュールと異常なポリープの間で、石像は来るべき「変異の交配」を暗示している。



この個展はまるで文化人類学の研究発表のように設置されているため、自然史博物館にある剥製のジオラマや、昔の人の衣装を想起させる。レインボーカラーに彩られ、マスクをかぶった不思議な骸骨の作品などあらゆる作品に、「科学」的なムードが備わっており、またオンライン上には詳細なガイドも用意されているため、「The Empathics」展には、まるでそれが「真実」であるかのようなクオリティが生み出されている。そしてそれらの作品は「植物と人間」の交配などではなく、実はパフォーマンスアートと彫刻から成り立っている、という事実が分かるだろう。

ウールフォークの世界は、美術館の"枠組み"を飛び出しており、隣接している展示物と共鳴するようなハイブリッド感覚を生み出しているため、美術館内に常設展示されているネイティブ・アメリカンの遺物などは、彼女の世界に紛れていてもおかしくないように感じられる。



「The Empathics」は、過去と現在と未来と空想全てが含まれるアートの歴史に捧げられた、万華鏡のような夢の世界だ。静寂と歴史が売りの美術館全体を、神話と真実の遊び場に変えている。こういった多様な形式のエキシビションを子どもたちと一緒に楽しんで、アートの世界を自由に飛び回って欲しい。

「The Empathics」は、1月6日までニュージャージー州のMontclair Art Museumで開催されていた。

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美術館の「枠組み」を超越!ポリープ石像やカラフル骸骨
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Flemish landscapes are lovely this time of the year, don't you agree?

Pieter Brueghel the Elder, "The Hunters in the Snow," 1565. Oil on, 117 cm × 162 cm (46 in × 63 3/4 in). Kunsthistorisches Museum, Vienna, Austria
Your walk to work is nothing compared to this snowy jaunt in Kambara.

Utagawa Hiroshige, "Night Snow at Kambara," 1833
No need to scream in this snowy painting.

Edvard Munch, "New Snow in the Avenue," 1906, Munch Museum, (c) Munch Museum/Munch-EllingsendGroup/DACS 2012
Pissarro painted the road to Versailles in various seasons, but we love the crisp white brushstrokes of winter the best.

Camille Pissarro, "Road to Versailles at Louveciennes (The Snow Effect)," 1869, oil on canvas, 38.4 × 46.3 cm (15.1 × 18.2 in)
Here are the Limbourg brothers letting us know that by the time you hit February, you are in the thick of snowmageddon season.


Limbourg brothers, "Très Riches Heures du duc de Berry, Folio 2, verso February," between 1412 and 1416, illumination on vellum, 22.5 cm (8.9 in). Width: 13.6 cm (5.4 in), Musée Condé

A spattering of snow from van Gogh.

Vincent van Gogh, "Landscape in the snow," Arles, February 1888. oil on canvas, 38 x 46 cm, The Solomon R. Guggenheim Museum
We like this depiction of snow - notice there's hardly any white paint to be seen?

Wassily Kandinsky, "Winter Landscape," 1909, oil on cardboard, 75.5 x 97.5 cm, The State Hermitage Museum, St.Petersburg, Russia
We'd like to take a walk down this snowy path in Argenteuil.


Claude Monet, "Snow Scene at Argenteuil," 1875, 71.1 x 91.4 cm, National Gallery

The Griswald family Christmas tree, courtesy of Ivan Shishkin.

Ivan Shishkin, "In the Wild North," 1891, oil on canvas, 161 cm (63.4 in) x118 cm (46.5 in), Museum of Russian Art in Kiev
Anselm Kiefer delivering a different take on the winter wonderland.

Anslem Kiefer, "Dein Haus ritt die finstere Welle," 2006, oil, emulsion, acrylic, charcoal, lead boat, branches, chair and plaster on canvas
291 x 331 x 81 cm (114 1/2 x 130 3/8 x 32 in)

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Does Calder's mobile remind you of falling snow?

Alexander Calder, "Snow Flurry," 1950, painted sheet metal and wire, 60 x 84 in. (152.4 x 213.4 cm.)

IMAGE: Alexander Calder's mobile "Snow Flurry" hangs in display as part of a new exhibit Thursday, Oct. 6, 2011 in Atlanta. “Picasso to Warhol: Fourteen Modern Masters” at the High Museum of Art brings together more than 100 works by 14 influential 20th Century artists pulled from the collections of the Museum of Modern Art in New York and shown together for the first time in the Southeast. (AP Photo/David Goldman)
A very German winter.


Caspar David Friedrich, "Winter Landscape with church," 1811, oil on canvas, 32.5 × 45 cm (12.8 × 17.7 in), National Gallery

We could admire Peter Doig's wintery reflection all day long.

Peter Doig, "Reflection (What does your soul look like)," 1996

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It wouldn't be a winter wonderland slideshow without at least one Thomas Kinkade, now would it?

