TAKASHI SUZUKI Gallery Yamaguchi kunst-bau
Scarlet
2001 -
ひとつの色彩／記憶の形見（Scarlet の作品）
選ばれた唯一の色（Scarlet）による一連の作品は、全くの簡素さゆえその空間へのまなざし、此処 という視野の精度へと向けられます。 そして、その場に或る中断と秩序との安静の感情をともなうように・・・。 また、同一の単色とニュートラルな色面による制作は、私にとって日々体感される数々の場面や 出来事など繋ぎ止めておく、色彩による記憶のテクストとも言える側面を同時に持ち合わせてい ます。これまでの彫刻の着地感に込めた思い［どうしようもなくのこってしまうもの］という回 想への価値とは裏腹に、新たな色彩の領域に託したものは、保留と空虚を孕みながらも持ちこた える質に対して、場所をあける作業と言うほかありません。そして、清明な現れに換気される心的 均衡は、再びその時々の現実と空想に委ねられる事として・・・。 2001 年10 月、制作メモより 鈴木 隆
A single color / Memento of a Memory (Works in Scarlet)
In the series of works in one chosen color (Scarlet), due to their absolute simplicity, the attention is directed to the gaze at the space, and the precision of vision identified as this place. And, also to accompany the feelings of interruption, order, and relaxation that exist in the place… Fur ther, the works done in one single color and neutral color field, to me, simultaneously hold an aspect that can be called a text of memory through color to secure the many scene and events I experience everyday. On the contrary to the value for remembrance, a fondness for “those things that can’t help but linger,” which I have put into the completion of the sculptures until now, the thing entrusted to the new realm of color is nothing other than the creation of room for substance that endures, in spite of being filled with reservation and nothingness. And the emotional balance awakened by the pure and clear appearance would again be entrusted to the reality and imagination moment to moment… October, 2001—from a note Takashi Suzuki
"Works of Scarlet"
Gallery GEN
Tokyo/ Japan
2002
"Works of Scarlet" Gallery GEN Tokyo/ Japan 2002
"Works of Scarlet"
GALERIE ANDO
Tokyo/ Japan
2003
"Works of Scarlet"
GALERIE ANDO
Tokyo/ Japan
2003
"SUKIMONO-TACHI W
Ways Sinse Rin-Pa No.6 - Prologue"
Gallery Surge
Tokyo/ Japan
2003
"SUKIMONO-TACHI W
Ways Sinse Rin-Pa No.6 - Prologue"
Gallery Surge
Tokyo/ JAPAN
2003
"Institute FĂźr Bildenerrisches Denken"
Germany
2005
"Institute FĂźr Bildenerrisches Denken" Germany 2005
"Hand in H
Hand - Contrasts"
Hannover Städtische Galerie KUBUS
Hannover, Germany
2004
Scarlet Paintings ”Text" 私が他の色を差し置いて「赤」に特別な興味を抱いているのは、この矩形の色彩に神秘性といっ た類のものとは異なる普遍的な精神の定数を託することができると感じているからです。色彩は 支持体に浸透して色面としての光彩を放つという自明の理にあらためて集中することは、絵画が 本来持っている豊穣な表現要素を切り捨ててもなお残る可能性に終始します。 こうしたモノクロームに導かれての絶え間なき制作の連鎖は、その高波長ゆえの鮮明さから受け る「いま、ここ」という感覚に記録手記とも言うべき側面も持ち合わせています。そしてなにより も簡素なコンポジションと設置位置に呼応する静謐な精神変容に、或る中断の印象をともなった 覚醒とその後のゆるやかな思惟の場を創造するものです。 （綴りの色彩／作成メモより）
"Hand in Hand - Contrasts" Hannover Städtische Galerie KUBUS Hannover, Germany 2004
Scarlet Paintings ”Text"
The reason why I am deeply interested in “red” over all other colors is because I feel that within the color red on any rectangular canvas I create, I am able to express an invariable universal spirit that is different from anything that exists within the domain of the mysterious. The color I utilize in my work penetrates into the suppor t of my painting, and then emits a luster in the form of a color surface. My focus on this self-evident element is so that I can concentrate on creating a sufficient surface strength that can manifest itself, even though I have abandoned the fertile expressionistic elements essentially inherent in the medium of painting. My ar tistic production