A sparkling universe where Yuuki Fuzuki creates words from Tetsuro Komai's paintings

A world of art to visit, see and feel
File.7 Yokohama Museum of Art "Tetsuro Komai - A Sparkling Universe on Paper" Related Event "When Words are Born from Paintings"
Miyuki Inoue (copywriter)

Tetsuro Komai is one of the pioneers who brought new printmaking expression and its appeal to the Japanese art world through copperplate engraving. However, I am personally intrigued by the cross-genre activity of "Experimental Workshop," in which Komai participated. When I heard that it brought together a diverse range of talents, including composers, critics, lighting designers, photographers, engineers, and sculptors, I got excited and thought, "That's just like the Ballets Russes!"

The Ballets Russes, which were active mainly in Paris in the early 20th century, was a melting pot of talent, bringing together ballet dancers such as Nijinsky, Cocteau, Satie, Picasso, Laurencin, and Coco Chanel. Who knew such wonderful avant-garde activity existed in Japan too?
On Saturday, November 10th, a related event was held featuring guest poet Fuzuki Yumitsu, so I decided to go and experience the world of art that transcends genres.

* Tetsuro Komai (photo: Kiyomi Kawaguchi)

When I visited the exhibition room before the event, the first thing that caught my eye was a portrait of Tetsuro Komai. Excuse me for saying this, but what a handsome man!
Born in 1920 (Taisho 9) in what is now Nihonbashi, Chuo Ward, he attended Keio Kindergarten, junior high school, and high school before entering Tokyo School of Fine Arts (now Tokyo University of the Arts). What an impressive profile. When he was teaching at the university, he was said to have been particular about his attire, wearing "white shirts, navy blue suits, and ties." I can't help but think that the freedom and certain unrestrainedness of his works is likely not unrelated to the artist's upbringing.

Then the talk and poetry reading "When words are born from pictures" began.
"I work as a poet, so it's rare for me to be invited to an event at an art museum," says Fuzuki. However, having been a member of the art club in middle and high school, he has a deep knowledge of the art world and carefully chooses his words to connect the dots.

The special edition of "Black Horse in the Darkness" on display is a collection of short stories by Yukio Haniya, and is a "work" with illustrations by Komai. Komai was commissioned by Haniya to create illustrations that visualize the worldview of the novel after thoroughly reading it.
Although she said she had never heard of the name Komai Tetsuro, Fuzuki apparently had a copy of "Black Horse in the Darkness" on her bookshelf.
"It wasn't a special edition, but I found it in a used bookstore when I was a student and bought it by chance."
Even though they were in different genres, perhaps their talents were what drew them together...

As there was no tradition of copperplate engraving in Japan, Komai taught himself the technique. As it was a new genre, there were no workshops, and therefore no artisans. For this reason, when publishing his collection of poems and paintings, "The Songs of Maldroor," Komai himself used a press and printed over 2,000 images for a print run of 350 copies. The exquisite balance between poetry and art is likely related to the fact that the artist "handcrafted" each book.

"I feel a power that transcends the relationship between poetry and painting. There is no clear relationship between the two, and I was drawn to the fact that they are in opposition to each other."
Fuzuki said this as she read out "Bulbs," a story she selected from "Callandrie."

The talk with the curator and the poetry reading continued afterwards, and it felt like the distance between Fuzuki and Komai Tetsuro was growing closer.

The last work by Komai chosen by Fuzuki was Labyrinth of Time (1952).
He wrote a new poem for this painting and recited it himself.
Apparently, Komai's text, which was included in the exhibition catalogue, is woven into the poem. I realized that there is another way to enjoy poetry, and it made me feel a little more at ease.

Here is one topic that caught my interest during the Q&A session.

Q: Are there any cross-genre exchanges like there are with people of your generation like you do with Komai?
A: I think it's wonderful that copperplate engraving has been established as a genre, but I also feel a bit sad that it has become distant from other genres. I think it's amazing that a group like "Experimental Workshop" had the power to transcend genres and create something new, and that a collection of poems and paintings published as a result of that exchange is still being looked back on more than 50 years later.
Personally, I would like to work with and collaborate on works by artists and painters who have already passed away, without being limited to certain generations.

After the event, visitors can enjoy the exhibition-exclusive "Monochrome Vanilla Cafe Mocha" at the museum's Café Ogurayama. Crispy chocolate is placed on top of fresh cream and then mixed and melted.
The taste of Paris that Komai longed for?
Is this a symbol of Komai, who continued to create witty works while interacting with poets and musicians?
For now, I felt it suited the deepening autumn scenery.

This event has now ended.
"Tetsuro Komai - A Sparkling Universe on Paper"
Period: Until Sunday, December 16, 2018
Venue: Yokohama Museum of Art
Closed: Thursdays
Opening hours: 10:00-18:00 *Until 20:30 on November 23rd (Friday, national holiday)
(Last admission 30 minutes before closing)