Thomas Kinkade, "Christmas in New York," 2008

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美術館の「枠組み」を超越!ポリープ石像やカラフル骸骨

Yayoi Kusama (b. 1929), Self-Obliteration (original design for poster), 1968. Collage with gouache and ink on paper, 18 1/8 x 11 in. (46 x 28 cm). Collection of the artist. (c) Yayoi Kusama. Image courtesy Yayoi Kusama Studio Inc.; Ota Fine Arts, Tokyo; Victoria Miro Gallery, London; and Gagosian Gallery, New York

Yayoi Kusama (b. 1929), Flowers and Self-Portrait, 1973. Collage, watercolor, and ink on paper, 20 7/8 x 16 9/16 in. (53 x 42 cm). Ota Fine Arts, Tokyo. (c) Yayoi Kusama. Image courtesy Yayoi Kusama Studio Inc.; Ota Fine Arts, Tokyo; Victoria Miro Gallery, London; and Gagosian Gallery, New York

Yayoi Kusama (b. 1929), Self-Portrait, 1972. Collage with pastel, ballpoint pen, and ink on paper, 29 5/16 x 17 5/16 in. (74.4 x 44 cm). Collection of the artist. (c) Yayoi Kusama. Image courtesy Yayoi Kusama Studio Inc.; Ota Fine Arts, Tokyo; Victoria Miro Gallery, London; and Gagosian Gallery, New York

Yayoi Kusama (b. 1929), Self-Obliteration No. 3, 1967. Watercolor, ink, pastel, and photocollage on paper, 15 7/8 x 19 13/16 in. (40.4 x 50.4 cm), Collection of the artist. (c) Yayoi Kusama. Image courtesy Yayoi Kusama Studio Inc.; Ota Fine Arts, Tokyo; Victoria Miro Gallery, London; and Gagosian Gallery, New York

Yayoi Kusama (b. 1929), Self-Obliteration No. 1, 1962--7. Watercolor, ink, graphite, and photocollage on paper, 15 7/8 x 19 13/16 in. (40.4 x 50.4 cm). Collection of the artist. (c) Yayoi Kusama. Image courtesy Yayoi Kusama Studio Inc.; Ota Fine Arts, Tokyo; Victoria Miro Gallery, London; and Gagosian Gallery, New York

Yayoi Kusama (b. 1929), Man Catching the Insect, 1972. Collage with oil on paper, 19 7/8 x 16 15/16 in. (50.5 x 43 cm). Collection of the artist. (c) Yayoi Kusama. Image courtesy Yayoi Kusama Studio Inc.; Ota Fine Arts, Tokyo; Victoria Miro Gallery, London; and Gagosian Gallery, New York

Yayoi Kusama (b. 1929), Untitled, c. 1962--3. Collage on paper, 23 13/16 x 25 in. (60.5 x 63.5 cm). Collection of the artist. (c) Yayoi Kusama. Image courtesy Yayoi Kusama Studio Inc.; Ota Fine Arts, Tokyo; Victoria Miro Gallery, London; and Gagosian Gallery, New York

Yayoi Kusama (b. 1929), An Encounter with a Flowering Season, 2009. Synthetic polymer on canvas, 51 5/16 x 63 3/4 in. (130.3 x 162 cm). Collection of the artist. (c) Yayoi Kusama. Image courtesy Yayoi Kusama Studio Inc.; Ota Fine Arts, Tokyo; Victoria Miro Gallery, London; and Gagosian Gallery, New York

Yayoi Kusama (b. 1929), Late-night Chat is Filled with Dreams, 2009. Synthetic polymer on canvas, 63 3/4 x 63 3/4 in. (162 x 162 cm). Collection of the artist. (c)
Yayoi Kusama. Image courtesy Yayoi Kusama Studio Inc.; Ota Fine Arts, Tokyo; Victoria Miro Gallery, London; and Gagosian Gallery, New York

Yayoi Kusama (b. 1929), I Want to Live Honestly, Like the Eye in the Picture, 2009. Synthetic polymer on canvas, 51 5/16 x 63 3/4 in. (130.3 x 162 cm). Collection of the artist. (c) Yayoi Kusama. Image courtesy Yayoi Kusama Studio Inc.; Ota Fine Arts, Tokyo; Victoria Miro Gallery, London; and Gagosian Gallery, New York

Yayoi Kusama (b. 1929), All about my Love, and I Long to Eat a Dream of the Night, 2009. Synthetic polymer on canvas, 51 5/16 x 63 3/4 in. (130.3 x 162 cm). Collection of the artist. (c) Yayoi Kusama. Image courtesy Yayoi Kusama Studio Inc.; Ota Fine Arts, Tokyo; Victoria Miro Gallery, London; and Gagosian Gallery, New York

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