高谷史郎
史郎の高谷
La chambre claire
La Chambre Claire (or Camera Lucida) is a show built up from precise, symmetrical movements, inviting spectators to embark on a thought-provoking journey into their most intimate and personal territory. In this, his first solo work as creative artist and director, Shiro Takatani pays homage to the French writer Roland Barthes and his essay on photography, La chambre claire (1980). The result is a performance that blends theatre, the art of movement and installation to compose a great fresco full of subtle, elegant minimalist images that advance towards an aesthetic climax. Reflecting on photography and memory, the production invites us to embark upon an intimate, solitary journey to look inside ourselves and formulate a personal interpretation of what we see.
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La Chambre Claire (oder Camera Lucida) ist eine Show, die aus präzisen, symmetrischen Bewegungen aufgebaut ist und die Zuschauer zu einer zum Nachdenken anregenden Reise in ihr intimstes und persönlichstes Gebiet einlädt. In seiner ersten Soloarbeit als kreativer Künstler und Regisseur huldigt Shiro Takatani dem französischen Schriftsteller Roland Barthes und seinem Aufsatz über Fotografie, La chambre claire (1980). Das Ergebnis ist eine Performance, die Theater, Bewegungskunst und Installation miteinander verbindet, um ein großartiges Fresko voller subtiler, eleganter minimalistischer Bilder zu komponieren, die sich einem ästhetischen Höhepunkt nähern. Die Produktion reflektiert Fotografie und Erinnerung und lädt uns ein, eine intime, einsame Reise zu unternehmen, um in uns selbst zu schauen und eine persönliche Interpretation dessen zu formulieren, was wir sehen.
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La Chambre Claire（またはCamera Lucida）は、正確で対称的な動きから構築されたショーであり、観客を招待して、最も親密で個人的な領域への示唆に富む旅に出ます。この中で、クリエイティブアーティスト兼ディレクターとしての彼の最初のソロ作品である高谷史郎は、フランスの作家ロラン・バルトと彼の写真に関するエッセイ、ラ・シャンブル・クレア（1980）に敬意を表しています。その結果、劇場、動きの芸術、インスタレーションを融合させて、美的クライマックスに向けて前進する繊細でエレガントなミニマリストのイメージに満ちた素晴らしいフレスコ画を構成するパフォーマンスが生まれました。写真と記憶を反映して、この作品は私たちを親密で孤独な旅に乗り出し、自分自身の内部を見て、私たちが見ているものの個人的な解釈を定式化するように誘います。

NO/Escape
Mallorcan artist Bernardi Roig (b. 1965) installs six sculptural works in unexpected interior and exterior spaces, challenging visitors to rethink the definition of the museum. Roig draws parallels between his and Honoré Daumier’s works, both of which offer poignant social commentary. Roig addresses the existential dualities of entrapment and liberation, blinding and illumination, absence and presence. Typical of the artist’s work are the cruel-looking white plaster figures cast from real people, often cornered or crushed against walls or twisting in pain. By including the element of light—whether a single light bulb, neon tubes, or fluorescent lights—Roig’s work blends minimalist forms with highly charged expressions of anxiety and loneliness.

Light Tree: Interactive Dan Flavin
HYBE’s Light Tree: Interactive Dan Flavin re-illuminates the minimalist fluorescent light tubes of Dan Flavin from the 1960s, through digital technology. Experimenting with light and its effect, Flavin explored artistic meaning in relationships between light, situation, and environment. The readymade fluorescent light fixtures he used created space divided and adjusted by light and composition, offering a newly structured space with light. HYBE’s work expands the logic of Flavin by reinforcing the physical property of light through interactive media. It presents an escape from traditional lighting, as light and color changes when touched by viewers. Lighting here is divided into front and back, and colors are programmed to maintain complementary colors. The front lighting constantly interacts with colors on a back wall through visual contrast and mixture. A random change and diffusion of light with the involvement of viewers provokes tension extending and segmenting space, turning space into a forum for emotional perceptual experience.

SOL
SOL is a minimalistic environment, leading visitors into the reaches of their perception. The installation builds on loss of control, shifts in awareness and a feeling of dislocation and timelessness. SOL is the third work in an ongoing series of phenomenological environments, after the live performance FEED, 2005 and the installation ZEE, 2008. The all encompassing darkness of SOL is lifted, in intervals and for parts of seconds only, by animated bursts of intensely bright light. Falling back into darkness, visitors experience abundant retinal after-images, that gradually drift away until eventually the next eruption of light is triggered. In the surround sound-scape of SOL, electronic drones mix with swarming field recordings, amidst a sea of infra-bass.

