12/04/2018 - 25/05/2018
Opening on Thursday, 12 April 2017, 6 - 10 P.M.
Late night opening on Thursday 3 and 24 May, 7 - 9 P.M.
« Faites ce que personne
n’a jamais osé faire ».
Jiro Yoshihara, 1954, Osaka
Gallery Artisyou is pleased to present the third edition of its exhibition series Challenging Gutai.
The greatest representatives of the Japanese avant-garde will be featured : Shiraga, Maekawa, Nasaka, Uemae, Sumi, Imai.
In 1953, Yoshihara was marked by Jackson Pollock, whose action painting, like calligraphy, established a perfect fusion of the action and the art work. A year later Yoshihara created one of the most important movements of Japanese modernity, GUTAI, in which his many followers would merge abstraction and Japanese culture.
Hung to a rope in her studio, Shiraga throws himself across the space above the canvas. With his feet, he spreads the painting in more or less violent movements. It is thanks to this way of approaching the work with the whole body that the painter obtains such an intensity, a method that gives him a worldwide reputation as "action painter".
His notoriety has shed light on the entire group Gutaï. His works continue to fascinate collectors from all continents.
Born in Osaka in 1923, Senkichiro Nasaka met Kazuo Shiraga at the Kyoto Painting University in 1942. In 1965 he became a full member of the group Gutai after presenting his work at the 15th Gutai Art Exhibition.
The works of the first Gutai period, characterized by subtle nuances of colors, are particularly requested by the collectors of the movement.
His work probes a universe of organic forms where the paint is explored for its liquidness, its play with transparency and flows.
Born in 1925 in Osaka, Sumi entered the Gutaï group in 1955. A trained economist, he began his artistic practice after meeting Shimamoto.
Like every Gutai member, Sumi had to practice his art in the most innovative way possible. He uses an abacus dipped in Indian ink: "the intangible joy of drawing ink with an abacus led to a natural expression of power and joy."
Sumi's work is comparable to that of the greatest abstract expressionist artists of the second half of the 20th century.
It is thanks to Joan Miro that Maekawa discovers the use of burlap in 1952. He makes him replace the feature in the construction of his compositions, uses it as a guide for color or transcends it with paint flows that spread across the board.
With Shuji Mukai and Takesada Matsutani, Maekawa is the representative figure of the second generation of Gutai. Where the former members had often placed body impressions on flat surfaces, Maekawa transforms the painting into confining it with sculpture.
After the dissolution of Gutai, Maekawa continues his work. He is now gaining recognition, having joined the largest museums in the world (e.g. the Tate Modern in London) and galleries of international renown.
While Gutai is applauded in recent years, Uemae is one of the oldest witnesses of the group.
Living in various trades as a crane operator or traditional dyer in Kyoto, Uemae has never stopped painting.
The charm of his work lies in the elaborate materials and the accumulation of introspective energies that emanate from his innumerable points and knife motifs, whose serial principle announces the work of artists such as Yayoi Kusama.
UN MOT: 具体 GUTAI
Le terme vient de gu, « instrument » et de tai, « corps ». Gutaï signifie « matière », « concret »