Power of DrawingMineki Murata Photo: Kenji Agata

岸壁の父母 Mom and Dad on the Cliff

Mom and Dad
on the Cliff

ボールペンで二・七ミリのベニヤ板両面に身体的なドローイングを行い、筆圧の集まる場所に穴があく。それはなんらかの形となり、インスタレーションに展開させた。また、そのドローイングの下敷きにしていた板を版にして版画作品も制作した。壁面には、グラファイトクレヨンでドローイングをひたすら行った結果の剥がれ浮き上がった厚紙や色紙を展示した。また初日にはHIGURE特有の吹き抜け穴に板を設置して映像を投影してその板に力の限りを尽くしドローイングを行った。筆圧により穴が空き一階に光が差し込んだ。

村田峰紀

Here I engaged in physical drawing using a ballpoint pen on both sides of a 2.7mm plywood sheet, holes appearing in places with a lot of pressure from the pen. This made a shape of sorts, and I developed it into an installation. I also made a print work, using as the block the sheet placed underneath when drawing. On the wall, I displayed cardboard, colored paper and so on that had peeled away after I had drawn earnestly on it in graphite crayon. On the first day I also installed a panel in HIGURE’s distinctive atrium, projected images on it, and drew with as much force as I could on the panel. The pressure of the pen caused holes to form, allowing light to shine through to the ground floor.

Mineki Murata

Power of Drawing


ベニヤ、映像、ボールペン
Plywood, video projection, ballpoint pen
1200×1100×700 mm(村田の身体を含む|Murata included)
2014.8.1

Power of Drawing Mineki MurataPhoto: Kenji Agata

Power of Drawing Mineki MurataPhoto: Kenji Agata

Power of Drawing Mineki MurataPhoto: Kenji Agata

Power of Drawing Mineki MurataPhoto: Kenji Agata

Power of Drawing Mineki MurataPhoto: Kenji Agata

Power of Drawing Mineki MurataPhoto: Kenji Agata

Power of Drawing Mineki MurataPhoto: Kenji Agata

村田峰紀の体操       O JUN


なんと過剰な身体だろう。彫刻をする身体、描く身体、詩を吐く身体、唸る身体、労働する身体、思惟する身体、佇む身体、笑う身体。村田峰紀の身体は多忙だ。いや、そもそも人の身体は忙しい。思惟的で意図的で動的で静的で自由で不自由で、誰もがその重い体をゆっくりとあるときは電光石火のごとくとにかく休むことなく忙しなく運んでいるのだ。そしてそのような酷使を日々私たちに強いる敵は、重力なのだ。

村田峰紀は個展の初日、ギャラリーの二階の床にベニヤ板を敷いた。ベニヤ板の下は真四角に抜かれていている。この建物がギャラリーになる前の造りで、床を抜いて荷の上げ下ろしの便宜を図るためなのだろうか。その上に乗って村田峰紀はまだ満足に箸使いの出来ない子供のような持ち方でボールペンを握る。その腕を大きく上下左右に行き来させ線描きを重ねる。筆圧の強さはボールペンの先端部をすぐにダメにする。何本も取り替えて描いてゆく。途中から音が聞こえ始める。その音は次第に大きくなる。村田峰紀の口から洩れる音だ。読経のようにも蝉の鳴き声のようにも聴こえるが、最近の流行に倣えばドローンの飛行音に近い。手振りと唸りは素直に直結して描きを駆動させる。線はひたすら引かれ重なりやがてその重なりによってできる線描の重なりとズレによって現れる無数の明るい空隙が、それもたちまちのうちに線によって潰されてゆく。そして一帯、鈍色の蒼黒い色面の中にベニヤがささくれだってのぞいている。そのささくれの中心はこじ開けられたように貫通している。穴は階下のフロアーにも開かれた。このありさまは村田峰紀の行為の果てに現れるのだが、私たちは、見過ごしてはならない、肝に銘じて忘れてはいけないことがある。それは、村田峰紀は自らの身体とその可動域をわずかな時間のなかで余すことなく使い切り、彼の体の真下に濃い陰翳を描き残したということ。陰翳は、見下ろす私たちの顔や体を燦々と照らしていたということ。ものの質量と運動と時間とが誤差なく通じたまっとうな成果を私たちが目の当たりにしたからだ。言い訳と飾りが毫もない。一つの無垢が重力に対して、つかの間反撃を試みた時間であった。これが、僥倖。



On Murata Mineki’s “Gymnastics”       O JUN


Murata Mineki excessively uses his body. Specifically, he employs the body for sculptural production, the body for depiction, the body to utter a poem, the body that hums, the body for labor, the body to think, the body to stand still, and the body to laugh. Thus, Murata’s body is quite busy. Or rather, we could say that all human bodies are essentially busy. Our bodies have thoughts and intentions, but are also dynamic, static, unrestricted and restricted. All of us carry our own unceasingly busy and burdened bodies, which at times we move slowly, and other times, at a lightning speed. And our enemy that forces us to lead such a harsh daily life is indeed gravity. On the opening day of his solo exhibition, Murata placed a plywood board on the second floor of the gallery. The floor below the board had been cut out into a square hole. This hole was created before the building was used as a gallery; thus, it was likely cut out for the convenience of loading and unloading goods. On that board, Murata held a pen as if he were a child who could not properly use chopsticks. He then began to continuously overlay lines with a broad sweep of his arm that went back and forth in all directions. The heavy pressure he applied on the pen soon broke its tip. Hence, he kept changing to a new pen, and continued on with his depiction. At some point in the performance, a sound that began to be heard only slightly gradually grew louder. It came from Murata’s mouth. It sounded like the chanting of a sutra, or like chirping cicadas; or rather, if I may borrow from recent technologies, the sound was closer to that of a flying drone. His drawing was driven by the smooth merging of his hand movements and humming. Murata devotedly drew and overlaid lines, which in time came to manifest countless, bright openings created within the layers and gaps of the lines. But those openings were immediately smashed by new lines. In the end, the plywood developed countless splinters with tiny holes over the entire grayish blue-black color-field. The central parts of those splinters appeared as if they were pierced by force. Thus, those holes created openings to the floor below. This state was manifested as a result of Murata’s actions. But we should not overlook and never forget that he exhaustively utilized his own body and its movable range within a limited time, while also achieving to create dark shadings directly below his body. In addition, those shadings allowed us to feel as if they were shedding bright light upon our faces and bodies. This was possible because we witnessed the justified result of his actions in which a physical mass, movements and the passing of time perfectly merged. His actions made no excuses whatsoever, nor were they embellished in any way. Murata, seen as a solid mass, made a transient counterattack upon gravity. Therefore, we were very fortunate to be present at his performance.