that has evolved in a continuous series was steered by my utilization of a single color. A sense of the “here and now” I perceive from red is derived from the lucidity brought about by the high wavelength frequency possessed by the color. My work also contains an element of creating something like a documentary. Above all, a peacefully transforming spirit that can be perceived from the simple compositions and positions in which my paintings are exhibited awakens viewers at cer tain intervals. This then creates a site for them to undergo a time of moderate contemplation. (On my series of scarlet paintings / from my note)
"Takashi Suzuki-Gouachen" Galerie am See Zug, Switzerland
2003
"Takashi Suzuki-Gouachen" Galerie am See Zug, Swiss 2005
"SUKIMONO-TAC
CHI WAYS SINCE RIN-PA" Museum of Modern Art, Gunma Gunma/ Japan 2005
"SUKIMONO-TACHI WAYS SINCE RIN-PA" Museum of Modern Art, Gunma Gunma/ Japan 2005
"with red" Ausstellungsraum - Hebel_121 Basel/ Switzerland 2007
"with red" Ausstellungsraum - Hebel_121 Basel/ Switzerland 2007
"Monochromes" Gallery Terashita Tokyo/ Japan 2006
"Monochromes" Gallery Terashita Tokyo/ Japan 2006
五重奏( 一部抜粋)
2004
松本 透 東京国立近代美術館企画課長 一枚の絵画の「内容」とはつまるところその時代の世界観であるとするなら、統一した世界観 なり自然観を喪失した時代にあって、そもそも絵画が可能なのかどうか。画家であれば誰しも直 面せざるをえないこの問題に、彫刻家鈴木隆はまた別の角度から逢着したようである。90 年代の かれの仕事はおおむね、鍛造工場のかたすみに打ち棄てられて野晒しになった廃材に、切る、焼 く、叩くといった最小限の手を加え、詩的なことばのかけらをタイトルとして添えて、床に並べ る態のものであった。そのかれが、前世紀が押しつまった頃から緋色一色の絵画をほとんど日誌 をつけるように描き留めはじめた裏には、現代にあっては、こともあろうに絵画こそが断片のな かの断片であり、日々の真率ではあるが散り散りの感覚エッセンスをとどめうる媒体である、と いった直感がはたらいていたように思われてはならない。総タイトルは《Text》。画面の大きさや、 縦横の比率や、厚さを微妙に調整し、綿布か、木か、紙か、支持体を選びながら描かれるそれらのテ キストは、いつの日か絵画が、あるいは彫刻が、いま一度世界を記述しうるようになるときのため に営々と描き継がれていく、辞書か、文法書の一貢の端切れのようなものといえるかも知れない。 （Hand in Hand 展覧会カタログより）
Quintet
2004
Toru Matsumoto (Chief Curator, The national Museum of Modern Art, Tokyo) If the “content” of a painting is essentially a view of the world of the period in which it was created, then one might first ask whether it is viable for paintings to created today at a time when a standardized view of the world and nature has been negated. The sculptor Takashi Suzuki faced this problem from a different point of view, a problem which any painter must inevitably face. Suzuki’ s works in the 1990s mainly utilized scrap materials that were weatherbeaten and abandoned in corners of a forging factory. He minimized his manipulation of those materials by simply cutting, burning, or pounding them. He added a fragmental poetic word to each work as the title, and then placed them on the floor. I cannot help but think that the underlying reason why he began to commit to his time to creating monochromatic scarlet paintings as if he were writing a dairy at the time when we were about to reach the end of the century was because he had the intuition that in today’ s state of affairs, paintings of all the things is the medium that can best express the essence of the sense of the scattered state we are in today, even though painting is truly a fragmental task and the genuinely the truth about our daily lives. The title of entire series of his works is Text. He paints “text” via subtly adjusting the size of his surface plane, the ratio between length and width, and thickness of his work, as well as by selecting panels from cotton, wood or paper as the support of his paintings. This series can be described as being the fragments of a page in a dictionary or a grammar book, which he will unceasingly create in succession so that he can be prepared for the day when painting and sculpture can once again become the mediums that are able to describe the world. (From a catalog of group exhibition “Hand in Hand – Contrasts” / Translated by Taeko
