熏依社·上海｜「手绘」Drawing - 吉原治良 堀尾贞治 今井俊满 群展

1905  生于日本大阪

1928  远赴法国留学

1954  吉原治良在家乡大阪西庐屋创建“具体美术协会”，是战后日本最早出现的前卫美术团体

1955  开始出版日、英双语的《具体》杂志

1956  发表《具体美术宣言》，定义精神、身体与物质在艺术中的全新关联

1960  全然投入“圆”行的创作 

1972  突然去世，终结了具体派运动

作为战后日本艺术的先驱，吉原治良被公认为前卫具体派团体的创始人，该团体从 1954 年一直活跃到他去世的 1972 年。受到吉原先生“研究人体运动，忠于材料，探索未发现之美”的使命的启发，具体派艺术家创作了强调手势和物性的原创艺术作品。从1960年代开始，吉原治良发展了一种受日本‘円相’书法艺术和禅宗哲学以及西方抽象主义启发的绘画风格，他在圆上尝试了无数的变化，他认为它的简单和无处不在为艺术表达提供了无限的可能性。

吉原治良的作品曾在他的家乡日本和世界各地的博物馆展出，包括纽约现代艺术博物馆和古根海姆。

1905 Born in Osaka, Japan

1928 Went to study in France

1954 Founded the "Gutai Art Association" in his hometown, Nishiruya, Osaka, which was the Japanese earliest avant-garde art group that appeared after the war.

1955 Started publishing Japanese and English bilingual "Gutai" magazine

1956 Published the "Gutai Art Manifesto", defining the new relationship between mind, body and matters in art

1960 Completely entered the creation of “circle” shape.

1972 Jiro Yoshihara's sudden death ended the Gutai movement

A pioneer of post-war Japanese art, Jiro Yoshihara is widely recognized as the founder of the avant-garde Gutai group, which was active from 1954 until his death in 1972. Inspired by Yoshihara’s mandate “studies the human movement, remains true to the material and explores the undiscovered beauty”, the Gutai artists created original artworks that emphasized gesture and properties of matters. Starting in the 1960s, Yoshihara developed a style of action painting inspired by Japanese “Enso” calligraphy and Zen philosophy as well as Western abstraction, he tried myriad variations on the circle, whose simplicity and ubiquity he believed provided infinite possibilities for artistic expression. 

Yoshihara’s work has been exhibited throughout his native Japan and at museums around the world, including MoMA in NYC and the Guggenheim.

堀尾贞治是战后日本前卫艺术团体具体派协会的最后数位在世成员之一，于1939年出生于兵库县，他是具体派中最年轻的创始成员。他曾与具体派创始人吉原治良一起学习，于1965年第15届具体艺术展首次展示了自己的作品，并于次年正式加入了具体派协会，直到1972年协会解散。在20世纪70年代，堀尾贞治成为了“Bonkura”的创始成员，这个是一个总部设在巴黎的艺术团体。堀尾贞治数十年如一日地进行实验性创作，他使用各种现成材料，如废金属、绳子、木头、根、石头和木板，并成为神户的现代行为艺术的先驱，这些艺术创作都是在他在三菱集团工作期间进行的，一直持续到1998年。KUKI 是一个当代艺术团体，由与堀尾的作品有密切关系并帮助他实现项目的成员组成，堀尾曾与该团体合作，在2009年大阪水都大都会和2005年横滨三年展等活动中创作表演。他的实践和其他具体派艺术家一样，试图挑战艺术与生活之间的界限。

堀尾贞治的作品在国际上广泛展出，他每年参与一百多个项目，展出他创作的机构包括第十五届具体派艺术展，大阪具体美术馆（1965年）；京都独立展（1985）；横滨三年展（2005年）；威尼斯Fortuny大楼（2011年）；斯德哥尔摩现代博物馆（2012年）；纽约所罗门·R·古根海姆博物馆（2013年）等等。

Sadaharu Horio, one of the last living members of the postwar Japanese avant-garde Gutai Art Association, is born in 1939 in Kobe, Horio studied with Gutai founder Jirō Yoshihara and in the mid-1960s became one of the youngest members of the group, which sought to release the “scream of matter itself” through a combination of performance, painting, theatre, music, and installations. In the 1970s, Horio was a founding member of Bonkura, an art collective based in Paris, and in the 1980s he began his series “A Matter of Course,” or “Atarimae no koto,” which comprised over one hundred exhibitions and performances. Horio sustained a decades-long practice in experimental work, using various found materials such as scrap metal, string, wood, roots, stones, and planks, and became a pioneer of modern Kobe performance art, all while working a factory job at Mitsubishi until 1998. KUKI is a contemporary art collective comprising members who have an affinity with Horio’s work and help him realize his projects. Horio has worked with the members of the group to create performances at such events as Aqua Metropolis Osaka 2009 and the Yokohama Triennale 2005. Like Gutai, his practice sought to challenge the boundary between art and life. 

Horio’s work has been exhibited internationally, including at the Fifteenth Gutai Art Exhibition, Gutai Pinacotheca, Osaka (1965); Kyoto Independents (1985); the Yokohama Triennial (2005); the Palazzo Fortuny, Venice (2011); Moderna Museet, Stockholm (2012); and the Solomon R. Guggenheim Museum, New York (2013).

1952年，二战后的动荡之际，今井俊满，独自前往巴黎，参与了以Michel Tapié为代表的 “Art Informel (非定型艺术) ” 前卫艺术运动。今井于1957年暂时回国，与随后来日的Michel Tapié, Georges Mathieu及Sam Francis共同为日本艺术界掀起 “Art Informel (非定型艺术) 旋风”。此风潮颠覆欧洲以往美学定义，及以往对美的规范，这对一昧模仿西洋美术的日本艺术造成巨大影响。

在此期间，今井对日本的关注使他清楚地意识到日本的传统情感，以这种情感支撑着他的作品突破在欧洲习得的刻板的创作方式。他非常清楚自己的根源，这使他通过融入同时捕捉自然和艺术的日本美学，摆脱了西方艺术与生活“脱节”的僵局。

Amid the post-war turmoil, Imai Toshimitsu travelled alone to Paris in 1952 and became involved in the 'Art Informel' movement led by Michel Tapié. Imai returned to Japan temporarily in 1957 and together with Tapié, Georges Mathieu and Sam Francis, they created the Informel whirlwind that was to take over the Japanese art scene. The Informel sought to overturn European aesthetic norms which had a profound effect on Japanese art as it had been constantly imitating Western art. 

During this time, Imai's focus on Japan gave him a clear sense of the traditional Japanese sensibilities that underpinned his work as a means of breaking through European stereotypes. He was very conscious of his roots which led him to emerge through the deadlock of Western art that had become "disconnected" from life by incorporating a Japanese aesthetic that captures nature and art in tandem.