Moyan & Etschan-Gutai絵

Moyan & Etschan-Gutai絵

“I have not graduated from Gutai’s way of thinking. I still want to do something new, that which has not existed before.”Sadamasa MOTONAGA

Moyan & Etschan - Gutai絵，展名源自於具體派核心成員元永定正 (b. 1922-2011) 及其 妻中辻悅子(b. 1937-)的名字而來。「絵」具有雙關的語意，探討具體派(Gutai)的繪畫精神 以及與兒童繪本創作的起源，導引出藝術家從早期到晚期的繪畫創作脈絡。

本展覽主題圍繞在元永定正從早期滴灑繪畫技巧中開啟自己獨創的噴槍技法，創造出的趣味性 與穿透性風格；後期開始接觸不同的創作形式開始製作傢俱和掛毯，同時開啟了繪本的創作之 路。常年與元永定正相伴的妻子中辻悅子經常以「人的形狀」為主題，作為創作的發想與元素， 她曾說：「我認為顏色即為人，是種可以表現出個人的方式。」本展覽將以雙個展的形式，展 現兩位藝術家的精彩原作。

元永定正在加入具體派(Gutai)以前，曾經是漫畫家以及報社插畫家，擅長運用色彩以及抽象 表現。1955年，加入具體藝術協會（Gutai Bijutsu Kyokai）後，在吉原治良的領導之下， 秉持具體派的精神¬「永不模仿別人」，不斷挑戰繪畫形式與媒材的可能性。其著名的裝置作 品「水之雕」於紐約古根漢美術館展出，色彩繽紛的水裝置在透明玻璃中，透過空間的光線變 化，折射出一種氛圍以及張力。中辻悅子雖同為藝術家卻不屬於具體派，伴隨著元永定正的創 作歷程，她從旁觀察和參與著許多成員的發展。同時也受到具體派的精神所影響，不斷思考獨 特的創作手法，進而衍伸出自己的一條創作脈絡。從早期創作的人偶裝置、延伸到繪畫創作的 「人形」主題已有超過五十年的歷程，她不斷思索具體形狀的表徵與意義，其實只是承裝精神 性的容器，讓觀者藉由抽象形體，將真實的「自己」投入於作品之中。

有別於過往具體派的展出，Moyan & Etschan - Gutai絵，將同時展出元永定正以及中辻悅 子的繪畫創作以及繪本創作。

“I have not graduated from Gutai’s way of thinking. I still want to do something new, that which has not existed before.”

Sadamasa MOTONAGA

Moyan & Etschan - Gutai絵, the name of the exhibition comes from the nickname of Sadamasa MOTONAGA (b. 1922-2011), a core member of Gutai, and his wife Etsuko NAKATSUJI (b. 1937-). "絵" has a double meaning, one is to explore Gutai's painting spirit, and the other is the origin of the creation of children's picture books. At the same time, the exhibition will present the artist's painting creation context from the early to the late period.

The exhibition focuses on Sadamasa MOTONAGA 's unique spray-gun technique, which he developed from his earlier dripped painting style, creating a playful and penetrative style. In his later years, he began to explore different forms of creation, producing furniture and tapestries, and illustrating the picture book. Etsuko NAKATSUJI, who has been accompanying Sadamasa MOTONAGA for many years, mainly uses "the shape of the human body" as the theme and inspiration for her creations. She said: "I believe that color is a way of expressing oneself. It can present the personality." The exhibition will exhibit the original works of both artists in a double solo exhibition.

Before joining Gutai, Sadamasa MOTONAGA was a cartoonist and newspaper illustrator, who was good at using color and abstract expression. In 1955, he joined the Gutai Art Association under Jiro YOSHIHARA’s (b. 1905-1972) guidance, upholding the spirit of Gutai's "never imitating others," constantly challenging the possibility of painting forms and media. His famous installation work "Water" was exhibited at the Guggenheim Museum in New York. The colorful water installation in transparent glass refracted an atmosphere and tension through the changing light. Etsuko NAKATSUJI is an artist, however, not a member of Gutai. She kept observing the development of many Gutai members. She was also inspired by the spirit of Gutai, thinking about unique techniques and exploring her artistic style. Her early work on doll installations has extended to the "human form" theme in painting for over fifty years. She constantly reflects on the representation and meaning of concrete shapes, which are seen to be the containers for spirituality, allowing viewers to project their true selves into the artwork through abstract forms.

"Moyan & Etschan - Gutai絵" will exhibit the painting and picture book creations of both Sadamasa MOTONAGA and Etsuko NAKATSUJI.

具 體 Gutai

何謂具體派?

Gutai一詞意為「具體 」，正式名稱為「具體藝術協會」，是日本首個激進的戰後藝術團體。

Gutai成立於1954年，致力超越抽象「創造前所未有的事物」。他們強調的藝術不會扭曲材 質本身，而是建立精神與材質之間細緻的互動，透過藝術作品來述說一個故事。並相信每個人 所擁有的「精神」

都是獨特而鮮明的存在，然而「精神」本身卻是抽象的事物。因此「具體 派」 中的「具體」象徵著「以具體的證明來呈現我們自由的精神」。在吉原治良的帶領之下， 具體派由一班年輕的藝術家所組成，其中包括衝破紙張的村上三郎，用腳掌翻攪顏料的白髮一 雄、投擲顏料玻璃瓶的嶋本昭三、用燈泡製成裙子的田中敦子。而紐約的古根漢現代美術館於 2013年破格的展出具體派後，也讓Gutai重新得到公眾的注目，被社會重新賦予和奠定新的 地位。其後在多個重要的美術館和畫廊均有具體派的展出，如紐約的現代美術館與洛杉磯當代 藝術美術館。

What's Gutai ?