Takashi Suzuki 1957
Born in Tokyo, Japan Lives and works in Tokyo
1976
Graduated from Tokyo Metro politan Senior High School for Music and Fine Arts
1981
Graduated from Tokyo University of the Arts
1983
Completed the Master Program, Tokyo University of the Arts
1984
Completed Institute Cours e, Tokyo University of the Arts
Solo Exhibition 2017
[ART FORMASA] Gallery Yamaguchi kunst-bau, Osaka/ Japan
[Red and Blue and] Gallery Shilla, Daegu/ Korea
[Red and Blue and] Gallery Yamaguchi kunst-bau, Osaka/ Japan
2016
[in light] gallery 21-yo, Tokyo/ Japan
2015
[Rot, Blau und Licht] Galerie Christoph Abb端hl, Solothurn/Switzerland
2014
[Red, Blue and Light] Gallery Yamaguchi Kunst -Bau, Osaka
[Farbe Raum Licht] Kunstraum Oktogon, Bern, Switzerland
[recent works] Gallery nine, Amsterdam, Netherlands
[red, blue and light] Gallery GEN, Tokyo
2012
[Red, Blue and Light] Gallery Shilla, Daegu, Korea
[light] Gallery GEN, Tokyo
2011
[daylight] Gallery Yamaguchi Kunst -Bau, Osaka
[daylight] Galerie Christoph Abb端hl, Solothurn, Switzerland
2010
[red, bule and light] Gallery GEN, Tokyo
[red, blue and light] House of Art - Budweis, Czech Republic
2009
[Die Sprache der Farbe] Galerie Christoph Abb端 hl, Solothurn, Switzerland
[art amsterdam`09 SOLO] Amsterdam RAI Parkhal, Amsterdam, Netherlands
[daylight] GALLERY TERASHITA, Tokyo
2008
[works on paper] Gallery GEN, Tokyo
2007
[Red Studies] GALLERY TERASHITA, Tokyo
[Recent Works] Gallery Yamaguchi Kunst -Bau, Osaka
[Albeiten auf Papier] Galerie Carmen Weber, Zug, Switzerland
[with red] Kunstraum Hebel_121, Basel, Switzerland
2006
[Monochromes] GALLERY TERASHITA, Tokyo
[Text] CONCEPT SPACE, Bordeaux, France
[Red-interval] Gallery GEN, Tokyo
2005
[Takashi Suzuki-Gouachen] Galerie Carmen Weber, Zug, Switzerland
Institut f端r bildenerisches Denken, Grenzach -Wyhlen, Germany
2004
[ONE] GALLERY TERASHITA, Tokyo
[Scarlet Paintings -Text] Das Gästezimmer, Wolhusen, Switzerland
[Scarlet Monochrome -Light] Gallery GE N, Tokyo
2003 [Scarlet Paintings -NOTE] GALLERY TERASHITA, Tokyo
[Scarlet Paintings] GALERIE ANDO, Tokyo
2002
[Works of Scarlet] Gallery GEN, Tokyo
2001 [Text of Memory] CONCEPT SPACE, Shibukawa
Museum St.Wendel, Mia -Münster-Haus, St.Wendel, Germany
[Takashi Suzuki Exhibition] Gallery AD&A, Osaka
2000
[TUES-2000] The Utukushi -ga-hara Open-Air Museum, Nagano
[Depth of Memory -Precision of Site] Gallery Alpha M, Tokyo
[Somewhere, not Here] Gallery GEN, Tokyo
1998
Kunstraum Hebel_121, Basel, Switzerland
1997
[Recent Works] Gallery GEN, Tokyo
1996
GALLERY 360 Degrees, Tokyo
Gallery GEN, Tokyo
1995
GALLERY 360 Degrees, Tokyo
1994
[Drawings] Gallery GEN, Tokyo
[SCULPTURES and DRAWINGS] GALLERY 360 Degrees, Tokyo
1993
[Steel Sculptures] Gallery GHIBLI, Tokyo
1991
[Recent Sculptures and Drawings] GALLERY MANIN, Tokyo
1988
[New Works] Gallery GEN, Tokyo ( -’89,’90,’91,’92,’93)
1987
