Category Archives: Essay

Undress

Dec 2014 MEGUMI MATSUBARA   Undress           “I am already naked. What else can I remove?” Once, I attended a cicada break its shell. I stayed up all night to be present—I was eight. It was summer, in the silence of dawn, blue light. The cicada started knocking its body, from within. Blinks perplexed me. Every time I blinked, it pared itself. The new body exposed—white, glittering, so new it was wet, so naked, almost invisible. Its transparent wings reflected the blue. When it fully came out of itself, it stood on the top of its empty self. Its volume was in two—void and lightness. The… Continue reading

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Enter Me Carefully

February 2014 MEGUMI MATSUBARA               Close your eyes.             Enter me carefully.             And witness; all flowers are naked.   I was three. My mother was in front of me putting me to sleep. I was not sleepy. I was lying looking at her face. After a while, she closed her eyes. Soon she fell asleep. She was tired. I could not see her eyes anymore. I watched her face for a long time. Quickly I became afraid. I thought if she never opened her eyes, we would never see each other again. Sleep and death seemed… Continue reading

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Statement

February 2011 MEGUMI MATSUBARA I’ve chosen experiential space as my medium. The space where architecture and art both meet, where the borders between two become no issue. My approach is an attempt to reveal a different awareness of spatiality; to explore, through a collection of ephemeral experiences, the other side of the pleats that are always hidden, the mechanisms of a secretive world . To begin with, I don’t see the borders between visible/invisible, heard/unheard, countable/uncountable. Important to the process of my work, is not the drawing of a line between ‘whether or not’, but the search for a balance between two seemingly opposite phenomena. When I succeed to bring… Continue reading

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Architecture Driven by Stories

Kime to Kehai – Texture and Sense Artists: Anni LEPPÄLÄ, Assistant [MATSUBARA Megumi + ARIYAMA Hiroi], NOMURA Makoto, HOKI Nobuya Curators: KONDO Yuki, HATTORI Hiroyuki (ACAC) Aomori Contemporary Art Centre (ACAC), Aomori, Japan July 28 – September 17, 2012  HIROYUKI HATTORI There are types of architecture for which associated narratives rather than their designs are critical to the determination of their value. Now in its final stages of construction, the work House of 33 Years [fig.1] by Assistant, the architecture studio formed by ARIYAMA Hiroi and MATSUBARA Megumi, is also a piece of architecture of that kind, accompanied by countless fascinating stories. Those stories are not necessarily created intentionally by the architect’s hand, but rather,… Continue reading

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The Stranger In Marrakech

Void/Between Higher Atlas, 4th Marrakech Biennale curated by Carson Chan and Nadim Samman March 1 – June 3, 2012 SATOKO SHIBAHARA “Void/Between”, the title of an essay first published in 2011 by artist Megumi Matsubara is also the rubric of her recent intervention, a site-specific installation at Higher Atlas, 4th Marrakech Biennale 2012. In the essay originally published in Japanese,  空/間, Matsubara proposes several transliterations for the Japanese word  空間 , read kuukan, meaning Space. The title uses an unnatural syntax, a slash separating the characters ‘kuu ‘ from ‘kan’. With this radical gesture, she quakes our casual and even usual understanding of Space. Her transliterations to English such as “void/space,” “empty/between” and “void/gap” magnifying… Continue reading

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Holistic Approach Reveals the Mechanisms of a World Hidden Within

POINT : Korea-Japan exchanging artists and critics exhibition Artists: AHN Kanghyun, AHN Doojin, MOON Sungsik, HASHIMOTO Satoshi, FUJII Hikaru, MATSUBARA Megumi Critics: LEE Sunyoung (critic) KIM Mijin (Seoul Arts Center, director / Hongik University) YOO Jinsang (KAYWON School of Art & Design) SUMITOMO Fumihiko (POINT curator) HATANAKA Minoru (NTT Inter Communication Center [ICC], curator) HARA Hisako (curator) Organized by: National Museum of Contemporary Art, Korea, Changdong Art Studio, Alternative Space LOOP Kyoto Art Center, Tokyo  January 9–24, 2010 MIJIN KIM MATSUBARA Megumi, inspired by her background in architecture, portrays spaces encountered in everyday life. Her work is not confined to a certain genre, but spans painting, sculpture, video art, musical… Continue reading