Gutai was officially known as Gutai Bijutsu Kyokai (Art Association of Gutai). It is Japan’s first post-war radical art movement founded in 1954. The Gutai Group emphasis the automatism and the freedom of each individual and aim to create something that no one has ever done before. Instead of alternating matter, they believe "In Gutai Art, the human spirit and matter shake hands with each other while keeping their distance." In their belief, merging human qualities and material properties can concretely comprehend abstract space and let the art speaks for itself. Nonetheless, the notion of spirit remains abstract and complex. The term “Gutai”, which means "concreteness", symbolizes “to embody concreteness to show our liberal spirit.”

Under the lead of Jiro Yoshihara, Gutai was formed by a group of young followers, including Saburo MURAKAMI, who is known for his paper-breaking performance; Kazuo SHIRAGA, who smeared the oil paints by feet; Shozo SHIMAMOTO, who is notably known for his performances of smashing vases of paint against canvases; and Atsuko TANAKA, who created a dress with light bulbs.

In 2013, a thorough retrospective was introduced to the west by the Guggenheim Museum, which helped Gutai Art to gain its long-forgotten attention. It redefined its international position as one of the foremost Japanese post-war contemporary art movements. For the following years, museums and galleries such as MoMA in New York and MOCA in Los Angeles held several highlighted exhibitions about the movement.

FAMILIAR WITH DEFAMILIARIZATION

本刊特於展覽揭幕前，採訪具體派核 心成員元永定正之妻且同為藝術家的 中辻悅子，除了得以更深入認識具體 派與元永定正的創作歷程，也可窺見 當時日本藝壇的動向。作為同時代的 創作者，中辻悅子既在旁看著具體派 的潮起潮落，又是身處浪潮之中的參 與者，在此就藉由她的分享，引領大 眾再度回望具體派的奔騰年代。

《典藏今藝術 & 投資》（以下簡稱

「典」）：自商校畢業的元永定正，是 經由什麼契機成為吉原治良的學生？

並加入具體派？

中辻悅子（以下簡稱「中辻」）：元永定 正從商學校畢業的時候，原本是打算 當漫畫家。而他會成為畫家的契機是 文展（日本文部省美術展覧會）的藝術 家注意到了他的作品，於是決定往畫 家的道路前進。從那之後，元永定正 陸續在神戶、芦屋的市展做展出，當 時參展作品大部份都已經是抽象畫。

隔年起他亦展出抽象畫，受到了身為 評審委員的吉原治良的注意，邀請他

加入前年才剛剛發跡沒多久的「具體美 術協会」，就這樣成為其中一員。

典　在您看來，吉原治良是怎麼樣的 人物？吉原治良如何指導成員和學 生？而他對元永定正的最大影響或啟 發為何？

中辻　我認為，吉原治良是擁有一雙 嚴格眼睛的人。他對於會員們的作品 批判皆依「具體美術宣言」裡的「不要 模仿他人」或「創造從未見過的事物」 為基本思考的依據，而聽說對成員作 品的評語一向只有「好」或「不行」， 也幾乎不會給任何感想或建議。為何 「不行」必須靠自己思考。

在這雙嚴厲的眼睛之下，成員們逐漸 被培育成長起來，也正因為伴隨著這 份嚴厲，使大家幾乎都成為了有著豐 富個性的藝術家，當然，這也多虧了 成員之間的相互切磋。

「具體」給我的感覺就如同是一所只有 一名教師，其餘的每個人都是學生的 學校。

典　2013 年，紐約古根漢美術館舉 辦「具體派：燦爛的遊樂園」（Gutai : Splendid Playground）所展出元永定 正的《作品（水）》是他在 2011 年再度 構思的版本，與 1956 年第 2 屆「具體派 美術戶外展」的作品相比，元永定正 做了哪些調整？考量的因素為何？

中辻　在紐約古根漢美術館展出的作 品《水》是元永定正最後的裝置藝術 創作。在 1960 年代中期旅居紐約的 時候元永定正去了很多次古根漢美術 館，所以大致有了一些呈現的想法， 那之後又收到美術館送來的展場建築 模型，就立刻決定要做懸吊型式的 《水》。在 1956 年的具體派美術戶外展 覽時，元永定正展出了使用「水」的作 品，是透過自然光線的色彩與形狀， 呈現出兼具視覺美感和張力的氣氛； 而除了在風吹中產生動態的效果之 外，在夜間經過照明而產生的剪影效 果也呈現出另一種氛圍。至於在古根 漢美術館圓形大廳的 360 度空間裡，觀

眾可以從任何位置，體驗不同角度的 《水》裝置帶來的樂趣，大家可以俯瞰 或仰視並且在漫步於展場之中，享受 在不同空間感受到作品變化之樂趣， 應該也都在他的預想之中了吧。

