Gallery Kawafune ギャラリー川船

中村 宏 展 -1955-2005-
11:00am-7:00pm 日・祭日休廊


車窓−少女6 2005年 シルクスクリーン+アクリル、墨 36.5x51cm

The Power of Painting That Arouses Our Desire to See
Haruo Sanda
I cannot remember at all how many exhibition reviews I wrote until I retired, in April last year (2008), from the job of art writer at a newspaper, which I held for nearly 30 years. However, as a matter of course, the number of artists whose exhibitions I took up repeatedly in my reviews is limited. Painter Hiroshi Nakamura is undoubtedly one of the limited artists, for his works have urged me to write, on every exhibition. That said, I think I could directly witness less than half of all his past exhibitions. For example, a text on the wraparound band of “Kikan 15 ? Special Feature: Hiroshi Nakamura” (Kaichosha, 1990) epitomized the earlier half of the painter’s career as “Sturm und Drang of Hiroshi Nakamura, who overran the storm of Socialist Realism by turning the montage method to his advantage and appropriated Futurism and Surrealism by modifying them to his style.” As the fate of a belated watcher, I could only encounter the “Sturm und Drang” as a bygone event.
Nonetheless, I never felt a sense of alienation like going against time when I encountered Nakamura’s Sturm und Drang after it was over. It sounds strange, but I suppose it has much to do with the characteristic process of creation of this artist, who doubted linear progress and often admitted being anachronistic, and liked to go backward in order to set forth on a new development. By the way, what was Nakamura trying to paint in his Sturm und Drang period ? which is not covered by this exhibition of the artist’s early works ? that is, from the mid-1950s, when riots against the expansion of U.S. military bases in Japan were rampant, to the early ’60s, shortly after the tumult over the U.S.-Japan Security Treaty? We can say it was the society of postwar Japan that never ceased quaking, or various things in daily life in such a society (which the painter called “disturbances”). He visualized the subject more wonderfully than anyone, commanding Socialist Realism, montage of Eisenstein films, and Surrealism, among other techniques. And he did so originally, never conventionally.
Conventional painting means propaganda painting of which the subject matter, which can be either political or of everyday life, poses a question of true or false, or right or wrong, and the answer is completely framed in prearranged harmony. At that time, Nakamura used to fight against orders from political parties more courageously than anyone else. “The tableau doesn’t criticize itself,” he said, from his pride. Well said. But his fight kept going on not only against politics-art monism (Socialist Realism) that sought concord between political cognition and art, but also against newly emerging politics-art dualism (avant-garde Modernism) that thought political cognition and artistic expression should be separate. It was probably because in the latter movement too the question of materials or methods being new or old was going to bind painting by prearranged harmony. In an attempt to surmount both the cognition supremacism of Socialist Realism and the expression supremacism of avant-garde Modernism, Nakamura kept seeking, deep underground in Japan since the ’70s, a mechanism of vision and painting that stirs up the viewer’s imagination, saying, “Art appears in a place where expression and appreciation relate to each other.” The significance of this fact deserves more attention, I believe.
