The world of art that you can go, see, and feel
File.7 Yokohama Museum of Art "Tetsuro Komai-The Glittering Universe on Paper" Related Event "When Words Are Born from Pictures"
Miyuki Inoue (copywriter)
Tetsuro Komai is one of the pioneers who made the Japanese art world aware of new print expression and its charm through copperplate prints. However, personally, I am interested in the cross-genre activity called "Experimental Studio" in which Komai participated. When I heard that a variety of talents such as composers, critics, lighting technicians, photographers, engineers, and visual artists had gathered, I was excited to say, "It's like Ballets Russes!"
Ballets Russes, who was active mainly in Paris at the beginning of the 20th century, is a talented pot where ballet dancer Nijinsky, Kokuto, Sati, Picasso, Laurencin, Coco Chanel, etc. gathered. I heard that Japan had such a wonderful avant-garde activity!
On Saturday, November 10th, a related event was held inviting the poet Yumi Fuzuki as a guest, so I wanted to experience the world of art that transcends genres, so I went out.
* Tetsuro Komai (Photo: Kiyomi Kawaguchi)
The first thing that caught my eye in the exhibition room I visited before the event was the portrait of Tetsuro Komai. Excuse me, what a nice man!
Born in Nihonbashi, Chuo-ku in 1920 (Taisho 9), he entered the Tokyo Fine Arts School (currently Tokyo University of the Arts) through junior high and high school from Keio Kindergarten. A splendid profile. When he was teaching at university, he said he was careful about his clothes, saying, "White shirt, dark blue suit, and tie." I wonder if the freedom of the work and the kind of unrestrainedness are not unrelated to the birth and growth of the artist.
Then, the talk and poetry reading "When words are born from pictures" begins.
“Because I'm a poet, it's rare to be invited to an event at a museum,” says Fumizuki. Having said that, since he belonged to junior high school, high school and the art club, he has a deep knowledge of the world of art, and he carefully selects words to connect with each other.
The specially-equipped book "Black Horse in the Darkness" on display is a collection of short stories by Yutaka Haniya, and is a "work" illustrated by Komai. Komai, who received a request from Haniya, contains an illustration that visualizes the world view after perusing the novel.
"I didn't know the name Tetsuro Komai," he said, but it seems that "black horses in the darkness" were lined up on Mr. Fumizuki's bookshelf.
"It's not a specially equipped book, but I found it at an antiquarian bookstore when I was a student and bought it by chance."
Although the genre is different, was there a connection between talent and talent?
Komai learned the technique by himself because there was no tradition of copper engraving in Japan. There is no workshop because of the new genre, that is, there are no craftsmen. For this reason, Komai himself used a press to publish the poetry book "Mardrool no Uta" and printed more than 2000 pictures for the publication of 350 copies. The exquisite balance of poetry and painting seems to be related to the fact that the painters "handmade" each book.
"I feel the power beyond the relationship between poetry and painting. I was attracted to the fact that the relationship of which is the master and which is the subordinate is not fixed and is in opposition."
Fumizuki reads aloud the one "Bulbs" selected from "Karandrie".
After that, the talk with the curator and the reading of the poem continued, and I felt that the distance between Mr. Fumizuki and Tetsuro Komai was getting closer.
The last Komai work selected by Mr. Fumizuki is "The Maze of Time" (1952).
He wrote a new poem for this picture and read it by himself.
Komai's text recorded in the catalog of the exhibition is woven into the poem. There is such a way to enjoy writing poetry, and I feel that the threshold has become a little lower.
In the question and answer session, I would like to introduce one theme that interests me.
Q Is there a cross-genre exchange like Komai in the same generation as Mr. Fumizuki?
A : I think it's wonderful that copperplate prints have been established as a genre, but I feel a little lonely because I feel like I've been separated from other genres. I think it's amazing that the power to create new things that transcend genres, such as "Experimental Studio," and the poetry art book published in that exchange are still being looked back on after more than 50 years. increase.
I myself would like to collaborate with the works of writers and painters who have already died, without limiting the generation.
After the event, the exhibition-limited menu "Monochrome Vanilla Cafe Mocha" will be held at Café Ogurayama in the museum. Mix and dissolve the crispy chocolate on top of the cream.
The taste of Paris that Komai longed for?
A symbol of Komai who continued to produce esprit works while interacting with poets and musicians?
For the time being, I felt that it suits the deepening autumn scenery.
This event has ended.
《Tetsuro Komai—The Glittering Universe on Paper》
Session: Until Sunday, December 16, 2018
Venue: Yokohama Museum of Art
Opening hours: 10: 00-18: 00 * Until 20:30 on November 23 (Friday / holiday)
(Admission is 30 minutes before closing)