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| Pattern・紋様・Forms of Beauty |

Situating at the 6th floor of the bustling Ginza Six, THE CLUB creates its own unique space where you soon catch their particular poetic character as you open the gallery door. The exhibition「Pattern 紋様 Forms of Beauty」 at THE CLUB interprets ‘pattern’ through a new mix of Eastern and Western with a selective collection of 10 important influential artists; Alighiero Boetti, Daan Van Golden, Genichiro Inokuma (猪熊弦 一郎), Yayoi Kusama (草間 彌生), Agnes Martin, Allan McCollum, Natsuyuki Nakanishi (中西 夏之), Richard Rhys, Kumi Sugai (菅井 汲) and Christopher Wool.

座落在銀座熙攘的新商場 GINZA SIX 六樓, 在推開藝廊厚重黑門的那瞬間便能感受到 THE CLUB 獨有的詩意; 有著混然天成的東西合併調性, 東洋文化和西洋文化融合成沒有界線的新風格。本次展覽「Pattern 紋様 Forms of Beauty」收錄了十位具有深重影響力的東西藝術家作品;阿里杰羅・波提(Alighiero Boetti), 皮特・羅婓斯(Daan Van Golden), 猪熊弦 一郎(Genichiro Inokuma), 草間 彌生(Yayoi Kusama), 艾格尼絲・馬丁(Agnes Martin), 亞倫・麥可蘭(Allan McCollum), 中西 夏之(Natsuyuki Nakanishi), 理查・里斯(Richard Rhys), 菅井 汲(Kumi Sugai) and 克里斯托弗・沃爾(Christopher Wool)。

「Pattern 紋様 Forms of Beauty」THE CLUB

Allan McCollum, The Shapes Project Shapes From Maine Shape Silhouettes (2005/2008),

Silhouettes 109-120, Unique

「Pattern 紋様 Forms of Beauty」THE CLUB

Agnes Martin (1912 - 2004) was one of the few female artists who gained recognitions in the male-dominated art world in 1950s - 1960s. Her artworks depict the melange of the two significant movements of the era, Abstract Expressionism and Minimalism.

“When I think of art I think of beauty. Beauty is the mystery of life.

It is not just in the eye. It is in the mind. It is our positive response to life.”

- Agnes Martin -

艾格尼絲・馬丁(Agnes Martin, 1912 - 2004)是位在五、六零年代以男性當道的藝術領域裡少數備受讚譽的女性藝術家。她的創作可見當時兩項重要藝術運動 -「抽象表現主義(Abstract Expressionism)」與「極簡主義(Minimalism)」的融合。“當我思索藝術, 我想到美感。

“當我思索藝術, 我想到美感。美感是生活裡的神秘事物。


ー 艾格尼絲・馬丁 ー

L: Alighiero Boetti, Il Silenzio ed Oro (1988);

R: Agnes Martin, untitled (1977)

「Pattern 紋様 Forms of Beauty」THE CLUB

Daan Van Golden (1936 - 2017) was a Dutch artist who had been active as collagist, graphic artist, painter and photographer. He had spent two years of living in Tokyo and had been inspired deeply by the meditative simplicity of the patterns found in Japanese wrapping paper. The painting titled ‘Mozart’ at the exhibition is one of the versions he had made for silhouette paintings of Mozart when he turned to depicting silhouettes of photos and portraits in early 90s.