The fruits of such efforts are immediately recognizable from the works at this exhibition. For example, “Shasohen Type 4,” a composition of a car driver’s seat and black-and-white stripes looking like a crosswalk seen in the rearview mirror and beyond the windshield; “Shasohen Type B: Evening” and “Shasohen Type B: Afternoon,” in which a girl in school uniform (one of Nakamura’s leitmotifs) is faintly seen floating in the air outside a car window also. The painter ingeniously allures the viewer into a virtual space dug in the thin surface of the canvas, dividing the inside from the outside by creating a window frame in the picture and making strange images flicker in it. It is certain that many such trials led to “Soraigeiki,” which enchanted me at an exhibition in 1988, when I wrote about Nakamura’s exhibition for the first time. Drawn with delicate lines, window frames are arranged horizontally and divide the picture into the “inside” and the “outside.” On the other hand, a chain of circles in black which look like driving wheels, a row of seats with tiny figures, propellers flying in the air, and clusters of splashes that look like either water spray or clouds do not cease driving our eyes horizontally.
What a perfect marriage of painting’s structural mechanism and the dynamics of vision! Even now, “Soraigeiki” should be said an epoch-making masterpiece. The following works, including the 1993 “Genkai Hyoji” series, in which yellow-and-black stripes ? a sign of interdiction ? intercept our views and excite our desire to look into the depths, and the 1999-2000 “Tetsudo Daiyaguramu” series, in which innumerable polygonal lines, reminiscent of a train diagram, create an atmosphere of disquiet, are also excellent ones that awake each beholder’s desire to see and have transformed the act of “seeing” into a thrilling “disturbance.” In addition, caricatural portraits in India-ink from the ’50s, small surrealistic oils from the ’60s with bloody red as the basic color, small fantasy works from the ’70s with girls in school uniform as the motif, prints with the same motif, and some bronze works are also seen in this exhibition of the artist’s old works. Unlike large tableaux, these works might have something that suggests the artist’s Sturm und Drang period, works from which are not included in this exhibition.
Many deplore that painting nowadays indulges in trivial personal expressions, perhaps at the request of the art market. But it is too early to worry about. For we have, in Hiroshi Nakamura, a matchless painter who has carved his own way, commanding unrivaled powers of conception, clear-cut logic and highly polished technique.
(Art journalist)
[Hiroshi Nakamura: Recent Works will be held Aug. 24 (Mon.) - Sept. 12 (Sat.), 2009.]
 去年(2008年)4月に30年近く続けた新聞社の美術記者を引退するまで、どれほどの展覧会評を書いてきたのか、まるきり見当がつかない。しかし、繰り返し取り上げてきた存在となると、当然ながら数は限られる。それだけ彼の作品が、発表のつどこちらに書くことを迫ってきたからという意味で、画家・中村宏は疑いなくその限られた一人であった。とはいえ、私が作品発表の現場を直接取材し得たのは、彼の全画歴の半分にも満たないだろう。たとえばこの画家の前半生を、「社会主義リアリズムの嵐にモンタージュ論を逆手に取って駆け抜け、未来派・超現実主義を換骨奪胎して吾ものとした中村宏のシュトゥルム・ウント・ドラング」と要約してみせたのは、『機関15 中村宏特集』(1990年・海鳥社)の帯文であるが、遅れてきた者の宿命として私は、その「シュトゥルム・ウント・ドラング(疾風怒濤期)」とは事後的にしか出会うほかなかった。
 この探究の成果は、今回の出品作からも即座に拾い上げることができる。たとえば手前に乗用者の操縦席、車内のミラーとフロントガラス越しに横断歩道めいた白黒のストライプが走る《車窓篇 TYPE 4》や、やはり車窓の向こう側にかすかなセーラー服の少女(中村宏のライトモチーフの一つ)が宙を舞う《車窓篇 TYPE B 夕 》、《車窓篇 TYPE B 午後 》などがそうである。画面に窓の仕切りを描いて内と外を弁別し、そこに奇異なイメージを明滅させたりして、画家はうすっぺらの表面にえぐられた仮想空間へと鑑賞者の視線を巧みに誘い込む。こうした試行の数々が、1988年に中村宏展を初取材した私を魅了し尽くした《早来迎機》へと飛躍を遂げたに相違ない。精緻な線で画面を内と外に分かつ横並びの車窓枠。対して動輪らしき黒い円弧の反復連鎖、ちっぽけな人影の見える座席の列、宙を飛ぶプロペラ、水しぶきとも雲烟ともつかない飛沫の群れは、視線を水平方向に疾駆させてやまないだろう。

