フランク・シナトラが” Fly me to the Moon”を歌った時代にこの世に生を受けた篠原。私はその子供世代であるが、篠原も私も共通して不可逆的に流れる時間の流れに身を委ね生きている。芸術概念を拡大し、社会彫刻と呼ばれる活動をしたヨーゼフ・ボイスに師事した篠原は、自らの制作活動が、社会と自然、芸術の相互間で循環しつつ昇華されていくことを大切にしてきた。
Shinohara’s motivation for this production is the “moon. In other words, to be free from gravity.
The moon is probably the most familiar and most visible celestial body to almost everyone in every age.
Shinohara was born in the era when Frank Sinatra sang “Fly me to the Moon. I am of his generation, but Shinohara and I both live in the same irreversible flow of time. Shinohara, who studied under Joseph Beuys, whose work expanded the concept of art and was called “social sculpture,” has always emphasized that his creative activities should be sublimated while circulating between society, nature, and art.
The theme of this exhibition will be an attempt to visualize a way of seeing things that may be different from the way they are seen on the ground.
The moon exists in the field of view of many people despite its remoteness, but it is difficult to see people closer to it. The refractive index, opacity, transmission, and gravity of light on the Moon, which is unaffected by the atmosphere, will be different from those on the ground.
The way the rabbit’s body exists between light and shadow, the transformation of the role of the faucet from being a faucet to being a faucet, etc., are all suggestions of different ways of seeing and presenting forms that are different from those on the ground.
What does the characteristic of gravity, in which the larger a celestial body becomes, the further it is from the center, and the further it is from the center, the less gravitational pressure it exerts, mean to us in our daily lives? Gravity is a distortion of space-time, but it affects everything. Literally, even time.
The poet Baudelaire described the constraints of time as tedious and painful. He said that time is eating life. Shinohara describes a similar stress.
Time is a one-way flow that forcibly takes us from the past to the future. Shinohara witnessed firsthand the fall of the Berlin Wall at the end of the 1980s, a time when the U.S. and the Soviet Union were aiming for the moon, the movie 2001: A Space Odyssey was produced, and technological innovation was advancing, with the Cold War having a strong influence. Then came the collapse of the Soviet Union, symbolizing the breakaway from ideological domination. History flows relentlessly into the future.
Shinohara, who has witnessed firsthand such social transformation, has created a body of work that lies between philosophy and science, free (even theoretically) from the shackles of gravity.
Characterized by various elements found in nature, such as wind, fire, wind, and sound, Shinohara’s works do not present the artist’s thoughts one-sidedly to the viewer, nor do they employ any special devices, but are revealed when the viewer faces the work. By entering into the phenomenon of the artwork with great interest and empathy with the artist, we can genuinely enjoy the act of “seeing” and have the opportunity to discover and experience new things in the environment while relaxing our senses. The artwork is merely a trigger.
I said the same thing at last year’s exhibition. And over the past year, the world has undergone caustic changes, especially the immeasurable impact of the new coronavirus on society.
We live in an era of divergent opinions and sometimes conflicts, a time when globalism has been fractured and the exchange of ideas has been left to those who choose to govern themselves. However, viruses do not determine the course of history.
In a world where people from all walks of life live in different environments, we must take the correct scientific approach to infectious diseases, and people with different values must work hand in hand to deal with viruses. In reality, however, it is very difficult for us to work hand in hand. This is because there are many areas in this world that science cannot reach.
Some people need it, some don’t. Exposed day after day to the crisis before our eyes, we may finally give up thinking, doubt existence itself, or deepen our awareness that human beings themselves are ephemeral, and the value of things and life fluctuates.
In such a situation, I believe that one of the roles of art is to shift our thinking in such a way that what at first glance appears to be worthless can emerge as a cultural history, a kind of passageconcept.
Through the exhibition, we would like to propose once again that the gallery is not just a space for viewing art that is detached from society, but that it is a possibility for human beings to live in deep connection with society and the natural environment. GALLERY TOMO
In Shinohara’s memorable words, “The primal order and its cycles are triggered, amplified, and sublimated. The order of this world, strictly destined to the principles of nature. On the flip side, in human society, which represents disorder, the various stories people live give us hints with statistical interpretations from era to era, but with an increasing understanding of disorder and reversibility. What will happen to the orderly development of life and the transmission of history and information if disorder continues to increase? Art is always the key.
