ZENBI-鍵善良房-KAGIZEN ART MUSEUM — Attraction in Kyoto

広島を旅する感覚、番外編、京都。

宮永 愛子 さんの企画展ー海をよむ、ZENBI鍵善良房KAGIZEN ART MUSEUMにて。総合プロデューサー井村優三さん imura art gallery Kyoto/Tokyo 、特別協力ミヅマアートギャラリー Mizuma Art Gallery 。2023.6.3〜8/27。

ZENBIを MARUEIDO JAPAN @marueido_japan の 沖 一成 代表に教えて頂き、BS日テレのぶらぶら美術館の番組で、 Mori Art Museum 森美術館 の企画展で宮永さんを紹介されていたので興味があった。

宮永さんは日用品をナフタリンでかたどったオブジェや、塩や葉脈、陶器の貫入音を使ったインスタレーションなど「変わりながらも存在し続ける世界」を表現している。

「宮永東山窯」 の京焼の陶芸家、初代宮永東山さんの曾孫。近年活動の拠点を京都に戻され、陶房に残る100年前の石膏型にガラスを流し込み、過去と現在を結ぶ作品を制作。

鍵善良房 にちなんだ「鍵」のモチーフや鍵善所蔵の幕末の頃の菓子木型から発想されたガラスの作品。

どちらの型も道具なので、工程がすむと中心から去ってしまう脇役になる。宮永さんはその脇役のくぼみが気になり、くぼみの海にガラスを満たして取り出された。

不在のくぼみをたずねることは、その時代にもう一度目を向け、私達のルーツに会いにゆくこと。

ガラスの小さな気泡を眺めながら、今の自分から遠い時代のことを読み、また力をもらう。

過去から今、未来へ流れている時間を感じられる。

鍵善良房は江戸中期に花街の祇園で創業。文人墨客の方々をはじめ舌や目の肥えた方々に育ててこられた。

ZENBIは町から頂戴された高い文化の恩恵を今を生きる人に知って頂き、町の文化サロンのような場の継承を目指されている。

昭和初期の当主今西善三さんは民藝の木工作家 黒田辰秋 と意気投合され、作品をコレクションされていた。

黒田辰秋は世界に誇る日本の文化の礎の漆とかなを初めて取り入れた作家と美術商から最近教えて頂いた。タイムリーな黒田辰秋との出会いだった。

モダンなデザインの黒田辰秋の漆の作品と河井寛次郎の書と宮永愛子さんの作品の調和も素晴らしかった。

昼めしは隣のゼンカフェにて。昼めしならぬ甘味の冷やししるこを頂いた。いちじくも入った酷暑の癒やしになる美味で満たされた。

The feeling of traveling in Hiroshima, extra edition, Kyoto.

Aiko Miyanaga's special exhibition - reading the sea, at ZENBI Kagizen Yoshifusa KAGIZEN ART MUSEUM. General Producer Yuzo Imura imura art gallery Kyoto/Tokyo, special cooperation Mizuma Art Gallery. 2023.6.3~8/27.

I was introduced to ZENBI by Kazunari Oki, the representative of MARUEIDO JAPAN @marueido_japan, and I was interested in Mr. Miyanaga because he was introduced in a special exhibition at the Mori Art Museum on BS Nippon Television's Burabura Museum program.

Miyanaga expresses "a world that continues to exist even though it changes," such as objects shaped from naphthalene for daily necessities, and installations that use salt, leaf veins, and the crackling sounds of pottery.

The great-grandson of Miyanaga Tozan I, the Kyo-yaki potter of "Miyanaga Tozan Kiln". In recent years, he has moved his base of activities back to Kyoto, and pours glass into 100-year-old plaster molds that remain in his pottery studio to create works that connect the past and the present.

A glass work inspired by the “key” motif associated with Yoshifusa Kagizen and a wooden cake mold from the end of the Edo period owned by Kagizen.

Both molds are tools, so they become a supporting role that leaves the center after the process is completed. Mr. Miyanaga was concerned about the hollow of the supporting character, and filled the sea of ​​the hollow with glass and took it out.

To visit the void of absence is to turn our eyes once again to that era and go to meet our roots.

While gazing at the tiny bubbles in the glass, read about a time far away from your current self, and gain strength again.

You can feel the time flowing from the past to the present and the future.

Kagizen Yoshifusa was founded in the geisha district of Gion in the middle of the Edo period. I have been brought up by people with discerning tastes and eyes, including writers and artists.

ZENBI aims to let people living in the present know the benefits of high culture given by the town, and to inherit the place like a cultural salon in the town.

Mr. Zenzo Imanishi, the head of the family in the early Showa era, had a kindred spirit with Tatsuaki Kuroda, a folk craftsman wood craftsman, and collected his works.

Tatsuaki Kuroda was recently taught by an artist and an art dealer who was the first to adopt lacquer and kana, which are the cornerstones of Japanese culture that is proud of the world. It was a timely encounter with Tatsuaki Kuroda.

The modern design of Tatsuaki Kuroda's lacquer work, Kanjiro Kawai's calligraphy, and Aiko Miyanaga's work were all in perfect harmony.

Lunch is at Zen Cafe next door. I received a sweet chilled shiruko for lunch. It was filled with deliciousness, including figs, that was soothing to the scorching...

This review is about the current exhibition and not about the place itself. Excellent staff, very nice e place, ridiculous the Andy Warhol Walking in Kyoto exhibition. A sequence of bad, mostly out of focus (for not an apparent reason) paparazzi style photos. And all this for 1,200 yen. Definitely not worth it. I should have fine to the museum of modern art to see the oldie but Goldie Elliot Erwitt...

The museum is really tiny (couple of rooms more or less) and the adult ticket is ¥1000 (you get small confectionery as a souvenir; card payment possible including...