典　具體派在當時就非常積極與外國

藝壇交流，然而，在 1958 年首度於美 國展出時，在西方主位意識下並未受 到太高的重視與評價。而當時日本藝 壇與社會，又是如何看待創作觀念極 為前衛的具體派呢？

中辻　在當時的日本藝壇，尤其是關 東地區（並非全部）對於米歇爾．塔皮

耶（Michel Tapié）的評價並不高，因 為對於他身為藝術評論家和畫商、無 形藝術（Art informel）倡導者以及生 意人這兩種身份感到有些不信任。不 過，也有一說是，雖然不認同具體派 與塔皮耶一起共同的活動，但是對他 們作為藝術家個人則是被認可的。然 而，也有人認為當時的日本社會主義 運動勢頭強勁，「具體派」被評價是毫 無思想的。這也是因為他們並沒有真 正理解關於「具體派」與其核心思想。

典　當具體派因為吉原治良於 1972 年 逝世而宣告解散後，對元永定正此後

的創作是否有所影響？

中辻　關於具體派的事務幾乎都必須 經由吉原治良的指示才會成立，而也 只有通過他親眼審核的作品才能展 出。因此，從某種意義上說，具體派 的成員們似乎有種「從此之後得以盡情 自由地表現自我的開放感」。而對於沒 有接受過藝術學院教育的元永定正來 說，這種感覺就像從「具體美術學校」 畢業了一樣。

典　具體派成員經常從兒童繪畫中尋 求靈感，也強調創作要帶有猶如兒童 嬉戲的態度。而元永定正是何時將創 作轉至童趣鮮活風格？

中辻　元永定正一開始會接觸繪本是 因為受到委託。他以過去在學習漫畫 創作的經驗中，透過四格漫畫創作掌 握到起承轉合的趣味，經常說終於做 成了有頁面的東西。而元永定正在晚 年也開始製作傢俱和掛毯，並不時會

在許多建築家會聚集的畫廊展出，他 也透過各種交流過程中，產生是否嘗 試看看這樣或那樣做也不錯的念頭， 而讓作品益發活潑生動。

典　您和元永定正都擅於運用簡化的 形體與線條處理畫面結構，然而在用 色上卻相當強烈，色彩對你們而言， 具有什麼意義？

中辻　我認為顏色即為人，是種可以

表現出個人的方式。雖然常常聽聞， 大家看到我們作品的感想是鮮明、能 使人打起精神，但其實我們並沒有刻 意地使用鮮明跟強烈的色彩，而只是 選擇使用從內心自然湧現的顏色，這 樣日積月累下來，可能就讓這種形象 深植於大家的心裡了吧。

典　除了作為在生活上相互扶持的伴 侶之外，你們在藝術生涯上更是並肩 同行。早在 1973 年起，就多次舉辦聯 展，也從 1990 年開始合作繪本創作。

你們在追尋藝術的過程中，共同抱持 的信念是什麼？

中辻　雙人聯展的契機最 初是來自畫廊的邀請，雖 然之後我們又多次舉辦了 聯展，但其實都是來自畫 廊和美術館的企劃邀請， 都不是我們自主規劃的。

關於繪本的製作，是因為 我從事平面設計工作的關 係，在很多情況下會和元 永定正一起工作，而繪本 的封面和構圖排版都會交 由我負責。而我們共同的 信念，最終來說是對於和 平的祈願。至於繪本，就 如同是小孩子第一次接觸 藝術的世界，所以製作概念有點像日 常創作的延伸，在那裡我們希望創造 出一個屬於兒童的世界。

典　身為一名女性藝術家在各方面都 比男性面臨更大壓力，是什麼動力支 持您能堅持創作至今？

中辻　不斷地向自己提問、並想看見 自己的這種心情是我持續創作的動 機。雖然現在幾乎沒有什麼壓力，但 在我成長的年代仍然存在著父權社會 的餘波，父親的飯菜裡總是會比其他

人多一道配菜，很自然地養成以男性 為優先思考的習慣，因此排除了丈夫 以外的自己 是沒去想過的。儘管如 此，我還是無法抑制創作的欲望，所

以我會在元永定正創作時，趁空擋也 持續創作自己的作品。因此，我稱自

己為間隙藝術家，但其實我現在認為 身為藝術家這樣是不行的。

以當時的角度來看，元永定正擁有非 常嶄新的思考。他總是說，即使身為 女性如果有天賦的話，也應該同等地 發展，相較之下反倒顯得我的想法是

比較封建的。開始一起生活後，為了 維持生計我必須繼續工作的這種心情 自然而然地湧現，但即便如此，這期 間我還是舉辦了個展等發表作品的機 會。

典　您以簡化的人形進行創作已逾 50 年，為何會獨鍾於人的形象之轉化？ 又為何特別強調眼睛的表現？

中辻　雖然我不是「具體」的成員，但 聽聞許多關於「具體」的精神並受其 影響，所以我也盡可能地想做出與元 永定正不同的表現。同時，也在考慮 製作空間及經濟等問題之間找尋到可 行的方案，這成為了我的創作契機。 從那之後，我持續在思考關於人的主 題，同時持續進行自己的表現方式。 眼睛被稱為腦上的突起物，也被認為 是精神的象徵。有時候我會一句話都 不說的只是一邊看著元永定正一邊過 日子，所以對於人的表現方式，也許 就是從這種地方所產生的也不一定。 而我也覺得，只要有著支撐軀幹的兩 條腿就好像會為其形體帶入生命。

