GINZA SIX EDITORS
被万人开，高高保持姿势的市镇的"艺术"的矜持 Pride in art: A district of lofty standards, yet open to all
GINZA SIX EDITORS Vol.66
尤其银座茑屋书店里关注着某一个年轻的美术展览室THE CLUB。是在伦敦的sazabizu堆积钻研的导演、山下有佳子做指挥的这个空间，并且是日本，并且把没被介绍的新旧的当代的·艺术家礼貌地捞起来的kyureshon被展开。从2018年12月1日到1月31日，举行在伦敦在据点活跃的年轻的艺术家猪濑直哉的首次个人展览"Blue"。被在过去展在20th DOMANI、明天选出，甚至国立新美方法馆是展览经历有的引人注目的作家。
在像"THE CLUB"这个会员制俱乐部那样的名字和神密的乳白色的玻璃的门有作为关闭的印象，但是难以从花和银座的画廊进入。美术展览室名由来于在1949年在战后不久的纽约开的8th Street Club，俗称The Club和被叫的美术展览室。当时想期待曾作为作为最尖端的艺术家以及知识分子聚集的HIP的地方的"俱乐部"在亚洲的观点在复苏，以欧美为中心的现代美术的上下文在银座的地方打开突破口的。
Text：Chie Sumiyoshi Photos：Sai,Jun Koike(Naoya Inose)Edit：Yuka Okada
Whenever my family mentioned the department store in my childhood, it always meant Ginza Matsuzakaya. Back in the 80s, Ginza was where my mother opened a little store in 8-chome and ran it herself for 27 years. Since I took a job in the art world in the 90s, Ginza has been my workplace, with galleries scattered here and there. For me, Ginza is a special place, a place where a bustling main street and intimate places I’ve known very well stand side by side.
GINZA SIX distills the essence of Ginza. Peering into the atrium, you see stores stand side by side, like a bazaar. The atmosphere is lively. The surrounding floors evoke the balconies of an opera house. The public art displays and little gallery spaces installed throughout the facility provide opportunities to stop for a moment and contemplate.
This autumn and winter, Nicolas Buffe, the Japan-based French artist, has mounted an atrium installation and various other artworks throughout the facility. The title of the exhibit is “Fantastic Gift: The Story of the Kingdom of Winter and the Kingdom of Summer.” A balloon measuring three meters high and four meters long, in the shape of an elephant, is lofted along by drone, steered by little angels called the Putti, away from the scorching heat of the Kingdom of Summer to the icy reaches of the Kingdom of Winter.
Born in Paris in 1978, Nicolas Buffe draws on traditional European decorative art and literature from the medieval, the Renaissance, and the Baroque periods. He also blends the childhood influences of Japanese anime and American subcultures to create story worlds. His in-depth knowledge of classical art and his skill at modeling, acquired through hands-on experiences, lend persuasiveness to his works. As the motif for this piece, in a spirit of serio ludere (serious play), he chose global climate change.
“I came up with the story layers during a really hot spell this summer,” he says. “The prince of the Kingdom of Summer is hot-tempered and selfish. The princess of the Kingdom of Winter is reclusive and cold-hearted. What possible gifts could resolve their problems? The idea of an elephant carrying an obelisk, a symbol of knowledge, came to me partly from Hypnerotomachia Poliphili (The Dream of Poliphilus), an illustrated book published during the Renaissance in Italy. In the background we see the history of diplomatic relations linking Europe and Asia and a caricature of modern international society.”
The approach, a fantasy format accessible to anyone, also functions as a critique of a civilization that illustrates how the world is linked and put together and gives this installation multiple layers.
You can see his works at the main entrance (two photographs at the beginning of this column) facing Ginza Street and in the B2F show window. They make a stroll around the facility worthwhile for any visitor.
Did you know a number of public artworks are on permanent display inside GINZA SIX?
In the South Elevator Hall, for example, there’s a sculpture by Shinji Ohmaki, who’s drawing attention for dynamic efforts both in Japan and overseas. In the Edo Period, the government issued an edict banning extravagance. Craftsmen responded by competing to refine their skills in producing sophisticated patterns known as Edo Komon. This forms the basis for the flowers and butterflies comprising the sculpture. Flowers and butterflies represent the spirit of the Ginza craftsman culture. They also symbolize the history of modern attire in Ginza.
In the North Elevator Hall, you’ll find a work by Misa Funai comprised of mirrors, whose theme is the Paradise/Boundary. Stand before the piece and you’ll see your own image reflected in the mirror fragments. This can inspire the sense that you stand in a world behind the mirrors, as the primary figure in a paradise of shifting interacting ideals and realities one after another.
In the spirit of Ginza, the facility also houses several galleries, each with their own exhibition. Of these, I’m interested in the THE CLUB, a young gallery located inside the Ginza Tsutaya Books. The space is managed by Director Yukako Yamashita, who gathered her expertise at Sotheby’s in London. Her curation painstakingly highlights the talents of contemporary artists, both old and new, whose work has yet to be exhibited in Japan. Between December 1, 2018 and January 31, the gallery will host Naoya Inose’s first solo exhibition, titled “Blue.” He is a young artist based in London who’s attracted considerable attention. His work has been selected for the 20th DOMANI Tomorrow Exhibition and displayed at the National Art Center, Tokyo.
The name THE CLUB conjures up visions of a private members’ club. Its mysterious milky white glass doors create a sense of a space closed off to outsiders. This is on top of the sense of anxiety Ginza art galleries typically inspire in those who dare enter. The name THE CLUB comes from the 8th Street Club (often simply referred to as “The Club”), which opened in New York in 1949, soon after the war. During those days, the word club came to denote a hip location where artists and others in the cultural vanguard gathered. I hope the version resurrected here in Ginza will prove as groundbreaking a source of an Asian perspective on the context of modern art, something with foundations in the West.
Ginza has long had a reputation for places that seem somewhat intimidating or closed to outsiders, and I hope an aspect of this will remain in place. I believe Japan (Tokyo) today needs places, dedicated to the loftiest standards, that still invite anyone to tackle the implicit challenge, places that naturally inspire a sense of responsibility to hone one’s intelligence and aesthetic sense.
People may very well look to Ginza precisely for this uncompromising advocacy of serious art.
Text：Chie Sumiyoshi Photos：Sai, Jun Koike (Naoya Inomata） Edit：Yuka Okadaｚ
艺术制片人，打火机。东京出生。庆应义塾大学文学系美学美术历史学专业毕业。作为艺术记者自1990年代起活动。经过艺术空间TRAUMARIS主持，在各地方现在处理展览会以及pafominguatsu的企划。双语的文化评论网站RealTokyo导演。育儿代的艺术家和支援观众的平台"是舞蹈保育园!！" 实行委员会代表。www.realtokyo.co.jp正在Instagram GINZASIX_OFFICIAL传播