1961年『繁殖絵画論』-小野田實(日本語版)
 最も最近、私の試みている実験的な作品の数点によって得られたイメージを更に拡大していきながら、これに理論的な背景を与えて見たいと思う。
 一九五六年の暮「世界・今日の美術展」によって、日本にアンフォルメルが紹介されたのだったがそれ以来アンフォルメル、あるいは、アクション・ペインティング一辺倒の風潮が、今日の美術界を支配している。これが安易に日本人の体質と結びつきフォーブ的な様相を呈しているのである。
 欧米で起ったアンフォルメルの運動もここに至っては、当初の否定も反逆も無くなり、公認された安全な方法として受け継がれているだけである。行動といった異質の要素を絵画にとり入れ、イメージの革新を企てようとしたアクション・ペインティング本来の目的もたんなる生理的エネルギーの発散でしかないような絵画の氾濫、タピエスの作品が紹介されるや壁のような絵がやたらとふえ、精神の厚みであると感違いしたような絵画群、いずれも昔流行した高等ルンペン的な暗い表情と重々しいマチエル、情感のぬくもりと陰湿なムードは日本の風土に根ざした特性だろうか。
 最近私が試みた作品の数点は、これらの風潮に対するシニカルな批判でもあり、冷笑でもあった訳だが、それ以前の私の発想のなかで無数の同一の何か(それは物体でも記号でもよい)が、メカニックに増殖していくというイメージにとり憑かれていたのだった。
 最も興味深いのは、オートメーション工場において作り出されていく製品の無数の同一である。仮に毎日無数に製造されていく真空管を例にとるとする。これをラジオ、テレビ等に組込まれることから切り離し、唯たんに真空管の無数の累積だけを見た場合、その膨大な無意味に驚異を発見出来ないだろうか。
 かつてシュールレアリズムが、テペズマン(異質な物体又はイメージを衝突さす)によって驚異を導き出したが、私は無数の同一にある秩序を与えることにより新しいイメージを獲得しようとしたのだった。
このイメージを客体化するために選んだのが無数の円形と線であった。以来それを「私のマル」と称し、遠近法的秩序による線の軌道によってマルの大きさは変化した。画面はどっちから見ようと差し支えないし「私のマル」は画面のどこからでも外へ延長することが出来、壁や天井は勿論のこと道路であろうと自動車であろうとおかまいなく描くことが出来るし、どこにでもマルを描き続ければ私の作品になるのである。そんなところから繁殖絵画と名付けたのではあるが、繁殖といった有機的なものではなく、からっけつで、あっけらかんとした、メカニックなイメージなのである。
 この世界に「否」をたたきつけるためにも、機械を喰う貪欲さを持って「無意味」に耐えることが必要である。ポカンと空を眺めながら「私のマル」が、この空を、地球を、残る隙なく覆い尽くすことを夢想する。

(「姫路美術」創刊号 1961年12月より)

work1961作品61-11

作品61-11   1961年制作
【2007/03/06 00:27】 | 作品解説-Description | page top↑
1961年『繁殖絵画論』-小野田實 (英語版)
Painting Progenation Theory (1961)

