井上有一Yuichi Inoue

• 井上有一と創業40年
• 無名の個性的な芸術家に魅せられ、彼らを世に出すことが時代を創ることと信じ、40年に亘り応援してきました。
  一方美術の歴史深い此の地では画壇のヒエラルキー、権威を重んじた時代が長く、画廊は両極端の分野を取り扱いながら、プライマリーな彼等も同じ土俵に居て、私たちの将来へと繋がっていることを示すという運営でありました。
  美術の分野に拘らないで、作家本位で扱うようにしていましたが、当初から所謂教育的な”書道”分野には興味を持てず、対して前衛的な有一の仕事は目に焼きつくものがありました。しかし彼との関わりは遠いままでした。
  油彩画家で知られる須田剋太は曹洞宗の道元の教えに学び、有一の親友でした。彼は画家としてだけでなく書も同根とした人で、剋太作品のコレクションを通じ、徐々に有一作品と縁が出来るようになりました。
  また近年ふとした縁から有一作品との本格的な出会いが生まれたことで、コレクションが叶い、画廊40年の節目ということで、既成概念にとらわれない美術の発見を紹介してきた姿勢に沿うものとして有一再考の狼煙を上げることにしました。
  無名の書道家が、前衛というひとつの時代の象徴となり、歴史を創ると云うことが起こるのが美術の世界です。此を世界の遺産とする行為に、今を生きる私たちがコレクターと共に関わることに幸せを感じます。
  
• （ 蔵丘洞画廊主人敬白 2015年4月 ）

2016 exhibition brochure

• Yuichi Inoue and the 40th Anniversary
• I’ve always been addicted to those unknown but individual artists, and believed that showing them to the world is also a way to create a new age. That’s why I’ve been continuing supporting them the past 40 years.
  
  On the other hand, in a city with such long art history like Kyoto, although authority and the hierarchy of the artistic circle have long been paid respect to, our gallery keeps handling the fields of the extremes while working closely with these primary artists, which I believe is the way that will lead us to our future.
  
  Since I’ve been focusing more on the personal of the artists rather than being particular about art fields, I paid no interest in so-called educational "calligraphy" field from the first, instead I was impressed by Yuichi’s avant-garde works. However, the relation with his works remained far-off.?
  
  The well-known oil painting artist Kokuta Suda, who learned his skills from Dogen, the founder of Soto school (of Zen Buddhism), was a close friend of Yuichi.?
  Since Kokuta Suda has the same root with Yuichi not only as a painter but also as a calligrapher, by collecting Kokuta’s works, gradually I was led to Yuichi’s works.
  
  In recent years I was blessed with a full-scale encounter with Yuichi’s work and realized my collection of his works. Keeping up the attitude that not to conform to stereotypes and marking the 40th anniversary of our gallery, I decided to light up a beacon for the reconsideration of Yuichi.?
  
  In artistic circle, unknown calligraphers became the avant-garde symbol of the generation, and created the history. I feel really fortunate that we can participate with the collectors in this act of increasing world heritages.
  
• （ By the owner of Zoukyudo April , 2015 ）

• 井上有一与创业40年
• 我一直很欣赏那些默默无名却富有个性的艺术家的魅力，并坚信将他们展现给世人就是创造时代。故此40年来，我一直给与他们帮助和鼓励。
  另一方面,在这个美术历史悠久的城市，历来重视画坛的等级制度和权威，所以画廊一直同时涉及这两个极端的领域，给与这些无名艺术家同等的舞台,以示他们联系着画廊的未来。
  虽然我们画廊涉猎的作品不拘泥于美术领域，更主要的是以作家为重，但是从一开始就对所谓的教育性质的“书法”领域没什么兴趣，所以即便对有一前卫的作品印象深刻，但和他的关系还是很远。
  油画家须田剋太曾在曹洞宗的道元门下学习，是有一的好友。
  他们作为画家和书法家都是同源，所以通过收集剋太的作品，我们与有一的作品也开始结缘。并且近年一次机缘巧合，使我们得以正式接触有一的作品。如今也有了一定收藏，又适逢画廊成立40周年，所以作为画廊一贯的姿态，将打破常规的美术发现介绍给大家，我们决定在这个节点上燃起再考有一的狼烟。
  
• （2015.4 藏丘洞画廊馆主敬白 ）

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• A representative Japanese calligrapher----Yuichi Inoue (1916~1985) His experimental “one character writings” possess a general plasticity, and as outstanding masterpieces which lie on the border of calligraphy and painting have received high acclaim both in Japan and overseas. Corresponding with Abstract Expressionism in the 1950s, his work appeared in “Modern Japanese Calligraphy” at the Museum of Modern Art, New York (1954), and “Abstract Art ? Japan and the USA” (1955~1956) which toured five European countries after its launch at The National Museum of Modern Art, Tokyo. Soon after, participation followed in international exhibitions such as the early Sao Paulo Art Biennale, Documenta, and Carnegie International. His work received greater acclaim after comparison by the critic Herbert Read with masters such as Jackson Pollock and, after his death, a retrospective exhibition touring 7 domestic art museums was held in 1989, while his work was also included in “Scream Against the Sky: Japanese Art After 1945” which toured from Yokohama Museum of Art to The Guggenheim Museum Soho and The San Francisco Museum of Modern Art in 1994 and 1995. In recent years, his works are curated by Yuko Hasegawa and were showed at the Sharjah Biennale 11(2013.3~2013.5). His works are in collections at The National Museum of Modern Art, Tokyo and Kyoto, as well as in museums throughout Japan and overseas.
  (reprinted from the introduction of the Sharjah Biennale 11 exhibition pamphlet)
  
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• 日本代表书法家------井上有一（1916年～1985年）
  
  他实验性的“一字书法”富有大胆的造型性，在书法与绘画两个领域都被誉为优秀的杰作，在海内外享有非常高的评价。
  二十世纪五十年代，他的作品与抽象表现主义相呼应，在纽约近代美术馆的“Japanese Calligraphy展”（1954年）以及东京国立近代美术馆并欧洲5个国家巡回的“日美抽象美术展”（1955年～1956年）上展出。
  此外，还在当时开办不久的巴西圣保罗双年展，卡塞尔文献艺术展和卡内基国际艺术展等等国际性的美术展中频频展出。
  评论家赫伯特·里德曾将他与杰克逊·波洛克等巨匠相提并论，使他的艺术地位更上升一层。在他过世后，1989年在日本7座美术馆举办了巡回回顾展，另外在1994～1995年在横滨美术馆，古根海姆美术馆SOHO及旧金山近代美术馆举办的巡回展览“战后日本的美术”中也有展出。
  近年来，由长谷川祐子担任作品管理者，于2013年3月至5月举办的第11届沙迦双年展上展出。
  除东京，京都的国立近代美术馆外，海内外许多美术馆中都收藏有他的作品。
  
  （转载自第11届沙迦双年展展出资料册的介绍文）