皮特・羅婓斯 (Daan Van Golden, 1936 - 2017) 是為涉略廣泛的荷蘭藝術家, 擅長各式創作如拼貼藝術、圖型設計、繪畫與攝影。曾在東京旅居的兩年深受日本包裝紙上的冥想性簡約圖騰影響, 隨之在九零年代當他將創作方式專注在照片裡的輪廓與肖像時, 製作了一系列的輪廓繪畫;繪名為「莫札特 (Mozart) 」的這幅則是此系列中之一的作品。

From left to right:

Yayoi Kusama, Kozue wo wataru kaze [The Breeze that passes by the tip of the twig] (1978);

Rudi Merz, Chair;

Daan Van Golden, Composition with Blue (2012)

「Pattern 紋様 Forms of Beauty」THE CLUB

From left to right:

Daan Van Golden, Mitsukoshi/Tokyo (2012) ;

Daan Van Golden, Composition with Roses/Study Pollock (2012);

Richard Rhys, GINKGO (2017)

「Pattern 紋様 Forms of Beauty」THE CLUB

Daan Van Golden, Mozart (2010-2011)

「Pattern 紋様 Forms of Beauty」THE CLUB

Genichiro Inokuma (1902 - 1993) began his career as a figurative artist, and got well known for his abstract paintings and the popular pattern “Hana-Hiraku [flowers in Bloom]” that he designed for the Japanese department store, Mitsukoshi. He was already known as a talented artist by the age of 24 before taking a study under Henri Matisse in Paris. Under the influence of both Eastern and Western cultures, his way of synthesising flat, decorative and suggestive stye of traditional Japanese painting with Western abstraction was regarded as international and innovative of the time, and even now has always been one of the significants in contemporary arts.

猪熊弦 一郎(Genichiro Inokuma, 1902 - 1993)以「具象藝術家 (figurative artist)」身份開啟創作身涯, 他的抽象繪畫與為日本百貨公司「三越」繪製的廣受好評花樣 “花開綻放 (Hana-Hiraku)” 則為讓他受眾所知的代表。旅居巴黎前, 在24歲時已在日本成為知名的才華藝術家;其後受法國藝術家亨利・馬諦斯指導的年間將他從東西洋文化裡的領悟轉化成個人特有的風格, 東洋藝術的合成扁平且具示意的裝飾性特色與西洋抽象風格的融合, 不但在當時被視為國際性且創新, 對於當今也一直是深具意義的創作代表之一。

Ginichiro Inokuma, Land Scape (1973) © The MIMOCA Foundation

「Pattern 紋様 Forms of Beauty」THE CLUB

A new dialogue lies in the allocation of the mixed media artworks on the wall and the wooden chairs arranged in the centre of the room, where concrete and abstract images are interwoven with simple objects that give a feeling of certain coexisting similarities among all. Patterns are composed through forms that reflect the cultural context of the era, yet, the essence traverses the time and creates new perspective along with the elements of the contemporary. Here you discover the subtle beauty in colours and forms.

展間有著由混合媒材作品與木椅創造出的新對話, 具象與抽相的交織藉由簡易線條的物體編織出存在於展示物間的某種共存相似點。花樣的構成由其組成形狀(與形式)反映出當個年代的文化背景, 然而其中蘊藏的創作精髓穿越時間、與新的年代元素擦撞出新的視點。在此有著細緻的美穿越在色彩與形狀圖樣之間待到訪來發掘。

From Left-top to bottom-right in zigzag order: Rudi Merz, Chair; L: Hans J. Wegner, Valet Chair; R: Hans Sandgren Jakobsen; Arne Jacobsen, Children Chair; Torben Skov, Stacking Chair

「Pattern 紋様 Forms of Beauty」THE CLUB

Tomato Koike (小池 智子), Knee Stool

「Pattern 紋様 Forms of Beauty」THE CLUB

「Pattern 紋様 Forms of Beauty」

28th Oct 2017 - 4th Jan 2018


Gallery Hour: 11:00 - 19:00


地址:東京都中央区銀座6−10−1, GINZA SIX, 6 F

For the updates and further information about their exhibitions, please visit [ THE CLUB ] website.

關於藝廊的新消息與展覽的更多內容, 請參見官網 [ THE CLUB ].

※ Images and information shown in this article are prohibited from any other purpose of use.

※ 此文中的圖像和資訊不開放任何其他用途。




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