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「車窓篇 TYPE4」1977-90 油彩・キャンバス 100F

「タブロオ機械・?」 1999 アクリル・キャンバス 100F

「早来迎機」1988 アクリル、糸による穴かがり・キャンバス100P

「オペラグラス(赤)」 1966 油彩・キャンバス 15F

「車窓篇 TYPE 2(コクピット)」1975 油彩・キャバス 100P

「お尻」1970 ブロンズ 21/30 11x9xh.7cm

「鉄道ダイアグラム A 」 1999 アクリル・キャンバス 100P

「膝小僧」1977 油彩・キャンバス 3F

「ある肖像 U」 1955 墨 24x20cm

「限界標示 7」1993 アクリル・キャンバス 50F

1932 静岡県シズオカケン浜松市ハママツシまれ。
1955 日本ニホン大学ダイガク芸術ゲイジュツ学部ガクブ美術ビジュツ学科ガッカ卒業ソツギョウ
1953 青年セイネン美術家ビジュツカ連合レンゴウ所属ショゾク。ルポルタージュ美術ビジュツ運動ウンドウ参加サンカ
  ダイ1カイ個展コテン(長崎ナガサキホクソウ画廊ガロウ) 以降イコウ現在ゲンザイまで52カイ個展コテン開催カイサイ
  ダイ5カイ読売ヨミウリ日本ニホンアンデパンダンテン[東京都トウキョウト美術館ビジュツカン] 翌年ヨクネン出品シュッピン
1954 ダイ7カイ日本ニホンアンデパンダンテン日本ニホン美術ビジュツカイ主催シュサイ)[東京都トウキョウト美術館ビジュツカン] 1961ネンまで出品シュッピン
1955 砂川スナガワ米軍ベイグン基地キチ拡張カクチョウ反対ハンタイ闘争トウソウキタ富士フジ米軍ベイグン演習場エンシュウジョウ反対ハンタイ闘争トウソウなどに参加サンカ
1960 *60ネン安保アンポ闘争トウソウに6ガツ行動コウドウ委員会イインカイメンバーとして参加サンカ
1963 ダイ7カイ安井ヤスイショウ候補コウホシンジンテン[東京トウキョウ国立コクリツ近代キンダイ美術館ビジュツカン]
1966 赤瀬アカセガワゲンペイ模型モケイ千円センエンサツ裁判サイバン弁護ベンゴガワ証人ショウニンとして出廷シュッテイ
1969 学校ガッコウ創設ソウセツ参加サンカ中村ナカムラヒロシ油彩画ユサイガ工房コウボウ担当タントウする。
1970 ダイ1カイコマテン[東京都トウキョウト美術館ビジュツカン] 以後イゴ毎年マイネン出品シュッピン
1972 ダイ4カイ日本ニホン芸術ゲイジュツ大賞タイショウテン[新宿シンジュク伊勢丹イセタン]
1973 現代ゲンダイ日本ニホン美術ビジュツテン現代ゲンダイ美術ビジュツ20ネン展望テンボウー[東京都トウキョウト美術館ビジュツカン]
1974 日本ニホン伝統デントウ現代ゲンダイ「デュッセルドルフ市立シリツ美術館ビジュツカン:ドイツ]
1976 世界セカイシュールリアリストテン[シカゴ、ギャラリーブラックスワン:USA]
1981 1960年代ネンダイ現代ゲンダイ美術ビジュツ転換期テンカンキ[東京トウキョウ国立コクリツ近代キンダイ美術館ビジュツカン]
1985 現代ゲンダイ美術ビジュツの40ネン[東京都トウキョウト美術館ビジュツカン]
  再構成サイコウセイ日本ニホン前衛ゼンエイ芸術ゲイジュツ 1945-65[オックスフォード近代キンダイ美術館ビジュツカン:イギリス]
1986 前衛ゼンエイ芸術ゲイジュツ日本ニホン 1910-70[パリ、ポンピドゥ・センター:フランス]
1988 日本ニホンのルポルタージュ・アート−絵描エカきがとらえたシャッター・チャンス[板橋区立イタバシクリツ美術館ビジュツカン]
1991 芸術ゲイジュツ日常ニチジョウハン芸術ゲイジュツ/ハン芸術ゲイジュツ[国立コクリツ国際コクサイ美術館ビジュツカン]
1992 ホン宇宙ウチュウ詩想シソウをはこぶ容器ヨウキ[栃木県立トチギケンリツ美術館ビジュツカン]
1994 戦後センゴ日本ニホン前衛ゼンエイ美術ビジュツ[横浜ヨコハマ美術館ビジュツカン]
1995 現代ゲンダイ美術ビジュツ手法シュホウ(1)コラージュ[練馬区立ネリマクリツ美術館ビジュツカン]
1998 戦後センゴ日本ニホンのリアリズム 1945-1960[名古屋市ナゴヤシ美術館ビジュツカン]
2002 20世紀セイキ美術ビジュツ虚像キョゾウ認知ニンチした[板橋区立イタバシクリツ美術館ビジュツカン]
2003 まどわしの空間クウカン遠近法エンキンホウをめぐる現代ゲンダイの15ソウ[うらわ美術館ビジュツカン]
2004 再考サイコウ近代キンダイ日本ニホン絵画カイガ[東京都トウキョウト現代ゲンダイ美術館ビジュツカン]
2007 中村ナカムラヒロシ図画ズガ事件ジケン 1953-2007(ダイ48カイ個展コテン)[東京都トウキョウト現代ゲンダイ美術館ビジュツカン名古屋市ナゴヤシ美術館ビジュツカン]
2008 富士山フジサン[山梨県立ヤマナシケンリツ美術館ビジュツカン]
  コウホン IKAPOS(イカロス)』(稲垣足穂との共著・呪物ジュブツ研究所ケンキュウジョ                                                                      

