アート・遊|ART U

Blog|Art U Staff Blog “asobe”

夜の番人 Misawa Athuhiko ” Owl”


坂本善三 Sakamoto  Zenzo「構築」"Construction”  1961-62,  、杉全直 Sugimata Tadashi 「棒a 」"Bar a" 1982  、  左官;久住有生  SAKAN;Kusumi Naomi、 三沢厚彦  Misawa Athuhiko  梟 " Owl"





初めて青森のねぶたまつりを体感した。何の予備知識ももたずにいったのでまず山車灯籠の洗練されているのが想定外であった。ねぶた師というプロのアーティストが製作して、明かりも LED 電球がふんだんに使われているからだろうか?原色の生々しさを想像していたのだが、生々しい精気はあまり感じられず一つのショーとの印象を受けた。これも今という現実を反映しているのだろう、いろいろな要因で。それに比して秋田の竿燈まつりは生々しい精気を共感でき本来の”まつり”であった。整理してみるとビジュアル的にはねぶたまつりが勝ちかな?じつはこの東北の旅には一つの思いがあった。尺八の名手でまるで山頭火のように晩年を漂白の旅に出た伯父の終焉の地であったこと、それは終戦間もない昔のことであったが。父の元に送られた尺八とお骨、それを受け取った父の顔は子供の私に深く摺り込まれた。ラッセラの掛け声は変わらないであろう、きっと。




この好奇心こそ人間の本質であり asobiではないでしょうか?

さて前書きが長くなりましたが、その狙いは私の 密やかな asobiを正当化するための方便でもあるのです。

感動された時、もうその人のPersonal possessionになるのですから。
それは見者の内にある感性が呼び覚まされる、そして共鳴することではないでしょうか。見者の未窟の鉱脈を探り当てる歓喜と奏でる協奏曲こそ至宝の asobi ではないでしょうか?



References to play abound in Japanese culture passed down over the centuries. Good examples include one of the Ryojin-hisho* songs, “We are all born to play, born to have fun. When I hear the voices of children playing, my old body still responds, wanting to join in,” and the Zen word, Yushin/Asobi-gokoro (A playful mind/Playfulness). Such references indicate that play (asobi) is one of the foundations of art and the popular arts. Similar ideas can be seen in the West, such as Johan Huizinga’s Homo Ludens (or Playing Man), which discussed the importance of play as an essential element in human activity and the origin of culture.

The experience of nursing and rearing my three children is vividly imprinted on my mind. Babies who had plenty of breast milk and sufficient sleep were absolutely brimming with curiosity. They played constantly, with their senses of touch, sight, and hearing in high gear, playing with their hands and feet, and putting anything they touched in their mouths. Once they started crawling, their curiosity went up another gear, seeming to drive the development of their physical abilities and motor skills. This curiosity is surely the essence of humanity, the manifestation of Asobi-gokoro or playful mind.

Please forgive the lengthy introduction, which largely serves to justify my own furtive play. I hope my playing will not overtax the artists’ generosity and compassion. You know, the artwork that I am now looking at has come forth from your womb. I don’t know if it was an easy delivery or an excruciatingly painful, difficult delivery, but now that it is done, the work that you gave birth to exists as a separate entity with its own independent character and its own life.

That entity sparks the fire of life in the hearts of viewers, triggering the ongoing emission of life energy that will transcend time and space. What happens is already outside the control of the artist who gave birth to it. When your art moves someone emotionally, that experience becomes his or her personal possession.

What does it mean to move someone? Surely it means stirring the viewer’s emotions and resonating inside him or her.Performing a ‘concerto’ that resounds with the joy of discovering an untouched vein of something precious inside the viewer is surely the most treasured form of play.

*Ryojin-hisho (Songs to Make the Dust Dance on the Beams): a folk song collection compiled by Cloistered Emperor Go-Shirakawa in the end of Heian period. (12th century)