There is little doubt, for example, that the world is in a process of global warming. In Japan alone, the torrential rains in western Japan last year and the devastating disasters that hit the Kanto region this year are just two examples. Even outside of Japan, the emergence of a young girl named Greta Toonberg, who has spoken out about environmental issues, has had a profound (and contemporary) impact on society. However, as Boltzmann’s Law states, the principles of nature move in only one direction. The future that awaits us at the end of global warming is probably obvious, but what is the meaning of our existence?
Shinohara also teaches classes and workshops at the University of Tokyo. The course, titled “Art Workshop for Inspiration and Creation,” is open not only to students but also to working people. With people from various walks of life participating, it demonstrates the social function of art, which stimulates the range of people’s thinking through artworks horizontally without separating inside and outside through the artworks. In these ways, the exhibition at the gallery is not just a space for viewing art that is detached from society, but through the exhibition, we propose once again the possibility of human beings living in deep relationship with society and the natural environment. GALLERY TOMO
2019.05.17-06.01 ギャラリエ アンドウ GALERIE ANDO
Critical point of false quality
2018.11.03-11.25 なうふ現代アートギャラリー Gallery Nauf
Critical point of vapor
2018.05.01-05.12 ギャラリエ アンドウ GALERIE ANDO
Magnetic field of intuitive image memory
2017.09.02-09.17 ギャラリーフィールアートゼロ Gallery feel art zero
Auron creates a dagger-like vibration in space-time centered on the poles. Naturally, the entire planet is charged with electricity, and lightning roars high in the sky, connecting it to the earth. Tape recorders and hard disks are magnetic, and the brain, which controls our memory, is magnetic and electric. Our intuition and memory are awakened and maintained by electrical and magnetic forces, and they travel around the globe, so to speak. Shinohara’s imagination is constantly changing and amplifying day by day, while connecting with memories and intuitions from ancient times. Shinohara’s works are based on the belief that the images that appear in memory are not coincidental, but rather exist as an inevitability. The moment an image rises in a space may be called the intuitive expression of an artist.
gallery feel art zero Nao Masaki
Arbitrary language to be visualized
2017.05.01-05.12 ギャラリエ アンドウ GALERIE ANDO
Filtration of phenomenological reduction
Suddenly a cold rain that drowns out all sound
The view from the window is transformed into a neutral silver gray.
The window glass distorts and flows.
The vision is like a hyperventilating fish in an aquarium.
The visuals transform things in the outside world into dissolved mercury, like a fish hyperventilating in an aquarium.
From a visible phenomenon, we suddenly find ourselves in a world of white noise.
External factors instantly retrograde experience and experiential values, and the present is put through a sieve of images.
the present moment into a sieve of images.
Acknowledging the energy that wells up from within.
through the medium of expression that results from a sincere artistic design.
Can it be brought to a univocal universality?
Before I knew it, the rain had passed and small droplets of water began to shine.
May, 2016: Risshatsu (first day of summer)
Protocols homey backwards.
2015.09.12-09.27 ギャラリーフィールアートゼロ Gallery feel art zero
SHINOHARA Takeshi is a contemporary artist who has looked deeply into human thought and its origins and transformed them into action through his creations. The first sheet of a scroll made of papyrus in ancient Greece was called protokollon, where “proto” means “first” and “kol” means “glue. This act, which can be said to be the origin of writing, was the first step in defining the concepts that are common in the world today. In today’s hectic pace of life, we sometimes feel as if our thinking has stopped and we are being driven by the rules of the world. To stop and change one’s way of thinking in the face of the great flow of events is, from the perspective of the future, a small but great first step toward creating a page of a new era.
gallery feel art zero Nao Masaki
Looking back, I wonder how many times I have looked up at the sky and searched for the moon.
Rather than looking for it, I may have been more likely to look straight up at it, even while my eyes were occupied with the ground, when I suddenly sensed its presence.
I may have felt its presence and looked up straight at it more often than I looked for it.
The contingency that gives rise to the active nature of looking is also inevitable.
How did I watch the moon, starting from simply “looking at the moon”?
The images that arise between the moon and myself are varied, but at that time, my perspective changed in no small way.
The moon made me create my work.
Even if it is something that has been consciously accumulated, it may sink into our consciousness later and become a constraint or a frame for our thinking.
It is important to transform into a clear space where such things are removed, and to see things as a process of that transformation.
I believe that this is a path that spirals, getting closer to the essential center, to the source of creation.
After calming down the passions and internal conflicts, we must go beyond reason to the ultimate destination, Sublime.
