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2018-06-20LinkIcon

EXHIBITIONS

2018 - 2015

How to live #2 at Roppongi


ShugoArts
Februar 25 - June2, 2018

“ Animal House in Dogo


Dogo ONSENART 2018 Shinro-tei
April 14,2018 - Februar 28, 2019

“Atsuhiko Misawa’s Animal House: House of Enigmas


The Shoto Museum of Art
October 7- November 26, 2017

Thrice Upon A Time


ShugoArts
October 21-December 4, 2016

All Living Things


Vangi Sculpture Garden
July 24-Novmber 29, 2016

2014 - 2012

Masato Kobayashi Futo Akiyoshi " From a Quiet Distance”


PARKHAUS I’m Malkastenpark
July 12-27, 2014
Curated by Takeshi Makishima

Nameless Horse”

ShugoArts
May10 - Jun 28, 2014

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Crazy for Painting vol.9" Masato KOBAYASHI + Hiroshi SUGITO

gallery αM
February 9- March 23, 2013
Curated by Kenjiro HOSAKA

http://www.musabi.ac.jp/gallery/2012-9.html
2013年2月9日(土)~3月23日(土)

ART TODAY 2012 Explanatory Paintings and Masato Kobayashi”

Sezon Museum of Modern Art
October 6 - November 25, 2012
Curated by Hideo Nanba

“LOVE, more awful painting! and more beautiful, because painting is all for love, spring 2012”

ShugoArts
March 17 - April 21, 2012



“LOVE LOVE SHOW”

Tomonotsu Museum
Octber 20 - Decemver 18, 2012
Curated by Nobumasa Kushino
鞆の津ミュージアム
2012年10月20日[土] ー 12月18日[火]

http://abtm.jp/blog/121.html

2011- 2007

“Memory/Memorial HIROSHIMA - POLAND”

Hiroshima City Museum of Contemporary
July 19 - November 7, 2010

「メモリー/メモリアル 65年目の夏に」 広島-ポーランド特別展示 広島市現代美術館
LinkIconhttp://www.hiroshima-moca.jp/docs/press/collection2010-2_4.pdf

"Mediations Biennale”

Zamek
Sptember 09 - October 11, 2010


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“MASATO KOBAYASHI – The Paint of the Planet”

Nariwa Museum
「この星の絵の具」高梁市成羽美術館

“Light Painting”

ShugoArts

September 1 - 29, 2007
「ライトペインティング」

2006 - 2003

“Touching the Cosmos”

The Vangi Sculptre Garden Museum
「空にふれるまでのあいだ」廣瀬智央 x 小林正人 x 小粥丈晴
2006年7月8日(土)~2006年9月12日(火)
http://www.vangi-museum.jp/index.html

“U-TOPOS, Biennale Tirana 2”

The National Gallery of Art
September 12 - October 25, 2003
Directors: Edi Muka, G‘zim Q’ndro
Curated by Sislej xhafa

“ STARRY PAINT ”

SugoArts
September 4, 2004 - October 16, 2004

“MASATO KOBAYASHI STARRY PAINT stars of outer space by pure painting”

Tensta Kunsthall
October 25, 2004 - January 28, 2005
Curated by Ylva Ogland
Co-curaters Rodrigo Mallea Lira, Jelena Rundqvist

2002 - 1996

“Masato Kobayashi A son of Paintimg”

S.M.A.K.(Museum of Contemporary Art Gent)
March18 - April 29, 2001
Curated by Jan Hoet
http://smak.be/nl/tentoonstelling/7828

“KOBAYASHI Masato”

The Miyagi Museum of Art
July 5 - October 15, 2000
「小林正人展」宮城県美術館(仙台)
Curated by Koichi Wada

“A CASA DI …”

Cittadellarte - Fondazióne Pistoletto, Biella
7 July 2000 - 30 July 2000
Curated by Giacinto Di Pietrantonio
参考:http://www.undo.net/it/evento/1400

“Over the Edges”

S.M.A.K.(Museum of Contemporary Art Gent)
1 April - 30 June. 2000
Curated by Jan Hoet, Giacinto Di Pietrantonio

“de Rode Poort”

Museum van Hedendaagse Kunst, Ghent
9 November1996 - 2 February 1997
Concept : Jan Hoet
Exhibition co-ordination : Hans Martens

1995 - 1985

“A Son of Painting”

Satani Gallery
絵画の子」佐谷画廊,1992

“Ku-Sen”