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총체적 감각으로 드러낸 비밀스런 세상의 체계

POINT : Korea-Japan exchanging artists and critics exhibition Artists: AHN Kanghyun, AHN Doojin, MOON Sungsik, HASHIMOTO Satoshi, FUJII Hikaru, MATSUBARA Megumi Critics: LEE Sunyoung (critic) KIM Mijin (Seoul Arts Center, director / Hongik University) YOO Jinsang (KAYWON School of Art & Design) SUMITOMO Fumihiko (POINT curator) HATANAKA Minoru (NTT Inter Communication Center [ICC], curator) HARA Hisako (curator) Organized by: National Museum of Contemporary Art, Korea, Changdong Art Studio, Alternative Space LOOP Kyoto Art Center, Tokyo  January 9–24, 2010 김미진 마쯔바라 메구미는 건축을 전공한 기반으로 우리가 살고 있는 공간을 표현대상으로 삼는다. 그녀의 작업은 회화, 조각, 영상, 음악, 사진이란 예술의 전통적 장르에 속하지 않고 그 모두를 사용하며 때로는 각 분야 전문가들과 협업하며… Continue reading

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総体的感覚で現した、秘められた世の中の仕組み

POINT : Korea-Japan exchanging artists and critics exhibition Artists: AHN Kanghyun, AHN Doojin, MOON Sungsik, HASHIMOTO Satoshi, FUJII Hikaru, MATSUBARA Megumi Critics: LEE Sunyoung (critic) KIM Mijin (Seoul Arts Center, director / Hongik University) YOO Jinsang (KAYWON School of Art & Design) SUMITOMO Fumihiko (POINT curator) HATANAKA Minoru (NTT Inter Communication Center [ICC], curator) HARA Hisako (curator) Organized by: National Museum of Contemporary Art, Korea, Changdong Art Studio, Alternative Space LOOP Kyoto Art Center, Tokyo January 9–24, 2010 キム・ミジン 松原慈は、建築を専攻した基盤の上、我々の住む空間を表現の対象としている。彼女の作業は、絵画、彫刻、映像、音楽、写真という芸術の伝統的ジャンルに属さずにそのすべてを使い、時には各分野の専門家達と協業して総体的結果を生み出す。2008年東京のGallery Within assistantで発表した「Absent City」は、ギャラリー空間をひとつの都市と見なし、幾何学と格子で出来ている建築的形式を解体し、作家個別の仕組みで再解釈した作品である。これは、ビル外部の建築要素が取り除かれた、室内要素だけで構成された都市の内密な個人的空間を設置した作品で、その中に隠れている空間を現すことで、秘められた世の中の仕組みを発見するようになる。松原は、想像力、知覚という個別の感覚的仕組みを使い、区切られたり重なり合った異なる空間の次元を現して見せる。登場した室内オブジェ等は、属する環境を意味する記号として使われるのだが、ぶら下がった格子窓を通して目に入ってくる人物写真は、窓ガラス越しに隣人を見る状況として解釈され得るし、黒いテーブルと幾何学的構造の木は、室内花壇を想像できる。空間を構成する構造物だけでなく、テレビとビデオ、ウォールペイント、照明スタンド、天井にぶら下がった半透明の色紙等は、音と光、風と関係しお互いに影響を及ぼし、全体を循環させて視知覚的拡張をもたらす。木造物の穴から中をのぞくと、日の差す草原の自然風景が見え、四角い黒木箱を出すと中に小さな丸い穴があって、その中には興味をそそるまた違った世界が存在している。しかし離れて見ると、この丸い穴達は繊細に変化する小さな光のように見えるが、近くからみると都市を見降ろせるようになる通路である。まるで地下世界のように、この下では草花、金属、プラスチック、パズル、チャック等のテキストの書かれた紙へと延びる線、四角のピース等で海中に沈んだ都市、情報世界の発展と共に加速し、広まりゆく都市が造られている。その中には、外部であるギャラリーの室内風景が空となり、入口の透明板に反射した光と磁場、空気、水の流れで、生成のミクロ世界を生み出す。松原は、都市の政治的、社会的環境から退いた空間に関心を置き、日常の記号を使って新しい視知覚的再現へと解釈している。空間は各々層毎に異なる世界が存在し、それらは穴や風、光のような小さかったり実態のない要素と一緒に繋がり、互いに介入し関係を築く。 そこは、未来と現在、過去、創造と理想の時空が混在した生成の空間である。「Absent City」は、隠された個人内部にある、現われない様々な世界のレイヤーである。それが多いほど、我々は豊富な芸術世界を経験できるようになる。2007年、子供たちと行ったワークショップの結果である「Le Corbusier」では、四角枠という決められた空間に、子供たちが選んだオブジェ等をぶら下げ、多様でありながらも調和し統一された構成を見せてくれる。鮮やかな色の円、直六面体、三角形の幾何学的形と、だらりと延びる編、紐、ホースのような、非定型の形でできた日常のオブジェ達が、限定された空間で重なったり現われたりしながら、必然と偶然の世の中の法則を代弁している。結局松原慈は、空間全体を使って日常的物事の外側に見える形が持つ固定概念や制度・状況に、隠喩、半透明、無意識、記憶、光、音という非物質的要素を介入させ、絶えず再構成され、修正され、変化する世界の仕組みを、感覚的に現そうとしているのだ。 初出: POINT 展覧会カタログ, January 2010

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