典　先前您和元永定正已多次舉行雙 人聯展，而這次在也趣藝廊的展覽 「Gutai and further」，陣容也囊括具 體派二代主力松谷武判。您如何看待 這次的聯展？您將展出什麼作品？

中辻　松谷先生身為「具體派」的成 員，同時與元永定正也交情匪淺，年 輕的時候也常常來玩。雖然我們處於 同一時代，但是透過作品證明了彼此 從製作現場到努力程度的不同；「具體 派」的影響在我們各自的內心孕育出 不同的樣貌，而讓這些成果到今日都 被看見了，不是嗎？我這次也將以「人 的形狀」為主題發表作品，歡迎各位

Sadamasa MOTONAGA

元永定正

Sadamasa MOTONAGA (b.1922-2011)

出生於日本三重縣，畢業於中之島美術研究所。

元永定正是日本重要藝術團體「具體派」的先鋒人物。50年代 早期的他以天馬行空的想像克服材料取得及使用上的限制，創 造出系列吸睛的裝置作品。首件大型裝置《水之雕》在1955 年一炮而紅，長管塑料袋承裝五顏六色的液態顏料，在自然光 線折射下熠熠生輝。此作品被「具體派學校」的精神導師吉原 治良大力讚賞為「史上第一件水雕塑！」更於2013年獲邀展 於紐約古根漢美術館「具體：燦爛的遊樂園」。60年代後移居 紐約的他，創造力大爆發，正式啟用噴槍和壓克力顏料，融合 早期受日本傳統滴流繪畫(Tarashikomi)影響的技法，及後期 對抽象硬邊幾何圖形的迷戀，以顏色和形狀展現永不抹滅的童 心，表現對藝術創作的熱愛。元永定正自詡為「傻瓜派」，回 歸孩童時期的原始想像力，可愛、親切，有著精神上的創新與 玩味。他以顏色和形狀來表達對藝術的迷戀與熱愛，在他的創 作裡，能看見純然的幽默與感動。

曾獲日本政府紫褒章 (1991), 日本兵庫縣文化獎 (1986), 大阪 藝術獎 (1992). 作品曾多次在國際中展出：Dallas Museum of Art, USA (2014), Museum of Modern Art, USA (2012), 53rd Venice Biennale, Venice, Italy (2009), Korean Culture and Arts Foundation, Contemporary Art Exhibition of Japan: Trends of Japanese Art in the 1970's ,Art Center, Seoul, Korea (1981).

Sadamasa MOTONAGA

元永定正 Sadamasa MOTONAGA | Mayamayama まやまやま | Acrylic on canvas | 45.5 x 53 cm | 1983

Sadamasa MOTONAGA

(b.1922-2011)

Sadamasa MOTONAGA (b.19222011) was born in Mie-ken, Japan, and graduated from Nakanoshima Art Institute.

As one of the representative artists from the first generation of Gutai, Sadamasa MOTONAGA moved to New York for a year, where he radically changed his style and his practice was inspired in part by the Japanese technique called tarashikomi. After returning to Japan, he became interested in forms and began printing on silk panels and creating illustrated books for children. He is renowned for the vitality in the use of colors and cartoon-like abstract forms.

MOTONAGA’s work has been the subject of many retrospective exhibitions, most notably at Hyogo Prefectural Museum of Art, Kobe,

1998, Hiroshima City Museum of Contemporary Art, 2003, Nagano Prefectural Shinano Art Museum, 2005, Mie Prefectural Museum of Art, 2009, and the Dallas Museum of Art, 2015.

He was also the recipient of several prizes, including, the Prize for Excellence at the 6th Contemporary Art Exhibition of Japan, 1964; Grand Prix from the Shincho Foundation and the Grand Prix at the 4th International Biennale Exhibition of Prints, Seoul, 1983; Medal of Chevalier of the Order of Arts and Letters, 1988; Osaka Art Prize, 1992; Kobe Shimbun Peace Prize, 1996; and the Culture Merit Award from the Mie Prefecture, 2002. He died in Kobe, Japan in 2011.

元永定正SadamasaMOTONAGA Gutai:SplendidPlayground SolomonR.GuggenheimMuseum 2013

中辻悦子EtsukoNAKATSUJI GutaiandMore AkiGallery 2021

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Awards

1997 Order of the Rising Sun, Gold Rays with Rosette

1991 Purple Ribbon Medal

1971 Purchase Award from The National Museum of Modern Art, Kyoto at 10th

Contemporary Japan Art Exhibition

1966 Excellence Award from 7th Contemporary Japan Art Exhibition

1922-2011 Born in Mie-ken, Japan

Education

Graduated from Mie Prefecture Ueno Commercial School (current Mie prefecture

Ueno Commercial High School)

Learn from the Nakanoshima Art Institute (currently the vocational school Nakanosima Art Academy)