Satani Gallery,1991
「空戦」佐谷画廊


“絶対絵画”

鎌倉画廊,1985

Thrice Upon A Time”, ShugoArts

21 October - 4 Decemver 2016




Thrice Upon A Time

美しい光は理屈抜きに喜びなんだけど、、クソみたいなもんに give pleasure される事があるんだよね。

ビューティフルっていうのは物や人の外観のクオリティーだけじゃないからさ。。クソみたいな物や人間のなかにある、或るクオリティーがやたらビューティフルだって事はよくあるだろ。デュシャンの便器とか、ウオーホル、ゴッホ、カラヴァッジョ、ムラカミ、、、みんなそうなんじゃない?だってアートは物の優劣じゃない。

だから紙一重なんだよねー。おれの理想卿はいっつもボーダーの辺。非道い絵、つまり道に非ず!『美しい絵とひどい絵』それらが絵の星の家族に思えて、家族みたいに一緒くたに住んでる、っていうか掛かっていたり床に置いてあったり、空の画も天使も林檎もヌードも抽象画も、、星の欠片みたいなのも、、 FAMILY、、絵の家族だよね、、、。美と糞のボーダーに建ってる絵の家族の小屋、、その原っぱに馬が居たんだ。笑。

Once upon a time,, Twice upon a time,,,Thrice upon a time,,,,,,,
そこにいたカウボーイカウガール。


小林正人 鞆の浦のアトリエにて 2016年8月

小林正人の作品には、破壊するのではなく生成するという意味での「生」が横溢しています。
絵の制作がキャンバスを張るときからすでに始まっていて、キャンバスを張り終わるときが完
成であるという、理屈では可能だが実現は困難な手法に行きついたのは80年代の半ば、小林正
人が20代のときでした。 
画家として生きることを決心し、新しい芸術を目指した若き日の小林正人が、大学時代に吸収
したラスコーなどの洞窟壁画から20世紀ミニマリズムまでの大きな芸術の流れを前にして、己
の芸術表現の立脚点を求めたその先に待っていたのは、「白いキャンバスを木枠に張ってから
描き始めるのではすでに遅い」「ミニマリズムまで行った後の芸術の世界で依然として芸術様
式的に意義のある絵を描こうとするならば、新しい手法を獲得しなければ描き始めるわけには
いかない」という必然的かつ誠実な、しかし困難に充ちた命題でした。 
印象派、セザンヌ、マティスを経てポロック、ニューマン、ロスコ、ステラなどのアメリカ抽象
表現主義の流れ、ミニマリズム、コンセプチュアリズムが日々論じられ、絵画とは呼ばず「平
面」と呼ぶのがならわしであったそのような時代の小林正人には、具体も実験工房ももの派も
浮世絵もいかなる主義も眼中にはなく、東京・国立のアトリエで孤高の中に今に至るオリジナ
ルな手法を獲得したのでした。
1997年に伝説的キュレーターとなったヤン・フート(1936 -2014) の誘いに応じてベルギー・
ゲントに渡欧したのはそれから10年以上先のことで、小林はそこで初めて作品を床に置き立て
掛けるという、絵画の掟を破る展示に到達します。いち早く彼の真の独創性に気付いたのはヤ
ン・フートだけではなく、彼の作品に遭遇した蔡国強やKris MartinSislej Xhafaといった何人
かのアーティスト達でした。その後日本へ戻った現在も後進のアーティスト達に影響を与え続
ける小林の存在はArtist’s artistと呼ぶにふさわしいものでしょう。
「昔々」の三乗に当たるThrice Upon A Time と名付けられた本展は、そうした小林正人の感慨
にも似た自身の人生とルーツを振り返ったときふとつけられたタイトルです。疾走を続ける小
林が今時空を超えたある種の宿命を感じ、ShugoArtsの新スペースをオープンさせます。
六本木に移転したシュウゴアーツの新しいスペースのこけら落としとなる今展覧会 Thrice Upon
A Time にお運びいただければ幸いです。