Hiroshi NAKAMURA                                      
1932 Born in Hamamatsu, Shizuoka Prefecture, Japan  
1955 Graduated from Department of Fine Arts, Nihon University College of Art  
Selected exhibitions and other activities  
1953 Joined Seinen Bijutsuka Rengo (young fine artists' association). Engaged in a reportage art movement  
  1st solo exhibition (Nagasaki Hokuso Gallery); has held a total of 52 solo exhibitions up to now  
  5th Yomiuri Japan Independent exhibition (Tokyo Metropolitan Art Museum [TMAM]); also in 1954  
  27th Kokuten exhibition (TMAM)  
  1st Nippon Ten (exhibition) (7th Zen-ei Bijutsu Ten) (TMAM).
Nippon Ten was held by Zen-ei Bijutsu Kai (avant-garde art association),
established in 1947. Keeps participating in the exhibitions held by this association
  17th Jiyu Bijutsu Kyokai Ten (free art association exhibition) (TMAM)  
1954 7th Japan Independent (held by Nihon Bijutsu Kai) (TMAM); kept exhibiting until 1961  
1955 Engaged in movements against the expansion of the Sunagawa U.S. military base,
the U.S. military maneuver area in the Kitafuji district, etc.
  Joined Zen-ei Bijutsu Kai  
1960 Participated in the '60 anti-U.S.-Japan Security Treaty movement as a member
of Rokugatsu Kodo Iinkai (antistate action committee)
  Development of Surrealist Painting (National Museum of Modern Art, Tokyo [MOMAT])  
1963 7th Yasui Prize fresh runners-up exhibition (MOMAT)  
1966 Appeared in court as a defense witness for Genpei Akasegawa in Akasegawa's "1,000-yen bill incident"  
1969 Participated in the foundation of Bigakko (art school); taught at Hiroshi Nakamura oil painting studio  
1970 1st Koma Ten (TMAM); has exhibited there annually since  
1972 4th Nihon Geijutsu Taisho Ten (Isetan department store, Shinjuku, Tokyo)  
1973 Gendai Nihon Bijutsu Ten -- 20 Years of Contemporary Art (TMAM)  
1974 Japan -- Tradition und Gegenwart (Kunsthalle Düsseldorf, West Germany)  
  Universe (Museu de Arte de São Paulo, Brazil)  
1976 World Surrealist Exhibition (Gallery Black Swan, Chicago)  
1981 The 1960s: Decade of Change in Contemporary Japanese Art (MOMAT)  
1985 40 Years of Contemporary Art (TMAM)  
1986 Reconstructions: Avant-Garde Art in Japan 1945-1965 (Museum of Modern Art Oxford)  
  Japon des Avant-gardes, 1910-1970 (Centre Georges Pompidou, Paris)  
1988 Japan's Reportage Art -- Perfect Moments Caught by Painters (Itabashi Art Museum, Tokyo)   
1991 Japanese Anti-art: Now and Then (National Museum of Art, Osaka)   
1992 The Universe of Books -- A Container for Poetry (Tochigi Prefectural Museum of Fine Arts, Japan)  
1994 Japanese Art After 1945: Scream Against the Sky (Yokohama Museum of Art)  
1995 A Method of Contemporary Art (1): Collage (Nerima Art Museum, Tokyo)  
1998 Realism in Postwar Japan 1945-1960 (Nagoya City Art Museum [NCAM])  
2002 20th Century: Art Recognized Virtual Images (Hiratsuka Museum of Art , Japan)  
2003 Madowashi no Kukan (illusory space): 15 Approaches to Perspective (Urawa Art Museum, Japan)  
2004 Remaking Modernism in Japan 1900-2000 (Museum of Contemporary Art, Tokyo [MOT])  
2007 Hiroshi Nakamura: Pictorial Disturbances 1953-2007 (MOT, NCAM)  
2008 Mount Fuji (Yamanashi Prefectural Museum of Art, Japan)  
Nakamura Hiroshi Gashu (book of paintings): Boenkyo Kara no Kokuji (Gendai Shicho Sha)  
Jubutsuki (Daiwashobo)  
Kikaigaku Sengen: Chi wo Hau Hikoki to Hiko Suru Joki Kikansha (coauthored with Taruho Inagaki, Kamensha)  
Kikobon Icarus (coauthored with Taruho Inagaki, Jubutsu Kenkyujo)  
Nakamura Hiroshi Sakuhinshu (book of works): Shasohen (Shinya Sosho Sha)  
Nakamura Hiroshi Gashu: Tableau Kikai 1953-1994 (Bijutsu Shuppan)  
Zuga Hoki 1955-2000 (Bijutsu Shuppan)