Solo Exhibitions

2022 Sadamasa Motonaga“Triangle, Circle, Square”, Fergus McCaffrey, Tokyo, Japan

Sadamasa Motonaga, Yoshiaki Inoue Gallery, Osaka, Japan

2021 Sadamasa Motonaga“Large and Small”, Yoshiaki Inoue Gallery, Osaka, Japan

2020 Sadamasa Motonaga“Amida Da Da Da”, Fergus McCaffrey, Tokyo, Japan

2018 Change/Continuity: New York 1966-67, Fergus McCaffrey, New York, USA

Sadamasa Motonaga, Yoshiaki Inoue Gallery, Osaka, Japan

2016 Sadamasa Motonaga, Fergus McCaffrey, New York, USA

2015 Sadamasa Motonaga, McCaffrey Fine Art Gallery, New York, USA

2009 Sadamasa Motonaga, Mie Prefectural Art Museum, Japan

Commemorating the Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art Award Winnter: Sadamasa Motonaga: Colors Alive, Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo

2006 The Creative World of Sadamasa Motonaga: Playing with Colors, Shapes, Lines, and Words, Nerima Art Musuem, Tokyo, Japan

2005 Sadamasa Motonaga: iro nagare katachi ugoite odori dasu, Nagano

Prefectural Shinano Art Museum, Japan

2003 Sadamasa Motonaga- Moving and Dancing Colors, Streams, and Shapes, Hiroshima City Museum of Contemporary Art, Hiroshima

2002 Sadamasa Motonaga, Otani Memorial Art Museum, Nishinomiya City, Hyogo, Japan

1991 Sadamasa Motonaga, Mie Prefectural Art Museum, Japan

1990 Sadamasa Motonaga, Takashimaya Art Gallery, Namba, Japan; Takashimaya Department Store, Osaka, Japan

1985 The World of Sadamasa Motonaga: His Informel period, Hyogo Prefectural Museum of Art, Japan

1979 Sadamasa Motonaga Exhibit Tours ‘79-’80, Contemporary Printing Center. (Held at 75 venues in Japan)

1963 Sadamasa Motonaga, Tokyo Gallery, Tokyo, Japan

1961 Sadamasa Motonaga First One-man Exhibit, Martha Jackson Gallery, New York, US

1961 Sadamasa Motonaga, Tokyo Gallery, Tokyo, Japan

Group Exhibitions

2023 Moyan & Etschan - Gutai絵, Aki Gallery, Taipei, Taiwan

2021 Sadamasa Motonaga & Natsuyuki Nakanishi“Counterpoints of the Japanese Avant-Garde”, Fergus McCaffrey, New York, USA

2020 50th Anniversary - Now is the Time for GUTAI! See The Hyogo Prefectural Museum of Art Gutai Collection, Hyogo Prefectural Museum of Art, Hyogo, Japan

Super Leisure Lifestyle Show, Kaohsiung Exhibition Center, Kaohsiung, Taiwan

Gutai on Paper, AKI Gallery, Taipei, Taiwan

2017 GUTAI-Our Spirit is Free, AKI Gallery, Taipei, Taiwan

2014 Sadamasa Motonaga, Dallas Museum of Art, USA

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2013 Gutai: Splendid Playground, Guggenheim Museum, New York, USA

2012 Tokyo 1955–1970: A New Avant-Garde, Museum of Modern Art, USA

Tokyo 1955–1970: A New Avant-Garde, Museum of Modern Art, USA

2013 Gutai: The Spirit of an Era, The National Art Center, Tokyo, Japan

2012 Explosion! Painting as Action, Moderna Museet, Stockholm, Sweden

2011 nul=0: nederlandse avant-garde in een internationale context, 1961 -1966, Stedelijk Museum Schiedam, Amsterdam, Netherlands

Reflextionen: Light, Color and Shape, Hyogo Prefectural Museum of Modern Art, Hyogo, Japan

Gutai: dipingere con il tempo e con lo spazio, Museo Cantonale d'Arte, Lugano, Switzerland

2009 53rd Venice Biennale, Venice, Italy

2008 Exchange Year of Japan-Brazil: Art Connected through Journey,

2007 Exchange Exhibition of Hyogo Prefectural Museum of Art and Museo Oscar Niemeyer

Two-person exhibition: Mo-yan, Etchan, Ee-ehon no E: Original Pictures of Illustrated Books by Sadamasa Motonaga and Etsuko Nakatsuji, Itami City Museum of Art, Hyogo, Japan

2006 Zero: Internationale Künstler-Avantgarde der 50er/60er Jahre, Museum

Kunstpalest, Düsseldorf, Germany

/ Musée d’Art Moderne de Saint-Etienne Métropole, France

2004 Paris-Japan in 1950s: the Youth is Unformed (Infermel), Ohara Museum of Art, Okayama, Japan

Gutai Retrospective - Commemorating Fifty Years Since Formation, Hyogo

Prefectural Museum of Art, Hyogo, Japan

2001 Le Tribu' dell'arte, Gallery of Modern and Contemporary Art, Rome, Italy

2000 Japanese Art in the 20th Century, Museum of Contemporary Art Tokyo, Japan

1999 Gutai, Galerie nationale du Jeu de Paume, Paris, France

1995 Gravity: Axis of Contemporary Art, The National Museum of Art, Osaka, Japan

Gutai and its Age, Hyogo Prefectural Museum of Modern Art, Hyogo, Japan

1999 Japanese Culture: The Fifty Postwar Years, Meguro Museum of Art, Hiroshima City Museum of Contemporary Art, Hyogo Prefectural Museum of Modern Art, Fukuoka Prefectural Museum of Art