シュウゴアーツ 佐谷周吾

Masato KOBAYASHI
Thrice Upon A Time
October 21 Fri. – December 4 Sun., 2016

"Thrice Upon a Time"
Beautiful light fills us with visceral pleasure, but something that looks like shit can also give us pleasure.
'Cause as we all know, beauty isn't just about the external qualities of a thing or a person. A lot of times the fact that a certain quality is contained in something or someone that looks like shit makes it even more beautiful. That goes for Duchamp's urinal, Warhol, van Gogh, Caravaggio, and Murakami. Because art isn't about something being better or worse.
That's why there's such a fine line. My utopia is always right there next to the border. Bad paintings are made by outlaws! I think of the paintings in Love, More Awful! But More Beautiful, Because Painting Is All for Love as a family of the planet. Like a family, they live together in a jumble – they're hanging on the wall, they're resting on the floor, there are angels, skies, apples, nudes, and abstract paintings…fragments of stars…family…it's a family of paintings! It's a family of this planet on the border of beauty and shit. And there are some horses out there on the plain. Laughter.
Once upon a time, twice upon a time, thrice upon a time… there was a cowboy and a cowgirl.

Kobayashi Masato,
Tomonoura Studio, August 2016

―― ―― ―― ――
Kobayashi Masato's works overflow with life, with the generative, rather than the destructive principle. It was in the mid-1980s, when he was in his 20s, that he arrived at a process of producing paintings that begins with stretching a canvas and ends when the canvas is stretched, a method that is logically possible, but difficult to realize in practical terms.
The young Kobayashi, having decided to be a painter and seeking for a new form of art, looking over the history of art from the Lascaux cave paintings to 20th-century Minimalism, which he had absorbed in university, and seeking a base on which to establish his own art, faced truths that were undeniable, inevitable, but daunting: "By the time you stretch a white canvas on stretcher bars and start painting on it, it's already too late to make something genuinely new", and "If you want to continue producing paintings of formal significance in the post-Minimalist art world, you must begin by pursuing an entirely new process".
Kobayashi came of age in an era when there was constant discussion of the history of modern art – from Impressionism, Cézanne, and Matisse through Pollock, Rothko, and the other American Abstract Expressionists, and their successors such as Newman and Stella, Minimalism and Conceptualism – and it was a common practice to refer to painting as "two-dimensional art" rather than "painting." He did not concern himself with Japanese avant-garde movements like Gutai, Jikken Kobo, and Mono-ha, or even with ukiyo-e or anything else, but in the solitude of his studio in Kunitachi, Tokyo arrived at an original approach which he carries on to this day.
It was more than 10 years later, in 1997, that Kobayashi moved to Europe at the instigation of the legendary curator Jan Hoet (1936-2014), and it was there that he first broke a cardinal rule of painting by placing his works on the floor and leaning them against the wall. Besides Jan Hoet, others who recognized his originality early on were fellow artists such as Cai Guo-Qiang, Kris Martin, and Sislej Xhafa. Having continued to exert an influence on younger artists since returning to Japan, Kobayashi can truly be called an "artist's artist."
The title of this exhibition, Thrice Upon A Time, is a tripling of the traditional beginning of children's stories, and it came to Kobayashi, a with deep emotional resonance, when he was looking back over his life thus far and his roots. Over the years he has forged fearlessly ahead with his art, driven by a mission transcending space and time. His work opens the new space occupied by ShugoArts.

October, 2016.
ShugoArts Shugo Satani

Video


Masato KOBAYASHI Interview



Thrice Upon A Time トークショー 小林正人・青木淳 モデレーター 保坂健二朗
2016.10.21 Fri



Exhibistion View

Works


Unnamed #56
馬の肖像
2016

230x380x60cm
oil, acrylic, canvas, wood



Dream in Winter
2016
150x178cm
oil, acrylic, canvas, wood


Thrice Upon A Time
2016
135x105cm
oil, acrylic, canvas, wood



A Model of this Planet
この星のモデル
2016
113x118 cm
oil, acrylic, canvas, wood



A Model of this Planet
この星のモデル
2016
177x125 cm
oil, acrylic, canvas, wood


Love
2016

176x171cm
oil, acrylic, canvas, wood



A Model of this Planet
この星のモデル
2016
135x124 cm
oil, acrylic, canvas, wood



A Family
絵の星の家族
2004-2016
138x113 cm
oil, acrylic, canvas, wood


Thrice Upon A Time (Family)
2016

230x380x60cm
oil, acrylic, canvas, wood



ILLUMINATION
飾画
2016
120x67 cm
oil, acrylic, canvas, wood



ILLUMINATION
飾画
2004-016
101x47 cm
oil, acrylic, canvas, wood



A Model of this Planet
この星のモデル
2016
90x51 cm
oil, acrylic, canvas, wood