[RECENT SCULPTURES] GALLERY MANIN, Tokyo
1984
ANDO GALLERY, Tokyo
1983
Kamakura Gallery, Tokyo
Selected Group Exhibition 2017
[WHITE]Galerie Christoph Abbühl, Solothurn, Switzerland
[Interaction of Color] Gallery Yamaguchi kunst-bau, Osaka/ Japan
2016
[ART The Hague] Fokker Terminal, Den Haag/Netherlands
[Japan im Palazzo] Kunsthalle Palazzo Liestal/ Switzerland
[NEW SPACE with THE ARTISTS and ART] Gallery Yamaguchi kunst-bau, Osaka/ Japan
[Incidents-Zwischenfälle] KulturAmbulanz Galerie im Park, Bremen/ Germany
[Accrochage] Kunstraum Hebel_121, Basel/ Switzerland
2015
[CORRESPONDENCE LANDSCAPE 015] Gallery KOBO SHIN, Tokyo/ Japan
[ Characteristic Sense of the Rectangle] Gallery Yamaguchi kunst-bau, Osaka/ Japan
[Art Breda]Chasseveld Breda, Breda/ Netherlans
2014
[Dialog Konkret] Galerie Christoph Abbühl, Solothurn, Switzerland
[KUNST RAI] Amsterdam RAI Parkhal, Amsterdam, Netherlands
[spektrum schwarz] Galerie Christoph Abb ühl, Solothurn, Switzerland
2013
[KIND OF BLUE] Galerie Katharina Krohn, Basel, Switzerland
[Made in Japan] Kunstraum Hebel_121, Ba sel, Switzerland
[Summer Exhibition] Gallery nine, Amsterdam, Netherlands
[ART OSAKA 2013] Contemporary Art Fair, Hotel Granvia Osaka, Osaka
[KUNST RAI] Amsterdam RAI Parkhal, Amsterdam, Netherlands
[ANDO SESSION -4, sensiblity to colors exhibition] Galerie Ando, Tokyo
[31st Korea Galleries Art Fair] Seoul COEX Hall, Seoul, Korea
[RAW Art Fair 2013] Pakhuis Santos Rotterdam, Netherlands
2012
[Collections] Gallery Shilla, Daegu, Korea
[Accrochage] Galerie Christoph Abb ühl, Solothurn, Switzerland
[Summer Exhibition ] Gallery nine, Amsterdam, Netherlands
2011
[Collections] Gallery Shilla, Daegu, Korea
[Autumn Exhibition] Gallery Yamaguchi Kunst -Bau, Osaka
[präsent] Galerie Christoph Abbühl and Kunstforum Solothurn, Solothurn, Switzerland
[ART OSAKA 2011] Contemporary Art Fair, Hotel Granvia Osaka, Osaka
2010
[a quiet moment] Gallery Yamaguchi Kunst -Bau, Osaka
[works on paper] Gallery Terashita, Tokyo
[Small Size Works -Statements from Galleries -] Gallery Natsuka b.p, Tokyo
2009
[Black & White] GALLERY TERASHITA, Tokyo
[Kunst 09 Zürich] 15th International Contemporary Art Fair, Zürich -Oerlikon, Switzerland
2008
[Small Format] GALLERY TERASHITA, Tokyo
[Asia Top Gallery Hotel Art Fair 2008] Hotel New Otani Tokyo, Tokyo
2007
[Kunst im Dialog] Institut für bildenerisches Denken, Grenzach -Wyhlen, Germany
2006
[transit-abstract] project space -Henzelmann Tower, Berlin , Germany
[TAKE OFF] Kunstraum Hebel_121, Basel, Switzerland
2005
[Kunst 05 Zürich] 11th International Contemporary Art Fair, Zürich -Oerlikon, Switzerland
[ART in CASO 2005] Contemporary Art space Osaka, Osaka
[Rot-Positionen zeitgenössischer Kunst] Galer ie Carmen Weber, Zug, Switzerland
[Suki-Mono-Tachi No.6 Ways Since Rin-pa 2005 Chapter 3] Gallery Yamaguchi kunst-Bau, Osaka
[Personal Structures] Ludwig Museum, Koblenz, Germany
[SUKI-MONO-TACHI WAYS SINCE RIN -PA] Museum of Modern Art,Gunma, Takasaki
2004
[Hand in Hand -Contrasts] Hannover Städtische Galerie KUBUS, Hannover, Germany
[Personal Structures] Galerie de Rijk, Den Haag, Netherlands
[SUKI-MONO-TACHI Ways Since Rin -Pa No.6 -Chapter 1] CONCEPT SPACE, Shibukawa
[SUKI-MONO-TACHI Ways Since Rin -Pa No.6 -Chapter 1- Part 2] DESIGNPLANETS, Maebashi