1994 Japanese Art after 1945: Scream against the Sky, Yokohama Museum of Art/ Guggenheim Museum Soho/ San Francisco Museum of Modern Art

1993

1991 Passage to the East 45th Venice Biennale, Venice, Italy

Gutai: Japanische Avant-garde, 1954-1965, Mathildenhöhe, Darmstadt, Germany

1990 Giappone all’avanguradia: Il Gruppo Gutai negli anni cinquannta, Galleria

Nazionale d’Arte Moderna, Rome, Italy

Gutai: The Unfinished Avant-garde Group, Shoto Museum of Art, Tokyo, Japan

1986 Olimpiaid of Art, Deajeon Museum of Art, Korea

Art Kite, The Miyagi Museum of Art / Mie / Shiga/ Himeji / Shizuoka / Nagoya/ Hiroshima / Hara Museum, Japan

Relation Though Art Thailand−Japan−Germany, National Gallery Bangkok, Thailand

1986 Japon des Avant-gardes 1910-1970, Centre Pompidou, Paris

1985 Grupo Gutai, Pintura y Accion, National Museum of Contemporary Art, Spain / Yugoslavia

Japan Contemporary Paintings, National Gallery of Modern Art, New Delhi, India

Action and Emotion, Paintings of the 50s: Informel, Gutai, Cobra, The National Museum of Art, Osaka, Japan

1984 Sadamasa Motonaga and Kazuo Shiraga, Wakayama Prefectural Museum of Modern Art, Wakayama

1982 14th Alexandria Biennale, Alexandria, Egypt

1981 The 1960-A Decade of Change in Contemporary Japanese Art, The National Museum of Modern Art, Tokyo, Japan

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Contemporary Art Exhibition of Japan: Trends of Japanese Art in the 1970's, Korean Culture and Arts Foundation, Art Center, Seoul, Korea

1982 The 1950s: Gloom and Shafts of Light, Tokyo Metropolitan Art Museum, Japan

1980 Aritsts Today II: Jiro Takamatsu and Sadamasa Motonaga, The National Museum of Art, Osaka, Japan

1978 Beauty of Space: Beauty is Alive, Tochigi Prefectural Museum of Fine Arts, Japan

1977 9th International Painting Festival, Cagnes-Sur-Mer, France

1975 Abstractions by Four Hyogo Artists: Suda Kokuta, Tsutaka Waichi, Motonagawa Sadamasa, Shiraga Kazuo, Hyogo Prefectural Museum of Modern Art, Japan

1974 Japan pa Louisiana, Louisiana Museum of Modern Art, Denmark

1973 Development of Postwar Japanese Art: Abstract and Non-figurative, The National Museum of Modern Art, Tokyo, Japan

1972 Bird’s Eye View of Contemporary Art, The National Museum of Modern Art, Kyoto, Japan

1971 Aspetti de’ll informale-Mostra Storica Internazionale, Bari Art Gallery, Bari, France

1970 Expo‘70- Contemporary trends, Expo Museum of Fine Arts, Osaka, Japan

1969 Contemporary Art: Dialogue between the East and the West, The National Museum of Modern Art, Tokyo, Japan

Espaces Abstraits de’l intuition a la Formalisation, Milan, Italy

1968 1st Indian Triennale of World Art, New Delhi, India

1966 7th Contemporary Japan Art Exhibition, Tokyo Metropolitan Art Museum / Takamatsu / Hiroshima / Kita-Kyushu / Sasebo / Nagasaki / Aichi / Sendai, Japan

1965 The New Japanese Painting and Sculpture, San Francisco / Denver / Illinois / Omaha / New York / Milwaukee, US

Nul 1965, Stedelijk Museum, Amsterdam, Netherlands

1964 Contemporary Japanese Painting, Corcoran Gallery of Art, Washington D.C, USA

6th Contemporary Japan Art Exhibition, Tokyo Metropolitan Art Museum / Sogo Osaka / Takamatsu City / Yahata City / Sasebo City, Japan

1963 Contemporary Trend of the West and Japan, Branch of the National Museum of Modern Art, Kyoto, Japan

1961 6th Japan International Art Exhibition, Tokyo Metropolitan Art Museum, Tokyo; Sogo Department Store, Osaka, Japan

1960 International Sky Festival, Takashimaya Department Store, Osaka, Japan

1957 Gutai Art On the Stage, Sankei Hall, Osaka, Japan

1955 Experimental Outdoor Exhibition of Modern Art to Challenge the Midsummer

Sun, Ashiya Park, Hyogo Prefecture, Japan

Etsuko NAKATSUJI

中辻悅子 Etsuko NAKATSUJI | Human Shape 記憶の残像-ひとのかたち | Acrylic on canvas | 116.7 x 91

中辻悦子

Etsuko NAKATSUJ I (b.1937)