Luz, volume, escala, desorientação, infinitude, ilusão e realidade: estes os vetores da arte da luz como praticada por Doug Wheeler no contexto de um movimento ao mesmo tempo minimalista nos materiais físicos da obra e maximalista quanto à amplitude de sensações provocadas. “Luz e espaço” é o título de uma tendência reunindo artistas em torno interessados na luz surgida na Califórnia nos anos 1960. Piloto de aviões, Doug Wheeler anotou as sensações estimulantes e desnorteantes do vôo; de modo análogo, suas obras “desestabilizam nosso sentido de equilíbrio e nos levam a mover-nos em compasso com a Terra na direção de um horizonte inalcançável”. Outro modo de dizer a mesma coisa é destacar que Doug Wheeler busca a experiência do sublime.

Penser et sentir
Sous le thème du Zen, cette œuvre représente une partie de la philosophie du Zen avec des données tridimensionnelles créées avec la technologie de photogrammétrie composée du paysage le plus minimaliste des «points» et du paysage sonore des «ondulations», avec la coopération de Toryo Ito, vice-prêtre de Ryosokuin, temple Kennin-ji Tacchu, Kyoto. L’image générée reflétant les informations environnementales de l’espace d’exposition crée «une interaction entre l’environnement et l’image», tout comme les arbres et les feuilles se balançant dans le silence du temple zen.

Odysseus und die Badegäste
Weit entfernt von den traditionellen pastoralen Szenen, die durch den Titel der Ausstellung hervorgerufen werden, hat der in New York lebende Künstler im Museum für kykladische Kunst in Athen eine helle und minimalistische Serie kinetischer Skulpturen beschworen. Für die neuen Werke ließ sich der Künstler von Ancient inspirieren Griechenland. Dies geschah nicht nur durch die Titel seiner Arbeit, die sich mit den Namen von Charakteren aus The Odyssey befassen, sondern auch durch die Erforschung der Eigenschaften der Protagonisten. Abstrakt und rätselhaft bringt Paul Chan die philosophische Verbindung des antiken griechischen Denkens kunstvoll mit eine moderne und zuordenbare neue Umgebung. Odysseus ‘Drang, nach dem Trojanischen Krieg in seine Heimat zurückzukehren, und die Art und Weise, wie er die Reise steuert, werden zu einer ergreifenden Metapher für zeitgenössische Erfahrungen.

Der unbeschreibliche Gärtner
“Loris zieht eine starke Anziehungskraft auf die Komposition, die durch die Verschmelzung von Leben und Kunst entsteht. In seinen Kreationen bezieht er häufig Segmente aus verschiedenen wissenschaftlichen Bereichen ein, zum Beispiel Chemie und Spitzentechnologie. Nach dieser philosophischen Linie ist der Begriff des organischen Elements einer der Hauptbestandteile und wesentlichen Konzepte seiner Arbeit. Dieser Begriff dient einem doppelten Zweck, mit der Absicht, ein bestimmtes Objekt und seine Relevanz in der materiellen Welt zu erforschen, aber auch den minimalistischen Ansatz im Kunsthandwerk zu betonen.” Hugo Hess

ONE SHAPE, ONE SQUARE, ONE EXECUTION, ONE TRANCSENDENCE
ONE SHAPE, ONE SQUARE, ONE EXECUTION, ONE TRANSCENDENCE consolidates three quotations from the writings by the minimalist artist and philosopher Ad Reinhardt. The works in question are “Abstract Painting, Sixty by Sixty Inches Square”, “On Negation” and “There is just one painting”, a fragment of which has been taken as a work title. The text “On Negation” is turned into sound and used to cause the vibration of the black square plane that has the same dimensions as “Abstract Painting” by Ad Reinhardt.

Concrete Storm
On first impression, visitors experience solid forms, which draw on minimalist motifs and underscore the stable properties of concrete. While wearing the HoloLens, viewers enter a mixed reality, enlivened by responsive holograms that augment the physical environment of the installation. With Concrete Storm, DRIFT explores the layer between the parallel worlds, whereby the real and the virtual worlds co-exist. People’s attention is now constantly divided between these two worlds in which they coexist. The artists believe that combining these two seemingly separate worlds they can study the unlimited possibilities of the unstoppable evolution. Concrete Storm expands the boundaries of the digital world, freed from screens, and integrated into the fabric of physical existence.

