恒例の、128画廊関係アーティストのグループ展が６月14日からスタート。オリンの古ーい水彩画を選ぶ。生まれ故郷のアン・アーバー（ミシガン）の、枯れ木野原で15歳の彼が食い入る様にして描いたんだろうか。情景が浮かぶ。同時に、本当にオリンは旅立ってしまったんだ！という事実に涙してしまう。
I picked up the one of Orin’s old drawings for participating him to the Group show. He drew this one was his age 15 years old, he had to be in Michigan/Ann Arbor. The scene at that time comes to mind. At the same time, Orin really has left! The fact makes me cry.
I SEE SUMMER @ gallery onetwentyeight <— click more detail / 128画廊詳細はこちらです。
SJACウエッブサイト/SJAC website <—- click /ここをクリック
| On March 11, 2011 our beautiful native country Japan experienced an unprecedented large earthquake, tsunami and nuclear accident. Even now, after twelve years from the Fukushima Daiichi Nuclear Power Plant accident, approximate 34,000 people have not returned yet to their home town. After the nuclear disaster in Fukushima, many people in Japan felt it is our responsibility to make the world aware of the dangers of nuclear power and to lead the world in anti-nuclear power awareness so as not to waste the inconceivable losses we suffered. Even after twelve years have passed, it’s still obvious that the situation has not changed at all we can see the government and country are depending on nuclear power. They say that it’s safe for people, but the government, politicians, and related companies are lying. The disaster should have brought us all to an awareness of the safety of nuclear power, but the reality is things are becoming worse and the situation is being hidden from the public. Those with vested interests in nuclear powers plants and the power structure surrounding them point to energy security and the country’s economy. What is evident in the Fukushima disaster is the hoax perpetrated by nuclear related industry, academia and the government in deceiving the people about its safety. The news media has concealed the radioactive damage and the massive release of radioactivity that is becoming increasingly serious. Then the news of them may be erased by the power of politics. Many nuclear power plant experts already have issued statements that our primary nuclear power policy was the wrong, since we had enough electricity even without nuclear power, nuclear power is not safe, the cost is highest as compared with other power generation options, and there is extensive damage that eliminates population centers and agricultural land use if an accident happens only once. Many people agreed, but to oppose the nuclear power is still taboo. Even now this subject is considered as taboo in Japan and the U.S. The burden to the later generations including the issue of nuclear waste is not being dealt with responsibly. It is time for all of us to recognize our duty as social beings to protect the life and health of the children we love, and to leave hope for their future. The whole world has been manipulated by the rhetoric of “peaceful use of nuclear energy.” Now is the time to pull out from this lie and to use art to bring awareness of the devil of nuclear power. Anti-Nuke Power Art ©Curated by Keiko Koshimitsu show images, please click here—–> gallery onetwentyeight |
わたしはこの二つの小品で参加しました。『ドリームキャッチャー』（Dream-Cat-cher) がタイトルです。語呂合わせのようにしました。gallery OneTwentyEight <— click /クリック
I participated in these two pieces. The title is “Dream-Cat-cher”. I made it like a pun.
オリンが長く関わっているボリス・ルリエ財団 (← クリック）での展覧会が ユダヤ遺産博物館（← クリック）であった。初恋の女性も、実母も姉妹もホロコーストで失くし、使い勝手の良い男という理由で、ボリスと実父は終戦までの年月をキャンプで働かされた。自由を得てニューヨークに渡る。日々襲ってくる筆舌し難い辛酸をなめた過酷な体験、それらを覚えている限り 描ききってやる、表現してやる、との固い決意がボリスを終生のアート活動に向かわせた。
博物館は、”ホロコースト；憎しみができること” と ”ホロコーストから生還した人々の顔；写真展” の三つのセクションに分かれており、涙無しには全てを見きれなかった。すべて、この地球上のものは繋がっているのに、どうしてこんなに易々と殺戮できるのだろう。（核の脅威も生物兵器も勿論）
帰りに、スミソニアン国立アメリカインディアン博物館 (← クリック)にも立ち寄ることができた。もともとこの大陸に居た先住者達の歴史を見ることができる。ボリス・ルリエ展もこちらの展観も実に重く深く考えさせられる。
The exhibition from Boris Lurie Art Foundation (← click) where Orin has been involved for a long time, was held at The Museum of Jewish Heritage (← click). Boris lost his childhood lover, mother and sisters in the Holocaust, however he and his father were selected by nazis to work in camps until the end of the war because they had good skills for work. Boris, then got free and moved to New York. Since then, his life was extremely hard and bitter, these harsh experiences that attacked him every day were too difficult to put into words.『As long as I can remember them, I will draw them out, express them! 』This determination pushed Boris towards his lifelong artistic career and activities.
The museum currently has three exhibitions, including “Nothing to do but to try” Boris Lorie, “Survivors: Faces of Life after the Holocaust by Martin Schoeller” and “The HOLOCAUST; what hate can do”. I couldn’t see them all without tears. Everything on this earth is connected, so how can it be so easy to slaughter? (Nuclear threats and/or biological weapons, of course)
On the way back, Orin and I were able to stop by the Smithsonian National Museum of the American Indian (← click). You can see the history of the original inhabitants of this continent. Both the Boris Lurie exhibition and this exhibition are really heavy and make me think deeply.