MINORU ONODA

I think that, while continuing a further expansion of the images derived from several of my most recent experimental works, I would like to give them a theoretical background.
At the end of 1956, “Art Informel” was introduced into Japan through the “Art of Today’s World” exhibition*. Since then, the Japanese art world has been dominated by the tendency toward “Art Informel” or “Action Painting.”
This tendency, which has easily been linked to the Japanese temperament, has made our painting take on the aspect of so-called "Japanese" Fauvism. In this sense, the “Art Informel” movement that originated in Europe and the United States lost the original negation and rebellion and continued on here only as a safe, officially acknowledged method.
The original purpose of including such extrinsic elements as “action” into painting as a way of innovating the image lost its primary meaning in the flood of paintings that showed only an emission of physical energy. As soon as the works of Antoni Tàpies were introduced into Japan, paintings whose surfaces looked like a wall greatly multiplied. It seems as though artists took the thickness of the surface for depth of mind. The old-fashioned dark expression, haughty street manner, heavy matière, emotionally lukewarm, gloomy atmosphere – were these all brought about by a characteristic rooted in the Japanese climate?
Some of my most recent works are a cynical critique and a jeer at those tendencies, but even in my earlier ideas I was captivated by the image of countless identical parts (these could be symbols or objects) that continue to proliferate mechanically.
Most interesting is the multitude of identical products being produced in automation factories. So, for example, vacuum tubes that are produced every day in countless quantities. Only when viewed as an infinite accumulation of tubes, separate from their being embedded in radio or television sets, can one open to the wonder of their vast meaninglessness. Once, Surrealism created a sense of wonder through the use of dépaysement [a collision of disparate objects or images]. I have tried to create a new image by giving countless identical things order.
To realize this image, I chose an infinite number of circles and lines. Since then I have referred to them as “Watashino-Maru (my circles)” and altered their size according to the linear trajectory of the laws of perspective.
One can view the picture from any direction. “Watashino-Maru” can be extended outward from any point in the picture not only to the wall and ceiling, but also to the road or car. In this way, if you continue to draw a circle anywhere, it becomes my work.
Although it was named “Painting Progenation,” it is not an organic thing like breeding; these are empty, hard-boiled and mechanical images.
In order to beat “negation” in this world it is necessary to hold out against the “meaninglessness” with the insatiable greed of eating machines. Gazing absently into the sky, I dream that “Watashino-Maru (my circles)” completely cover this sky and earth without gaps.

From Himeji-bijutsu, Vol. 1, December 1961.

* [Sekai・Konnichi no Bijutsu, organized by Tarō Okamoto and the Art Club at the Takashimaya department store in downtown Tokyo]

work1961作品61-11

WORK1961-11


〇小野田實の言葉( Words of Onoda Minoru)

1964年 『ルナミ画廊 選抜展』(東京・銀座)-小野田實
(Extract from invitation letter of Select exhibition in Lunami Gallery (Ginza, Tokyo), October 21-26th, 1964)
http://onodart.blog94.fc2.com/blog-entry-97.html

1966年『現代美術の新世代』展出品作家へのアンケート-小野田實
(Answer to the question “What is the base of executions for your ideas?” at New Generation of Modern Art Exhibition, 1966)
http://onodart.blog94.fc2.com/blog-entry-92.html

1966年 『美術ジャーナル』-小野田實
(Art Journal No.57, April issue, published by Bijutsu Journal co., ltd. 1966)
http://onodart.blog94.fc2.com/blog-entry-93.html

1974『朝日ジャーナル』 -小野田實
(Asahi Journal, 1st of March, 1974, “The Word Of Cover Works 73-9r” published by Asahi news paper)
http://onodart.blog94.fc2.com/blog-entry-91.html

1979年「グタイと私」  小野田實
(“Special Exhibition for Yoshiwara Jiro” and letter of GUTAI, Hyogo prefectural Museum of Modern art, June 5-28th, 1979)
http://onodart.blog94.fc2.com/blog-entry-134.html

1988年 『グランクール』 小野田實
(From Interview for “Grand Court” booklet edited by Town Himeji)
http://onodart.blog94.fc2.com/blog-entry-87.html

1990年 石彫モニュメント制作にあたって 小野田實
(At making a stone relief monument, 1990)
http://onodart.blog94.fc2.com/blog-entry-85.html

1997年「芦屋市展1948-1997」 小野田實
(“Exhibition in Ashiya city , 1948-1997” published by Ashiya Art Association and etc. 1997)
http://onodart.blog94.fc2.com/blog-entry-86.html

1963年 「北條の五百羅漢・その1」写真・文 小野田實
http://onodart.blog94.fc2.com/blog-entry-152.html

(Sansai ,May issue, published by Sansai-sha co., ltd. 1963)
http://onodart.blog94.fc2.com/blog-entry-151.html


〇小野田實のインタビュー オーラルヒストリー
(Oral history-Interview with Onoda Minoru)
2004年姫路市立美術館企画「小野田實の世界展」 イーグレひめじ  ギャラリートーク
http://onodart.blog94.fc2.com/blog-entry-79.html