ДЖОН МАК-КРАКЕН
约翰·麦克拉肯
ジョン·マクラッケン
STAR, INFINITE, DIMENSION, AND ELECTRON

John McCracken’s work embodies a threshold of physical matter and infinite mind/space. In his own words, this ‘character,’ of his work has been indefinable and difficult to write about as an integral whole. Typically referred to as one of the leading West Coast counterparts to the Minimalist regime of Donald Judd, Carl Andre, Robert Morris, Dan Flavin, Sol Lewitt and Robert Bladen, McCracken’s work extends the architecture of Minimalism, complicates the surface of simulated or real machine production, and reflects a mysticism of transcendence.

دانيال بورين
丹尼尔·布伦
다니엘 뷰렌
ダニエル·ビュラン
ДАНИЭЛЬ БЮРЕН

Daniel Buren a french conceptualist who is well known for his trademark work with stripes is oftentimes referred to as an abstract minimalist.
Challenging the conventional methods of displaying and presenting art, Buren gained notoriety at his first solo exhibition in 1968 when he glued green and white striped materiel to the exterior door of the Apollinaire Gallery in Milan. With a philosophy of reducing art into its more elemental forms while exploring the impact of repetitive motifs, his work with pattern, form and color draws attention to the surrounding environment and architectural framework rather than combating it. Instead of rejecting the environment in which his installations are produced, Buren integrates his art with the space and changes the fundamental nature of the space itself.

ODYSSEUS AND THE BATHERS

Far from the traditional pastoral scenes that are evoked by the exhibition’s title, the New York-based artist has conjured a bright and minimalist series of kinetic sculptures at the Museum of Cycladic Art in Athens.For the new works, the artist drew inspiration from Ancient Greece. This was not only through the titles of his work, which play on the names of characters from The Odyssey, but also through an exploration of the characteristics of the protagonists.Abstract and enigmatic, Paul Chan artfully brings the philosophical tethering of Ancient Greek thought to a modern and relatable new setting. Odysseus’ drive to return to his home after the Trojan War, and the way in which he navigates the journey, becomes a poignant metaphor for contemporary experience.

Soundform No.1
“Soundform No.1” is a minimalistic soundscape and kinetic art installation that transforms heat energy into a poetically evolving, spatiotemporal composition. All the sound in this installation is created thermo acoustically by activating heating elements inside quartz glass tubes hung in the space. As the glass warms, a nickel-titanium spring reacts instantly, pulling the cylinder upright. At the correct angle, airflow becomes unrestricted, and a thermo acoustic phenomenon, known as a Rijke effect (named for the professor who discovered the phenomenon in 1859), creates an audible tone.

THINK AND SENSE

Under the theme of Zen, this artwork represents a part of the philosophy of Zen with three-dimensional data created with photogrammetry technology composed of the most minimalistic landscape of “dots” and the soundscape of “undulations,” with the cooperation of Toryo Ito, vice priest of Ryosokuin, Kennin-ji Tacchu temple, Kyoto. The generated image reflecting the environmental information of the exhibition space creates “interaction between the environment and the image,” just like the trees and leaves swinging in the silence in the garden of a Zen temple.

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Credit Concept / Technical Direction: Shuhei Matsuyama Point Cloud System Design:Takamitsu Masumi Sound Design: Intercity-Express (Tetsuji Ohno) Photogrammetry Shooting: Naoya Takebe Photogrammetry Engineering: Katsuya Sakuma

colormirror dornbirn
Regine Schumann is a minimalist artist who works with Light Art, initially inspired by Color Field Painting and artists as Mark Rothko, Donald Judd and Dan Flavin. Schumann’s boxes and installations are made of acrylic colour plates especially produced for her. Her work is more than just Concrete Art. Conceptualized as emotive spaces, Schumann’s colour– lled light rooms provoke intense feelings of something otherworldly. Her minimalistic approach affects everything from her choice of materials to the way she plays with form and colour.