大盛況だった宮本和子さんの展覧会。その会場でもあったジャパンソサエティの招きで、ダンスの大御所、中馬芳子さんがパフォーマンスを行った。このビデオ編集はとうに終えていたのにも関わらず、こうしてブログにシェアするのが今になってしまった。お時間のおありの時、よろしければ見てくださいね。ありがとうございます。
Kazuko Miyamoto’s exhibition at the Japan Society was a great success. At the invitation of the venue, Yoshiko Chuma, a master of dance, gave a performance. I finished editing this video long ago, but now is the time to share it on my blog. Please take a look if you have time. A video link is below, just click a blue words. 41 min. Thank you very much.
Tipping Utopia Toward Kazuko Miyamoto ← ここをclickしてご覧ください。41分の長さです。
オリンと私はもっとニューヨーク市内に行くべきだよね。さらに美術館が遠のいてしまう。久しぶりにビーコンの美術館に出かけて、何時間も館内で過ごした。あー、やっぱりアートは面白い。
Orin and I should go to New York City more often. Otherwise, all museums are far away from us. Finally, we went to the Dia Beacon (Museum) and spent hours inside. Ah, art is so much fun after all.
オリンの友人、ダニー。彼は, ミュージアム・オブ・ザ・インタレストシングス という出張骨董品博物館を開催している。先日、アルバニーで古いフィルムの上映をするから、と立ち寄ってくれた。いわゆる由緒正しき宝飾的なアンティーク類というよりは、本当にレトロで懐かしい玩具、機械工業品、日常生活品が占めており、彼がこれまでに収集した膨大な”面白いものたち”を眺めるだけで時空が巻き戻される。
Orin’s friend, Denny. He runs a traveling antique museum called “the Museum of Interesting Things”. The other day he stopped by on his way to show an old film in Albany. Rather than the so-called jewelry antiques, his museum is dominated by really retro and nostalgic toys, machine industry products, old films, and everyday items. Space-time is rewound just by looking at the huge amount of “interesting things” he has collected so far.
2003年1月10日と11日、ニューヨークのHERE Art Centerで開催されたGreat Small Works主催「第6回おもちゃ劇場フェスティバル」に紙芝居パフォーマンスで参加のため、この物語を作成した。 紙芝居は、一枚一枚の絵を見せながら話を語る大道芸です。登場人物のミミとルルがどんなふうに砂漠の国を救ったか楽しみですね。舞台では、私が一枚一枚の絵を日本語で語り、次にアヤ・カナイさんが英語で通訳をしてくださった。実にありがたいサポートでした！
絵は、色を塗った紙を切り抜いてコラージュ風に作った。お話に登場するミミとルル、彼らの名前はお友達の猫さんの名前をそのままお借りしたんです。猫さんを通じてお話がやってきた、という気がしている。
19年が経ち、やっと当時の紙芝居を動画に作り直すことができた。 ナレーションを担当してくださった岩田智子さんとオリン・バック、オリンは録音も手がけてくれました。お二人に感謝します。
This is the story of Mimi and Lou-Lou, and how they helped their desert planet. I created this story for my Kami-Shibai performance on 10 & 11 January, 2003, the “Sixth Toy Theater Festival” produced by Great Small Works at the HERE Art Center, New York NY. Kami-Shibai is a street entertainment from using illustrated paper scrolls to tell a story. At that time on the stage, I read the story in Japanese, and then Ms. Aya Kanai provided simultaneous interpretation in English for me. It was a great support to me!
These pictures were made into a collage style by cutting out colored paper. Mimi and Lulu in the story, for their names I borrowed the name of my friend’s cat. Somehow I feel that the story came through the cat named “Lou-Lou & Mimi”.
After 19 years passed, finally I remade my old story into a video. Special thanks to Ms. Tomoko Iwata & Orin Buck for narration, also Orin helped me with audio recording, too.
英語版ビデオ: English version video 日本語版ビデオ: Japanese version video
SJAC/Society of Japanese and American Creators の、オープニングのズーム配信と会場風景の写真撮影のお手伝いで出かけました。見応えのある数々の作品の展観もさることながら、懐かしいお顔にもたくさん会うことができて時間が飛んで行きました。
We went out to support with the Zoom broadcast of the “SJAC 2022 Exhibition” opening and the photography of the venue scenery. There were quite many spectacular works, moreover we were able to meet many friends and time went by so quickly.
この日は私の姉の生誕日であり、フランスに住む心友サヤの誕生日でもある。彼女からの折に触れての写真の便りは、近所の牧場の仔牛たちにハモニカを吹いて聴かせたり、雑草の茂った突き当たりに古いマリア像を発見したり、作曲活動のあれこれや海に出かけたことなど、待ちに待った絵本のようにワクワクさせられる。
Today is the birthday of my sister and the birthday of my dear friend Saya, who lives in France. From time to time, Saya wrote that she was/is playing harmonica to the calves on the ranch in the neighborhood: how she & Vivien discovered the old statue of Mary at the end of the weeds/bush; about their music composition activities and going out to the sea, etc. It’s as exciting as the long-awaited picture book.
『シャボン玉』、、、サヤがこの曲を仔牛たちに吹くのは、やがては屠殺場に連れてゆかれるこの子たちへの、はかない人生へのレクイエム。それはもちろん、この童謡作詞家野口雨情の、娘を幼くして失った心情にも重なるとのこと。
“Shabon-dama/Soap bubbles” … Saya plays harmonica in this song to the calves as a requiem for the ephemeral life of these children who will eventually be taken to the slaughterhouse. Of course, she mentioned that it also overlaps with the feelings of this children’s song writer, Noguchi Ujo, who lost his daughter at a young age.
サヤとビビエンは海が大好き。思いっきり遊んでね。
Saya and Vivien love the sea. Play as much as you can！