私のパフォーマンス作品において重要な要素となっているドローイングに焦点を当てた展覧会であった。右手で素材を持ち替え、対象を限界までドローイングし続けた作品を展示した。会期中終日、素手により右傾化する日本を戻し続けるパフォーマンスを行った。

村田峰紀

The exhibition focused primarily on drawing, a vital element of my performances. I showed a work in which I shifted the materials into my right hand, and continue to draw until the support reached its limit. On the final day, I staged a performance that involved using bare hands to keep pushing a right-leaning Japan back into place.

Mineki Murata


Desk theory “Hope”


村田、机、白い布、ボール
Murata, desk, white cloth, ball
750×450×1400 mm(村田の身体を含む|Murata included)
2014.8.1 – 9

Photo: Kenji Agata

Photo: Kenji Agata

Background


木版画
Woodblock print  
565×656 mm
2014 

Photo: Kenji Agata

Thinking black


紙、グラファイトクレヨン
Graphite crayon on paper 
816×1452 mm
2014

Photo: Kenji Agata

左|Left


《Storage of hand ―あるく―》
Storage of hand – walk –


ベニヤ、ボールペン
Plywood, ballpoint pen
290×110×2.7mm
2014




右|Right


《Storage of hand ―フェイス―》
Storage of hand – face –


ベニヤ、ボールペン
Plywood, ballpoint pen
350×160×2.7mm
2014

Photo: Kenji Agata

float


紙、グラファイトクレヨン
Graphite crayon on paper  
243×160×20.7 mm
2014

Photo: Kenji Agata

村田峰紀


1979年生まれ

  • 2001-2005 多摩美術大学美術学部彫刻学科

[個展]

  • 2015 「生 PUNK」GALLERY HASHIMOTO, 東京
  • 2014 「ネックライブ」Art Center Ongoing, 東京
  • 岸壁の父母企画「八月の体操」Higure17-15cas, 東京
  • 2013 「パフォーマンス彫刻」GALLERY HASHIMOTO, 東京
  • 2012 「flash/back」ya-gins, 群馬
  • 「ダルマ」Art Center Ongoing, 東京

[グループ展]*

  • 2015 「VOCA展2015」上野の森美術館, 東京
  • 2013 「カゼイロノハナ」アーツ前橋, 群馬
  • 2011 横浜トリエンナーレ特別連携プログラム「新・港村 小さな未来都市」新港ピア, 神奈川
  • 2010 あいちトリエンナーレ2010「都市の祝祭」長者町会場, 愛知

[ライブパフォーマンス/フェスティバル]

  • 2013 「Mineki Murata-Unit 1 INTERNATIONAL」The Drawing Project, ダブリン(アイルランド)
  • 2013 「Its Performance」PS2, ベルファスト(北アイルランド)
  • 2013 「Excentricites 4」I.S.B.A, ブザンソン(フランス)

*Unknown シリーズには、2011 年に No.1 (Unknown),
2012年にNo. 2 (Surface), extra (Voice), No.3 (Life)に参加。


http://mineki-murata.com




Mineki Murata


Born in 1979

2005 BFA in sculpture, Tama Art University, Tokyo


Solo Exhibitions

  • 2015 “Live Punk,” Gallery Hashimoto, Tokyo
  • 2014 “Neck Live,” Art Center Ongoing, Tokyo
  • “August Gymnastics,” curated by Mom and Dad on the Cliff, Higure17-15cas, Tokyo
  • 2013 “Performance Sculpture,” Gallery Hashimoto, Tokyo
  • 2012 “flash/back,” ya-gins, Maebashi, Gunma
  • “Daruma,” Art Center Ongoing, Tokyo

Group Exhibitions*

  • 2015 Selected for the VOCA 2015, Ueno Royal Museum, Tokyo
  • 2013 “The Flower with the Color of the Wind,” Arts Maebashi, Gunma
  • 2011 Yokohama Triennale 2011 Special Tie-up Program:
  • “Shin Minatomura: A Small City for the Future,” Shinko Pier, Yokohama
  • 2010 Aichi Triennale 2010: “Arts and Cities,” Chojamachi, Nagoya

Live Performances/Festivals

  • 2003 “Mineki Murata-Unit 1 INTERNATIONAL,” The Drawing Project, Dublin, Ireland
  • 2013 “Its Performance,” PS2, Belfast, Northern Ireland
  • 2013 “Excentricities 4,” I.S.B.A, Besançon, France

*Also participated in the following stagings of the Unknown series:
No. 1“Unknown” (2011), No. 2: “Surface” (2011) and Extra:“ Voice” (2012)


http://mineki-murata.com

Photo: Kenji Agata