〇小野田實について書かれたものなど(Articles written on Onoda Minoru)

1964年『美術手帖』-ヨシダ・ヨシエ(美術評論家)
Bijutsu-techo (art magazine) published by bijutu shuppan co., ltd., July issue, 1964
[Yoshie YOSHIDA, art critic・Taro Nomura,art critic]
http://onodart.blog94.fc2.com/blog-entry-98.html

1965年『小野田實個展』-ヨシダ・ヨシエ・赤根和生・黒川録朗
“Solo exhibition of Minoru ONODA” at Sanyo Shopping Center in Himeji. 15-20th of April, 1965
http://onodart.blog94.fc2.com/blog-entry-96.html

1965年 『ダイワ俊英シリーズ/第4回』 赤根和生(美術評論家)
The 4th of DAIWA select series August of 22-31th, 1965
“Macro and Micro”Text by Mr. AKANE Kazuo,
http://onodart.blog94.fc2.com/blog-entry-81.html

1965年-「マル」の行為者-『現代美術』6号 -赤根和生(美術評論家)
Feature article “The man of tomorrow” 4 ONODA Minoru, June, 1965
“Maru Actor” text by Akane Kazuo, art critic
Gendaibijutu (art magazine) published by Sansai-sha co., ltd., June issue, 1965
http://onodart.blog94.fc2.com/blog-entry-95.html

1966年 ダイワ俊英シリーズ-赤根和生(美術評論家)
The 4th of DAIWA select series August of 22-31th, 1965
“Macro and Micro”Text by Mr. AKANE Kazuo,
http://onodart.blog94.fc2.com/blog-entry-94.html

季刊 熟年の窓 no.3 新日本ジャーナル (there’s no English translation)
http://onodart.blog94.fc2.com/blog-entry-82.html

1988年 アートカイト-
Art kites, 1988, text from book “Art kites, Kunstdrachen, 1988,
 published by Osaka German Culture Center
http://onodart.blog94.fc2.com/blog-entry-89.html

2004年創造精神 変幻自在-三上貴美男
Creative Spirit ! Kaleidoscopic !
"The thing which I have never seen ".
"Even now I can start from Zero every time my style changes "." Do what nobody ever done "
[KOBE newspaper. Mikio MIKAMI]
http://onodart.blog94.fc2.com/blog-entry-132.html

2006年 文化情報・姫路12月号(there’s no English)
http://onodart.blog94.fc2.com/blog-entry-84.html

「私のマル」-小野田實とその作品  姫路市立美術館学芸員 平瀬礼太
"Watashino-Maru (My Circle)”- Minoru Onoda and his works
http://onodart.blog94.fc2.com/blog-entry-130.html
 
2012年脚光を浴びる「具体」=高階秀爾
Creative spirit still vividly travels. Eye Says“art rambling” of July article, Mainichi Shimbun , July 11th, 2012
http://onodart.blog94.fc2.com/blog-entry-133.html

2012年 今 「マル」の時代 ! 朝日新聞
Now ,「Maru」time ! Exhibition at Tokyo and NY ! [ASAHI newspaper. Takumi Fujii]
http://onodart.blog94.fc2.com/blog-entry-131.html




paitings of propagation(Before correction)


