田辺耕世 / Kosei Tanabe
2019.8.30 (Fri.) - 9.7 (Sat.)

11:00 - 19:00(closed on 9.2)

Opening Reception 8.30 (Fri.) 17:30-19:30

田辺耕世の展覧会

"DER7" 2019, 128 x 167cm, acrylic on canvas

"DER5" 2018, 118 x 168cm, acrylic on canvas

MEGUMI OGITA GALLERY 東京都中央区銀座2-16-12銀座大塚ビルB1

MEGUMI OGITA GALLERY B1 2-16-12 Ginza, Chuo-ku, Tokyo

田辺耕世は1966年松戸市に生まれ、和光大学人文学部芸術学科を卒業し、以後様々な形で芸術と対峙してきました。

 田辺は高校で絵画部に入部し美大受験の為のデッサンを描きつつも、パルコ主催の日本オブジェ展に虫の抜殻や試験管、自動車部品、木片などを使用した作品を応募し、最年少で入選しています。また当時はパンクロックやアンダーグラウンドな文化に親しみ、自身の革ジャンにペイントを施したり、学校付近のギャラリーや本屋を巡り、ポストモダンやニューアカデミズム といった言葉が流布した当時の現代美術と出会います。

 大学では楠本正明ゼミに属し、後に岸本吉弘、小池隆英、吉川民仁などと交流を持つ礎を培います。抽象表現主義やミニマリズムなどの影響を受け、同時にその影響は田辺にとっての足枷となることになります。
 学生時代には、自身のストロークの癖や他人の癖でさえ嫌悪感があり、トタン板の凹凸に沿って線を引いた作品など、潔癖症的な、自身の痕跡を消すような作品を制作しています。
 卒業後は文芸考察委員会なるものを立ち上げ、近所の子供との勉強会や壁画制作などを企画し、自身と社会と美術の関係を模索しています。

 30歳になると、楠本正明との再会をきっかけに国立を拠点に絵画の制作を始めます。楠本から貰った画布を手にアパートの一室で大作の制作を試み、さらに広がるような形を求め、画布を折り畳んで制作するデカルコマニーの手法を選択します。
 田辺はデカルコマニーに対して「ありきたりな手法」といいます。田辺のデカルコマニーはロールシャッハテストの性格判断などを容易にイメージさせ、扱う素材も日常的な落書き用の画用紙や泥絵具と呼ばれるイベントカラーを用います。さらに色彩は血や肌を安易に想像させる赤やペールオレンジなどをあえて選択し、画布を折り畳み開いた形から人体などのイメージを確信犯的に隠喩させています。それらの素材や技法、色彩の選択からは、絵画を絵画として見せたくないという作家の意思や、絵画を制作することへの葛藤が見られます。

 近年では自身の肉体労働の経験から、公園の砂場の砂を水平に均す「practice」という名のパフォーマンスを始め、さらに生活に必要な陶器を手作りするなど、デカルコマニーと共通して官能性や可塑性、水平、垂直などに作家が着目していることがわかります。
 田辺のデカルコマニーやパフォーマンスは、地球で制作する限り、本当の水平は作ることが出来ないことは知りつつも、毎回正確な水平を確かめ、それを繰り返すことで可能性を見出そうとしています。それは一見不毛な行為に見えますが、未知の可能性を含んだ前途有為な行為ともいえます。

 今展ではデカルコマニーの大作5点と他1点、公園の砂場の砂を水平に均す「practice」の映像作品を展示致します。
 高校生の頃から自身の生活と直結するような制作を52歳まで継続し、今まで発表する機会を得なかった田辺。その姿勢は同世代の作家や美術への無意識の抵抗であったかのように捉えられます。
 今展は田辺が今まで美術と対峙してきた軌跡でもあり、またここから新たに始まる起点でもある重要な機会となります。
 田辺耕世展に是非ご期待下さい。

Kosei Tanabe was born in Matsudo City in 1966 and, in graduating from the Humanities Faculty of Wako University, has chosen to pursue art in various ways.

At high school, he joined the painting club and, -by using insect shells, test tubes, car parts, wood chips and such- made a drawing for an art exam application for PARCO's Japan Object Exhibition, being selected as the youngest candidate. Concurrently, while growing familiar with punk rock and underground subculture, Tanabe began applying paint to his own leather jackets, touring the galleries and bookstores around his school and, during a period when Post Modernism and New Academism were novel, discovered contemporary art.

At university, Tanabe attended the seminars of Masaaki Kusumoto and, subsequently, instituted a foundation with Yoshihiro Kishimoto, Takahide Koike and Tamihito Yoshikawa. Influenced by Abstract Expressionism and Minimalism, this period highlights a crucial time and stepping point for him.
During his time as a student, he notes the disgust he felt in the brushstroke habits of himself and others, and in seeking to eradicate all trace of the self, produced neat and clean images i.e. by drawing along the lines of an uneven tin plate.
Post graduation, he established a literary study committee where he would plan study sessions with the neighborhood children and created murals which explored the relationship between the self, society and art.

At 30 years old, the artist is again reunited with Masaaki Kusumoto, and as a result, began producing Nationally based paintings. With the painting cloth (canvas) he receives from Kusumoto, Tanabe began his attempt to create masterpieces in his one room apartment and, in search of a shape which would expand beyond its form, utilizes a method of decalcomania, of folding and transferring the work.
To Tanabe, decalcomania is what he refers to as his "conventional method" and, while Tanabe's decalcomania mirrors the psychologically indicative images from a Rorshach test, his everyday materials consist of ordinary paper for drawing and mud as paint (of which Tanabe calls Event Color). Evoking ideas of blood and flesh, Tanabe's color selection of reds and pale hues of orange obfuscates images of the human body with the folded shape of the painted cloth. In addressing the artist's selection of materials, techniques and colors, one addresses Tanabe's refusal to display the painting as a painting through revealing the innate, ontological conflicts inherent to painting.

In more recent years and after experiences with physical labor, Tanabe began performing "practice" where he would attempt to level the sandbox of a park. In this work, one may notice how the artist's work draws parallels with the sensuality, plasticity, dimensionality (verticality and horizontality) and other qualities akin to the aforementioned decalcomania paintings.
Despite acknowledging the impossibility to a perfect level, so long as these works are produced in the world, Tanabe's decalcomania and performance represent the artist's consistent attempt to address the possibility of a perfect level i.e. by repetitively checking and revising the exact level. Thus, while a first impression may suggest the act to be barren, the act may equally interpret as promising for its in-numerous and unknown possibilities.

For this exhibition we will be presenting 6 of Tanabe's decalcomania works and 1 video piece, "practice"- which displays the act of horizontal leveling on a park sandbox.
Though Tanabe has worked as an artist since high school, he has never had the opportunity to present until now- at 52 years of age and, in a way, this attitude presents an unconscious resistance shared amongst his generation of peers, writers and artists.
This exhibition is a significant opportunity for Tanabe's history to confront art and pave a new starting point and, thus, we hope you find the time to visit his exhibition.

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