2026年3月7日(土) 〜 4月19日(日)
13:00 – 19:00 (木曜定休)
オープニングレセプション：3月7日(土) 17:00より
アーティストトーク：4月19日(日) 17:00より
itokai
ISE Shuhei, OSA Seiichiro, OZEKI Ryo, NAKASHIMA Norihiro
March 7 (Sat) – April 19 (Sun), 2026
13:00 – 19:00 (Closed on Thursdays)
Opening Reception: March 7 (Sat) from 17:00
Artist Talk: April 19 (Sun) from 17:00
Venue: VOU
VOU bldg. 137 Sujiya-cho, Shimogyo-ku, Kyoto
「糸会」は過去10年以上に渡り絵画について語り合い、互いの作品を鑑賞し、展覧会を開催してきた4人の作家による企画だ。
2023年には東京都美術館の「都美セレクション」に選出され、2025年にはCADAN有楽町、Gallery10[TOH]にて展覧会を開催してきた。4人の関係は展覧会という一過性の枠組みを超え、絵画(作品)を求心力として今日まで更新してきた。個々の制作においても共鳴と反発を表明し合い、建設的かつ有機的な繋がりが生まれている。思考や手法は異なるものの、社会性や物語性を前面化しないことや、明確なプランを用意せず即興的に制作するなど共通点も見出せる。おそらく4人は制作において、一旦わからないところまで降りたり、潜ったり、迷い込んだりする必要があるのだろう。恣意的に無理矢理当てはめるのではなく、漂うさまを受け入れ対話を楽しむように描く。一手打つ度に予想外の変化が繰り返され、わからないところで描いている(描かされている)ような状態になる。時には愉悦と共に筆を取り、時には台無しと共に筆を置く。その当たり前のような手触りの往来は、ある種の禍々しさをもって作家を途方に暮れさせる。その正答のない過程を紡ぎ、手繰り寄せていった絵画は新鮮で生々しく、渾然と世界に同化していく。気づけば、今まで観たことのなかった絶景かのごとく眼前に現れ、観てみたかった “なにか” となり得るだろう。
“Itokai” is a project formed by four artists who, for more than a decade, have engaged in ongoing conversations about painting, viewed each other’s works, and organized exhibitions together.
In 2023, they were selected for the Tokyo Metropolitan Art Museum’s “Tobi Selection,” and in 2025, they held exhibitions at CADAN Yurakucho and Gallery 10[TOH]. Their relationship extends beyond the transient framework of exhibitions; painting itself has continued to draw them inward, serving as the force around which their connection has been renewed. Even within their individual practices, they express both resonance and resistance toward one another, giving rise to a constructive and organic bond.
Their approaches and ways of thinking differ, yet certain tendencies overlap: they do not place social or narrative meaning at the forefront, and they rarely begin with fixed plans, allowing improvisation to guide the work. In their practice at times, each of them must descend into the unknown—diving in, wandering, even getting lost. Rather than imposing arbitrary intentions, they accept this state of drift and paint as if engaging in a dialogue with it.
With every gesture, unforeseen changes unfold, and they find themselves painting from a place they cannot fully comprehend—almost as though propelled by the movement of the painting itself. At times they take up the brush with delight; at others, they set it down in a sense of ruin. This continual back-and-forth, so familiar as to seem natural, carries a certain ominous quality that leaves the artist at a loss.
Through spinning and reeling in this process together—one without a single correct answer—the paintings emerge fresh and visceral, merging with the world. Before one realizes it, they appear before the viewer like a landscape never before encountered, becoming that long-awaited “something” one has long hoped to encounter.