Bleu Red Yellow
Born in 1956 in Folkstone (England), lives and works in Brussels. Photography, video, sculptures, installations. Ann Veronica Janssens stepped into the public area with her installations, which find their roots in minimalist art. She constructs rooms and sculptures with simple building materials, above all making allowance for all aspects of the light, thus appearing as ephemeral. Clear, geometric forms are a dominant feature of her sculptural work.

Satyagraha
Portrait Trilogy:Einstein; Akhnaten; Gandhi
composed by Philip Glass, with a libretto by Glass and Constance DeJong.
Loosely based on the life of Mahatma Gandhi, it forms the second part of Glass’s “Portrait Trilogy” of operas about men who changed the world, which includes Einstein on the Beach and Akhnaten.
Glass’s style can broadly be described as minimalist.
Opera in Sanskrit

More is less
Franck Scurti réinterprète un tableau de Paul Gauguin , le Christ Jaune (1889), sous la forme d’une installation qui ressemble à une chapelle.
« More is Less », dont le titre prend le contrepied de la thèse de l’architecte moderniste et minimaliste Mies van der Rohe —Less is more—, revendique le glissement de sens, des valeurs. L’artiste n’en fait pas une œuvre à charge, mais une critique de notre société.

The ineffable Gardener
“Loris nurtures a strong attraction to the composition made by fusing life and art. In his creations, he often includes segments from different scientific fields, for example chemistry and cutting edge technology. Following this philosophical line, one of the main ingredients and vital conceptions in his work is the notion of the organic element. This notion serves to a double purpose, with intention to explore a certain object and his relevance in the material world, but also to emphasize the minimalist approach in art making.”Hugo Hess

Курт Йоханнессена
blu 12
Kurt Johannessen works with performance and installation art. Today he is one of Scandinavia’s major performance artists and is prominent on the international scene. Since the beginning of the 1980s he has produced approximately 160 different works and has had more than 300 presentations all over the world. His work is characterized by a minimalist and poetic presence.

Reality Show
The artist is known for the union between the neon and fluorescent and socio-political messages. His minimalist and modern sculptures and installations are guided by sharp social and political criticism, which has its origin in the artist personal history – that was born amid the military dictatorship of Augusto Pinochet, in Santiago, in the 1970s. The dictator used to adopt, among other absurd practices, power cut as a way to impose curfews on people. A light to control the masses is a memory of Iván Navarro childhood and eventually became the major subject of his work.

88.5° Arc x 8
Bernar Venet is a French Conceptual artist known for his curved, mathematically precise metal sculptures, and for his material exploration of coal, asphalt, and tar. “My work is self-generated. Nothing around me serves as a particular inspiration,” Venet said of his art. “I work, and I make discoveries while remaining open-minded to anything that might present a new possibility in the context of my work; this framework looks to enlarge its scope as a result of new formal and conceptual discoveries.” Born on April 20, 1941 in Château-Arnoux-Saint-Auban, the painter and sculptor studied at La Villa Thiole in Nice in 1958 for a year before pursuing a career as an artist. Friends with Arman, Jean Tinguely, Donald Judd, and Sol LeWitt, Venet worked within Minimalist and Conceptualist modes during the 1960s and 1970s.
video

倉俣 史朗
glass chair

Shiro Kuramata’s approach to designing objects reflects the atmosphere of innovation in postwar Japan. By 1970, Kuramata had introduced alternative materials such as acrylic and glass into his furniture, which played on traditional ideas of materiality and form.Transparency, the appearance of weightlessness, and a Minimalist vocabulary quickly became his signature aesthetic. In 1976, Kuramata designed Glass Chair. Its reductivist and planar form reflects his interest in geometry as well as the effect of light as it transforms and illuminates the glass. Kuramata, like many of his Japanese contemporaries, looked to Western culture for inspiration. In particular, the sculptures of Donald Judd and Dan Flavin influenced Kuramata’s furniture designs of the 1970s, such as Glass Chair.

Amelia

Edouard Locke

“Directed and choreographed by Locke in 2002, Amelia, is a beautiful piece of dance on film that won awards and critical acclaim at numerous festivals when it came out. Amelia features a hypnotic, original, minimalist score written by David Lang for violin, cello, piano and voice, and lyrics from five of Lou Reed’s most famous works that he created in the 60s for the Velvet Underground. It is beautifully shot from multiple angles, some dizzying and swooping, in a space that was tailor-made for the film itself. The shadows and lighting in tandem with the shots and the movement add layers of beauty to the stark visuals.” Sarah Elgart

高松次郎