Minoru Onoda

Recently I have gotten a new image through my experimental works .So I would like to give thetheoretical background of the image by enlarging it.
In the end of 1956 “Art Informel”was introduced into Japan througn the exhibition named“Today ’s Art of the world”. Since then Japanese art-world has been occupied by the tendency toward the movement of“Art informel”or“Action Painting”.This tendency whichhas been easily tied to the temper of japanese has made our painting take on the aspect of so-calle“japanese”Fauvism. In this sence“Art Informel”,which originated in the Occident, lost the original meaning of the denial or the rebel, continued only as an officially acknowledged, safe method.“Action Painting”, which introdused the action as a different nature as the way of innovating image, lost the primary meaning in the flood of paintings that only showed the emission of physiological energy. No sooner the works of Antoni Tapies had been introduced info Japan than paintings whose surfaces lookd like the wall increased. It seems as thougn artists took the thickness of surface for the depth of mind.The old-fashioned dark expression putting on airs of higher vagabond, the heavy matiere, emotional lukewarmness, gloomy atmosphere; were they all brought about by the characteristic based on Japanese climate?
My late works were cynical criticism and sneer to those tendencies. Then one image that innumerable same things mechanically propagate, chermed my idea.
What intereated me most was mass production in the automated factory; its countless sameness.
If you see the vacuum tubes, which have been produced every day in great quantity, as just only innumerable accumulation of material, without recognizing their purpost of being used for receiving sets, you must feel astonished by the enormous amount of meaninglessness.
Once surrealism used depaysement as a method of causing surprise. On the other hand, I have tried to get a new image through giving order to the innumerable same things.
In order to realize this image I have selected the way of using innumerable circles and lines.
Since than I have called the“Watashino-maru(my circle)”. Those sizes will change according to the lines under the perspective order. You are able to see the picture from all directions you like. “Watashino-maru”will extend out of the picture not only to the wall and ceiling but to the road or the car. My circle, wherever I paint it, will become my work. So I gave the name “Paintings of Propagation”to them, however, as a matter of fact, they did not have such organic impression as propagation, but had empty, hard-boiled, and mechanical image. With the greedy mind of eating machines, it is necessary to stand the “senselessness”so as to thrust“Non”to the World new we are living in.
Looking up at the sky vacantly, I dream this sky and the world will be filled completely with “Watashino-maru”.

from (“Himeji-bijyutu”vol.1, December 1961)
【2007/03/06 00:24】 | 作品解説-Description | page top↑
1964年『美術手帖』-ヨシダ・ヨシエ(美術評論家)
小野田實は二紀会に所属して、姫路に住む若い作家ですが、個展は今度が初めてです。作品は、前は壁のようなところに、ビニールチューブや、管のようなものをずっと埋め込んで、そういった空間構成をした。それからやがて木を貼りつけて、できるだけ円とか線とか、形の原型的なものと空間とのふれ合い、そういったことを追求してきたわけなんですけれども、最近でもそれの一つの延長として、胡粉とボンドをねり合わせて凸凹をつくった画面に、これも非常に原型的な円と線を遠近法的に配置して、しかも黄色とか赤とか緑とか鮮烈な原色を使って、相手をクラクラさせるような、要するにさっきお話したような壁派的というのは、とにかく壁のなかに一種の自分の情緒を塗りこめるといったタイプが多かったのですが、この人はそういったものを突っぱねて、むしろ壁派批判として、一つの空間の原理みたいなものを作った、こういった意図を出した作家じゃないかというふうに考えます。~
ヨシダヨシエ(美術評論家)・野村太郎(美術評論家)

1964年7月号『美術手帖』美術出版社

1964年7月号美術手帖


■Bijutsu-techo (art magazine) published by bijutu shuppann co., ltd., July issue, 1964


Extract of “reviewing works, from individual and group exhibitions, (from the Ending of April to the beginning of May)”
Minoru Onoda is a young artist living in Himeji. He belongs to the Niki* group. This is his first individual exhibition.
For his old works he would make a construction space, inserting vinyl tubes and other materials into it to form a wall. Then he would place pieces of wood to form circles, lines, shapes, and spaces as much as possible . However for his current paintings he creates perspective with vivid yellow, red, and green circles and lines. Painted on an uneven canvas created by kneading Gofun and bond together, it makes us feel dizzy. Artists who belong to the wall group similar to Onoda’s older works daubed their own emotions onto the wall. But Onoda rejected such notions and criticizes the wall group by creating the illusion of space on canvas. I think he is an artist who has such an intention.

[Yoshie YOSHIDA, art critic・Taro Nomura,art critic]

* Niki: Society for creating second new era
**Gofun: “Japanese white pigment”
【2007/03/06 00:15】 | 作品解説-Description | page top↑
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