[ART Frankfurt] Fair Collection, Frankfurt Main, Germany
2003
[SUKI-MONO-TACHI Ways Since Rin -Pa No.6 -Prologue] Gallery Surge, Tokyo
[Farbmalerei] Galerie am See, Zug, Switzerland
[Recommendation of Coll ecting a work of Art] Museum Haus Kasuya, Yokosuka
2002
[Links] (with Daniel Göttin) Museum Haus Kasuya, Yokosuka
[Correspondence] (with Daniel Göttin) Gallery Gen, Tokyo
[Sculptures and Drawing of Sculptors] Ausstellungsraum Harry Zellweger, Basel, Switzerland
2001
[Recommendation of Collecting a work of Art] Museum Haus Kasuya, Yokosuka
[SUKI-MONO-TACHI Ways Since Rin-Pa No.5] RINKKOHKAKU Basis Building and Tea Room, Maebashi
[SUKI-MONO-TACHI Ways Since Rin -Pa No.5] CONCEPT SPACE, Shibukawa
[PITON & 7 ARTEST] Gallery CHIKA, Tokyo
[KUNST IM PARK 4] (with Daniel Göttin) Hotel SARATZ, Pontresina, Switzerland
[Ngoya Contemporary Art Fair] Nagoya Citizen's Gallery, Ngoya
[Boxes, Spaces, Places] Galerie Monika Beck, Homburg, Saarland, Germany
2000
[SUKI-MONO-TACHI Ways Since Rin-Pa No.4] CONCEPT SPACE, Shibukawa
[Japanischer Blick auf Europa] Saar -Pfalz-Park-Halle 21, Bexbach, Germany
[Nagoya Contemporary Art Fair] Nagoya Citizen's Gallery, Nagoya
[CHIKA 2000 VIS ION] (wiith Satoko Shiba) Gallery CHIKA, Toky o
1999
[Tokyo Tatami Space Exhibition] Orimoto house, Kwasaki
1998
[KOMMUNIKATION] (with Frank Fuhrmann) Sagacho Exhibit Space, Tokyo
[Possession of Art works is to Share the Future with Artist] Museum Haus Kasuya, Yokosuka (-’99,’00)
1997
[KUNST=KAPITAL] Gallery 360 Degrees, Tokyo
1995
[5' Contemporary Art -Common Perspectives] BAN Gallery, Osaka
1994
[ART SITE Collection 4] Gallery ART SITE, Fukui
[ART SITE C ollection-Wakasa] Library -Wakasa, Fukui
[Art Works -on the Desk Space 3] Gallery Ar t and Craft,department store - SEIBU, Tokyo
1990
[Two-Dimensional Surface of Sculptors Exhibit] Gallery MANIN, Tokyo
[GOTOH COLLECTI ON 1] Gotoh Museum of Art, Chiba
1988
[Exhibition NEW WORKS] Kamakura Gallery, Tokyo
1987
[The 10th Sculptures by Metal Mold in Japan] Wako Hall, Tokyo
1986
[3-D GAME] (with Interior Designer and Architect) AXIS GALLERY, Tokyo
[Art-A Dialogue on P eace] Ohkurayama Memorial Hall, Yokohama
[A Scene of Contemporary Japanese Art -3] Miyagi Museum of Art, Sendai
1985
[The 8th Sculptures by Met al Mold in Japan] Wako Hall, Tokyo
[Three Artists Exhibition - SECTION] Ga llery Natuka, Tokyo
1983
[The 3rd Henry Moore Grand Prize Exhibition ] The Utukushi-ga-hara Open-Air Museum, Nagano
[Three Artists Exhibition - SECTION] Gallery Atelier -Z, Tokyo
1982
[Three Artists Exhibition - SECTION] Kmakura Gallery, Tokyo
[The 5th Japan Enba Contemporary Art Compe tition] Emba Museum of Modern Art, Kobe
1981
[Exhibition 28 Works] Modern Art Gallery, Tokyo
[Six Selected] Hall at Tokyo National University of Ar t and Music,Tokyo
[The 4th Ja pan Enba Contemporary Art Compe tition] Emba Museum of Modern Art, Kobe
Awards 2004
Awarded International Exchange -Program: Pola Art Foundation
2000
Awarded the TUES Prize : The Utukusi-ga-hara Open Air Museum
1983
Awarded the Prize for Excellence a t the 3th Henry Moore Grand Prize Exhibition:
The Utukusi-ga-hara Open Air Museum
1981
Awarded the Grand Prize at the 4th Japan Emba Art Competition: Japan Emba Museum
Awarded the Ohhasi Prize: Tokyo National University of Fine Art and Music