出生於日本大阪，畢業於大阪府立全北高等學 校。

中辻悦子作為具體派先鋒人物一元永定正之妻， 50年代早期熟習平面圖像設計的他，原意想為孩 子創造一個充滿原始色彩與無限創意，專屬兒童 的世界。她堅信「我們都住在透明的人形容器中， 灌注個人思想及情感於其中；倒入多彩顏料後， 每個人形都擁有鮮明的自我，因而有了存在的意 義。」故以彩色細線勾勒人型輪廓，筆下人物沒 有五官或僅剩一對眼睛，眼睛像是大腦向外突觸 的探測器，肉身則是支撐精神予之棲息的所在， 思考人與人為何依存，與身而為人的本質存在。

曾獲：An honor from the Japanese Association of Museums for the 2013 academic year, the Cultural Achievement Award for the City of Takarazuka's 50th Anniversary, and the 14th Japan Picture Book Award for Mokera-Mokera. 作品曾多 次在國際中展出：ART SG, Singapore City, Singapore (2023), BB PLAZA MUSEUM, Kobe, Japan (2022), ART TAIPEI, Taipei, Taiwan (2018), Hyogo Prefectural Museum of Art, Japan (2013), Museum of Modern Art, Toyama, Japan (2005).

Etsuko NAKATSUJI

中辻悅子 Etsuko NAKATSUJI | Work | Acrylic on canvas | 130.3 x 97 cm | 2018

Etsuko NAKATSUJI

(b.1937)

Etsuko NAKATSUJI (b.1937-) was born in Senboku District, Osaka City. She graduated from Drawings at Nishinomiya civic art class.

Etsuko NAKATSUJI as a lifetime partner of Sadamasa MOTONAGA was inspired to be creating a world full of colors and creativity for children with graphic design in the early 1950s. She held her first solo exhibition in Tokyo Gallery in 1963, followed by solo exhibitions in various other locations after working as an advertisement designer. For more than 50 years, she has been active in many fields, those of paintings, sculpture and printmaking, etc, with “hitogata (the human form)” as her primary motif. She created various forms of works believing in the meaningful existence and characteristics of the

relationships between people and the essence of life.

She has also achieved international acclaim, as testified by the international awards she had received: 1998, First Prize, the Contemporary Prints Competition Exhibition; 1999, the Grand Prize at Biennial of Illustration Bratislava (BIB). She received an honor from the Japanese Association of Museums for the 2013 academic year, and received the Cultural Achievement Award for the City of Takarazuka’s 50th Anniversary, Received the 14th Japan Picture Book Award for Mokera-Mokera. Her exhibitions around the world including ART TAIPEI, Taipei, Taiwan (2018), Hyogo Prefectural Museum of Art, Japan (2013), Museum of Modern Art, Toyama, Japan (2005).

中辻悦子EtsukoNAKATSUJI Gutaiandfurther AkiGallery 2018

中辻悦子EtsukoNAKATSUJI GutaiandMore AkiGallery 2021

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Awards

2014 Received the Cultural Achievement Award for the City of Takarazuka's 60th Anniversary

2013 Received an honor from the Japanese Association of Museums for the 2013 academic year

2004 Received the Cultural Achievement Award for the City of Takarazuka's 50th Anniversary

2001 Received the Kametaka Fumiko Sekisosha Award for the 2001 academic year

1999 Received the Grand Prix at 17th Biennial of Illustration Bratislava (BIB)

1998 Received the Grand Prize at 12th Contemporary Prints Contest Exhibition

1991 Received the 14th Japan Picture Book Award for Mokera-Mokera

1953 Holbein Prize

1937 Born in Senboku District, Osaka City

Education

1955 Drawings at Nishinomiya civic art class

Solo Exhibitions

2022 Intro, Development, Development, Development, BB Plaza Museum, Hyogo, Japan

2021 WHO IS THIS, Takarazuka Arts Center, Hyogo, Japan

2019 Human Figure and Shapes of Wood, Yoshiaki Inoue Gallery, Osaka, Japan

2017 Etsuko NAKATSUJI, Hyogo Guest House Prefectural Government Museum, Hyogo, Japan

2014 「残像-ひとのかたち」, Gallery Next, Takashimaya, Osaka, Japan

2005 Solo exhibition, Teisoku-an Gallery, Mie, Japan

2004 Solo exhibition Drawings and Small-sized Works, Gallery Nii Tokyo, Japan

2003 Solo exhibition, Gallery Suzuki, Kyoto, Japan (2006, 2009)

2001 Etsuko Nakatsuji, Gallery Shimada, Hyogo, Japan (2002, 2005)

1999 Etsuko Nakatsuji: Prints and Drawings, Gallery Nii Tokyo, Japan

1997 Art Fair in Kyobashi Area ‘97: Etsuko Nakatsuji, Gallery Nii Tokyo, Japan

1992 Solo exhibition Prints, Ban Gallery, Osaka, Japan

1990 Solo exhibition, Shinanobashi Gallery, Osaka, Japan

(1992, 1994, 1996, 1998, 2001, 2003, 2006)

1989 Solo exhibition, Gallery Blanche, Osaka

1985 Solo exhibition Atelier Series Exhibition Vol 9 / Print Artists Series, Atelier of Okanoyama Museum of Art, Nishiwaki, Hyogo, Japan

