Rhyme (Installation)


Black Gesso, Acrylic,
Gold leaf, Wood,
calcium carbonate, FRP

「韻」は、絵画/インスタレーション/テキストが互いに補完し、響き合うことをコンセプトとした複合型の作品である。絵画部分は、レオナルド・ダ・ヴィンチ作「アンギアーリの戦い(Battle of Anghiari)」などの騎馬図にインスピレーションを受け描いた。一方、初のインスタレーションとなった真紅の枯山水は、竜安寺の枯山水と養源院の血天井を併せたイメージで制作した。個展会場では下記のテキスト(プレス原稿と同様)を配布し、鑑賞者はそれを手がかりに、作品に隠された仕掛けを読み解くことを意図した。


Rhyme is a composite-type piece based on the concept of mutual complementation and reverberation between elements of painting, installation and text. The painted part was inspired by such cavalry images as Leonardo Da Vinci’s Battle of Anghiari. The red-tinted Zen garden, my first ever installation, is based on an imagined combination of the Zen garden at Ryoanji and the Chitenjo (bloody ceiling) at Yogen-in. The below text was distributed at the exhibition venue (together with a press text) in order to give visitors some clues for deciphering the work’s hidden mechanisms.

For this exhibition, Tenmyouya Hisashi took up the challenge of a new masterpiece, a war picture full of the turbulent winds of these chaotic times. Mounted warriors with black hair reminding of contemporary samurais are seen riding mysterious horses and tigers wearing fantastic helmets. The dramatic dimension of the intertwined fighting warriors will no doubt constitute one of the highlights of this exhibition. Furthermore, visitors themselves will make a peculiar experience set up by the artist.
The device which at first glance seems to test their vision is in fact a sharp critic of the very act of looking at an artwork and the system they are embedded into, the incendiary spark inside the battle then propagating inside our consciousness in unexpected ways.
In 2000, Tenmyouya Hisashi defined himself as the champion of "Neo-Nihonga", his unique style that revives traditional Japanese painting in the present, raising the flag of Butoh-Ha – or warrior style – to fight by painting against the all-powerful authority of the fine art establishment. In 2010, he advocated the concept of "BASARA" – named after the word basara used during the Northern and Southern Courts period of Japanese history as well as the Warring States (Sengoku) period's kabukimono – as a pompous and extravagant aesthetic current. More recently Tenmyouya even began producing his own commercial gallery as an upheaval against the art system, in the straight line of his constant rebellious activities. By violating the taboos on purpose, this exhibition comes as a true manifest for the pompous yet extraordinary spirit of Basara.
The show also includes the artist's very first large installation work. Bearing the same title of Rhyme, it complements and completes the war picture, bearing the metaphysical vision that shakes the border of reality and fiction. This work bears the mark of the reality of our world after the Tohoku earthquake and the collapse of the myth of safety of nuclear power in Japan. Visitors may even feel the ominous footsteps that go on spoiling the actual world.
This exhibition ought to be controversial at Tenmyouya's satisfaction. How will you receive the intricately intertwined trap settle by him? And how will you read it? We look forward to your appreciation.