小泉明郎

KOIZUMI Meiro

空気 #1

2016年

“Air #1”, acrylic on printed canvas, air, 2016

1976年群馬県生まれ
神奈川県拠点

「あいちトリエンナーレ2019」本展にも参加の小泉明郎は、演劇的手法を用いて社会の矛盾や深層をあぶり出す映像表現がよく知られる。作品モチーフには、日本の戦争をめぐるものもある。本作は映像から技法を変えながらも一貫して追うテーマを掘り下げる。

写真という現実の風景に対し、絵の具で描くという身体的動作の介入でそこに潜むものを浮き彫りにする。もう一つの層(レイヤー)として現実に重ねられた半透明の像は、日本社会における不可視の制度そのものだ。彼には天皇制を扱った連作〈空気〉のほか、天皇像にスクラッチする〈The Symbol〉などがある。

本作は2016年の「MOTアニュアル2016 キセイノセイキ」(東京都現代美術館)で出品予定だったが、館との交渉の末出品を断念。直後に画廊展示された。館の懸念のひとつが「多くの人が持つ宗教的な畏敬の念を侮辱する可能性」。天皇を崇拝する人々がいるのは事実だ。だが、世俗の宗教と一線を画し「国家の祭祀」として戦前に君臨した国家神道は、皇祖神への崇敬儀式を続ける戦後の天皇にも受け継がれた。宗教性を持つ公共的存在とどう向き合うべきか。小泉の表現が生んだ波紋の難しさだ。

(アライ=ヒロユキ)

KOIZUMI Meiro, who also participates in the main exhibition of Aichi Triennale 2019, is renowned for his video expressions that feature theatrical methodologies to distill contradictions and deepened layers in the society. Among his various motifs, he has also featured the war by Japan. Although the medium differentiates from his video work, he had further pursued the coherent theme in this work.

Through the physical intervention of adding pigment to a photograph, which portrays a landscape in reality, KOIZUMI distills the issues in which are hidden there. The transparent image added to the reality as another layer is the invisible system of Japan itself. Besides AIR, the serial work by KOIZUMI that features the Imperial system, he also has a series titled The Symbol where he scratched the image of the Japanese emperor.

This work was ought to be exhibited at MOT Annual 2016: Loose Lips Save Ships (Museum of Contemporary Art, Tokyo), however, was forced to refrain from exhibiting due to a negotiation with close by the museum. Right after the museum exhibition started, the work was displayed at a gallery close by. One of the museum’s concerns was that “the work may infringe the sincere religious beliefs of many others.”It is true that there are people who worship the emperor. However, the state-sanctioned Shinto is completely separated from other religions for citizen’s life, and had been praised as the “national ritual” while it reigned in wartime Japan, and then been inherited to the emperor of today after the war, where they continue to worship the Kososhin (Imperial ancestor god). How are we ought to confront a public existence which has a religious background. This is where the difficulty lies within the ripples that KOIZUMI’s expressions have created.  (ARAI Hiroyuki)

主な発表作品

2018
『サクリファイス』パフォーミング・アーツ・フォーカス、ソウル(韓国)
2018
個展「Battlelands」ペレス・アート・ミュージアム・マイアミ、マイアミ(米国)
2017
個展「帝国は今日も歌う」VACANT、東京
2015
個展「捕らわれた声は静寂の夢を見る」アーツ前橋、群馬
2013
個展「プロジェクト・シリーズ99:小泉明郎」ニューヨーク近代美術館、ニューヨーク(米国)
2010
あいちトリエンナーレ2010「都市の祝祭」愛知