The quiet subject of the moon was a sufficient guidepost.
I watched the accumulation of life as I experienced the transformation of the field maintained by the tingling sensation of perception.
The work is further reconstructed as a work of art to encourage its maturation.
We hope that this work will be a sign that opens up a positive new world created by the transformation of perspectives.
We follow the path we should take in a straightforward manner with our own methodology.
Believing that our expressive activities will serve as a guidepost for those who live on.
I would like to move forward in the present, a time from which there is no turning back.
Buds in Helsinki
2011.09.10-09.25 ギャラリーフィールアートゼロ Gallery feel art zero
Sometimes it seems like a miracle that I am alive right here, right now. The days that have passed, the places and events that we have passed through, and everything that has led us to live, are the reason we are alive today. Whenever I look at the harsh reality of how to live the life we are given, what inspires my heart, which seems to be closed off, is the workings of life itself. When I stood in the city center of Helsinki, a faraway place, the air was freezing and I hardly saw a single person passing by. It was a harsh winter, and if I stood there motionless for a few minutes, I felt as if I would freeze in the landscape. Whenever I feel faint, my thoughts often return to this place. I imagine the people who continue to live in this ice-covered land, and the buds of plants that must surely be getting ready to live under the icy soil beneath my feet. The freezing heart regains the moisture of life with its own body heat. When my thoughts and images transcend dimensions and take the form of expression, they reflect my body heat, the trembling of my hands, and my breath. The image of form captured by the eye sprouts like a life with body temperature and escapes from me.
The concept of the perversion of vision and language
2010.09.04-10.03 なうふ現代アートギャラリー Gallery Nauf
WHITE NOISE CONVERTEERBAARHEID VAN PLAATS EN KWANTITEIT
People are not suddenly here now, but are present through a long process.
It is precisely because a process has taken place that something is born that allows us to move forward.
Standing in the present and looking back, there is a concern about becoming fixated on the past or becoming fixated on the past.
There is a concern that standing in the present and looking back may lead to a fixation on the past, but it is important to look at the past accurately from the perspective of the present.
However, it is important to look at the past accurately from the perspective of the present.
It is important to look at the past accurately from the perspective of the present, not to indulge in nostalgia or a certain comfort level, nor to close our eyes to what is fearless.
Not to be nostalgic, not to be comfortable, not to close one’s eyes to something fearless, but to be accurate.
Even in the process of retracing my steps back into the past, the center of gravity inherent in me will always be “now.
The center of gravity within me is always on “now” and “hereafter,” and
I try to keep the weight in the direction of forward movement.
And the “hereafter” is naturally indicated by the retrospective process.
In the works I create now, too, the center of gravity is not allowed to stay where it is or to become accustomed to it.
I will not allow the center of gravity to remain in place or to become accustomed to it, but to move forward, to move forward
I am seeking an inevitable encounter with what emerges.
Step into the forest into the forest. Climb gently.
The grassy footing becomes bedrock, and a huge rock slopes up between the trees. Suddenly, the way in front of you opens up, and you look down at the looming bedrock. There was a landscape beyond imagination. The abyss that suddenly appeared took me to a place far away from my perception of reality.
An abyss that does not reject anyone who comes to it.
Beyond the valley of the deep fjord, which is cut out with fierce strength, a light green marsh spreads out in the distance. Below me, a deep river, so far away that no sound can reach it, flows as if time has stopped. The wind is lifting me up into the sky, and the river is screaming with heavy force to pull me in.
I am in an inevitable place created by thousands or hundreds of millions of years. Time, wind, and visible colors are all moved by an energy that cannot be discerned at the moment of assimilation. I am drawn into the abyss by a force greater than gravity, and I dance back into the sky by a force greater than gravity.
When I, the object, am in such a vortex, there arises an energy that cannot be measured in terms of the relative relationship between things and things, or things and places. It is a moment when an object not only exists, but also shares the energy of life.
It is like being underwater, where gravity weakens. -A distant memory – before I, the creature, existed.
The gas exhaled by the magma burning deep in the earth floats as bubbles, and eventually disappears as if it vanished. A moment when it is possible to see. I want to be an act of expression, sharing the existence of the soul in the vanishing object. I think of my work in the world that is yet to be seen.
Expression that contains energy that cannot be contained within the category of art. It is not a hegemonic process in which superficial means of expression take the lead one after another. I want to believe in the truth that seeks its philosophy in the senses.