1987 Solo exhibition, Yamaki Art Gallery, Osaka, Japan

1982 Tableau and Objet, Nakamura Gallery, Osaka/ Gallery Maronie, Kyoto, Japan

1978 Solo exhibition, Sakura Gallery, Nagoya, Japan

1972 Solo exhibition Prints, Gallery Miyazaki, Osaka Solo Exhibition at Gallery

Iteza, Kyoto, Japan

1968 Solo exhibition, Imabashi Gallery, Osaka, Japan (1974, 1977)

Group Exhibitions

2023 Moyan & Etschan - Gutai絵, AKI Gallery, Taipei, Taiwan

2022 One Art Taipei, The Sherwood, Taipei, Taiwan

2021 Fumiko Kametaka Memorial- Akashosha Awards Successive Winners

Exhibition, Hyogo Prefectural Civic Center, Japan

2019 Taipei Dangdai Art &Ideas, Gallery Yamaki Fine Art booth, Taiwan

2018 △ and, Gallery Shimada, Kobe, Japan

ART TAIPEI, Taipei, Taiwan

Guati and further, AKI Gallery, Taipei, Taiwan

2015 Sadamasa Motonaga and Etsuko Nakatsuji, Yoshiaki Inoue Gallery, Osaka, Japan

Exhibiiton of Artists from Kobe, Hyogo, Kobe Biennale 2015, BB Plaza

Museum of Art, Hyogo

2014 Original Pictures of Illustrated Books of MOTONAGA Sadamasa and NAKATSUJI Etsuko: Ehon wa tuduku, BB Plaza Museum of Art, Hyogo

2013 Collection Ⅱ 2013: The Shinanobashi Collection, Hyogo Prefectural Museum of Art, Japan

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2010 Mo-yan, Etchan, Ehon daisuki: Original Drawings of Illustrated Books by Sadamasa Motonaga and Etsuko Nakatsuji, Akashi City Museum of Culture, Japan

2009 Collaborated with Motonaga at the Art Corridor of Aqua Metropolis Osaka 2009, Asahi Shimbun Building and Osaka Asahi Building, Japan

2008 Biennial of Illustration Bratislava (BIB): Rekidai jusho-sha wo chushin ni, Chiba City Museum of Art/ Ashikaga Museum of Art, Tochigi/ Urawa Art Museum, Saitama, Japan

2007-09 MOTONAGA Sadamasa and NAKATSUJI ETSUKO: The World of Picture Books, Itami City Museum of Art, Hyogo/ Niitsu Art Museum/ Kurashiki City Art Museum, Okayama/ Shimonoseki City Art Museum, Yamaguchi, Japan

2005 Shuzo Takiguchi Collection: Drifting Objects on Dreams, Setagaya Art Museum/ Museum of Modern Art, Toyama, Japan

Joint Exhibition by Museums of Hanshin and Himeji: Museum ni ikitai- Hito no katachi, Hito no itonami, Hyogo Prefectural Maruyamagawa Koen Art Museum/ Minamiawaji City Takigawa Memorial Museum, Gyokusei Hall

2004 Two-person Show: Sadamasa Motonaga and Etsuko Nakatsuji: Irufu Doga Museum, Nagano, Japan

Biennial of Illustration Bratislava (BIB): Hirogaru Ehon no Sekai, Urawa Art Museum, Saitama/ Nara Prefectural Museum of Art/ Akita Museum of Modern Art/ Chiba City Museum of Art, Japan

Bijutsu no Genso: Itsutsu no Heya, Otani Memorial Art Museum, Hyogo, Japan

2002 10 Winners of the Kametaka Fumiko Sekisosha Award, Hyogo Kenmin Art Gellery, Japan

Inochi wo kangaeru: Etsuko Nakatsuji and middle school students, Itami City Museum of Art, Japan

2001 Picture Book and Contemporary Art: Etsuko Nakatsuji and Sadamasa Motonaga, Kyoto Art Center, Japan

2000 BIB Exhibition in Japan Toured 6 different venues in Japan, including Chihiro

Art Museum Azumino Special exhibition, Daimaru Kobe Museum, Japan

1997 Contemporary Art Seen by A Collector, Yamamura Collection, Hyogo

Prefectural Museum of Art, Japan

1996 A Cross Section of Post-War Art: from the Yamamura Collection, Hyogo

Prefectural Museum of Art, Chiba City Museum of Art, Japan

1995 Mako Idemitsu and Etsuko Nakatsuji, Sagacho Exhibit Space, Tokyo, Japan

1993 Sadamasa Motonaga and Etsuko Nakatsuji, Sakura Gallery, Nagoya, Japan

1992 Contemporary Art Seen by Children, Ashiya City Museum of Art and History, Hyogo, Japan

1991 5th International Biennale Print Exhibition: 1991 ROC, Taipei F ine Art Museum, Taiwan

1989 Maboroshi no Yamamura korekushon ten, Hyogo Prefectural Museum of Art, Japan

1981 Etsuko Nakatsuji + Sadamasa Motonaga, Daimaru Peacock Hall, Kochi, Japan

1973 Etsuko Nakatsuji + Sadamasa Motonaga Yamaki Art Gallery, Osaka (1984, Yamaki Art Gallery, Osaka/ Meitetsu, Nagoya)

中辻悅子 Etsuko NAKATSUJI | Untitled | Acrylic on canvas | 91 x 72.7 cm | 2018