Übungsplatz〔練習場〕

福居伸宏　Nobuhiro Fukui　https://fknb291.info/

Basel (after Lewis Baltz)


St. Alban-Tal, Basel





Vogelsangstrasse, Basel





Beim Goldenen Löwen, Basel #1





Beim Goldenen Löwen, Basel #2




>>>Palm Trees (after Edward Ruscha?)
http://d.hatena.ne.jp/n-291/20091101p2


>>>White Asparagus (after Peter Fischli & David Weiss?)
http://d.hatena.ne.jp/n-291/20110913p6


>>>Partial Truth and/or Virtual Truth (after Bruce Nauman?)
http://d.hatena.ne.jp/n-291/20110702p2


>>>Codes & Numbers (after Mel Bochner?)
http://d.hatena.ne.jp/n-291/20140405#p3 & http://d.hatena.ne.jp/n-291/20140406p2


>>>A-moment (after Barnett Newman? / by the Suns of the Manhattan Project)
http://d.hatena.ne.jp/n-291/20141013p4


>>>Control Room (before / after Gerhard Richter, Thomas Ruff & Thomas Demand?)
http://d.hatena.ne.jp/n-291/20120621p3


>>>ear-t-h (after Thomas Ruff?)
http://d.hatena.ne.jp/n-291/20120623p2


>>>Concrete Ball (after Jeff Wall?)
http://d.hatena.ne.jp/n-291/20130511p6


>>>Pure Waters (after Andreas Gursky?)
http://d.hatena.ne.jp/n-291/20130912p4


>>>Tokyo Shibuya 03/04 (after Beat Streuli?)
http://d.hatena.ne.jp/n-291/20090215p4


>>>Carriage, Berlin, 2007 (after Robert Frank?)
http://d.hatena.ne.jp/n-291/20110209p3


>>>Vadret da Morteratsch I (after Walter Niedermayr?)
http://d.hatena.ne.jp/n-291/20130711p8


>>>Toward Split Wall with Drains [Glass Wall with Drain] (after Robert Gober?)
http://d.hatena.ne.jp/n-291/20140607#p1


>>>Someday N.F. Prince Will Come (after Osamu Kanemura?)
http://d.hatena.ne.jp/n-291/20110604p2


>>>A Downhill (after Tomoko Yoneda?)
http://d.hatena.ne.jp/n-291/20081231p2


>>>Tokyo 2003 (after William Klein?)
http://d.hatena.ne.jp/n-291/20090217p5


>>>BSL 6372 (after Taiji matsue?)
http://d.hatena.ne.jp/n-291/20110619p11


>>>0001 (after James Welling?)
http://d.hatena.ne.jp/n-291/20110726p3


>>>Untitled [Ferry] (after Daido Moriyama?)
http://d.hatena.ne.jp/n-291/20111229p2


>>>Still Water [near The River Sumida, for Example] (after Roni Horn?)
http://d.hatena.ne.jp/n-291/20100331p2


>>>Shibuya Crossing, Tokyo [Shibuya-ku], 2012 (after Thomas Struth?)
http://d.hatena.ne.jp/n-291/20120110p2


>>>Diatribe [unwomaned] (after Jeff Wall?)
http://d.hatena.ne.jp/n-291/20131102p4


>>>Anonymous Installation, Tokyo Station Underground Concourse, January 25, 2014 (after Shigeo Anzai [Anzaï]?)
http://d.hatena.ne.jp/n-291/20140126p2


>>>Before a hunting scene (after Jeff Wall?)
http://d.hatena.ne.jp/n-291/20070114p2


>>>A hunting scene (after Jeff Wall?)
http://d.hatena.ne.jp/n-291/20070117p2







Fischli & Weiss room guide, room 1 | Tate

Providing an introduction to Fischli / Weiss’s surprising universe is a selection of black rubber sculptures, cast directly from the original objects. The objects themselves reflect the artist’s interest in the everyday, whether the domestic environment or the natural world. The choice of black rubber, however, adds a disconcerting twist, bringing associations of industry, mass production and sexual fetishism, and making the familiar seem strange.


Fischli / Weiss are often concerned with the hidden and the overlooked. Sewer Workers 1987, which shows a pair of maintenance workers cleaning out sewage pipes, could be seen as a self-portrait. Their careful processing of society’s waste suggests a parallel to the artists’ own investigations, which frequently hint that beneath the surface things are not always what they seem.

http://www.tate.org.uk/whats-on/tate-modern/exhibition/fischli-weiss/fischli-weiss-room-guide-room-1


◇ Fischli & Weiss: exhibition room guide, room 8 | Tate

Tunnels and hollow spaces provide an underlying theme for this room. The hour-long Kanalvideo 1992 was put together by the artists using footage taken by an electric probe as it travels through the Zürich sewer system. Fischli / Weiss have discussed the sense of claustrophobia induced by the probe’s strangely hypnotic journey through an intricate network of tunnels. The film reflects the artists’ fascination with the hidden and the overlooked, and echoes their identification with the rubber Sewer Workers in Room 1.

http://www.tate.org.uk/whats-on/tate-modern/exhibition/fischli-weiss/fischli-weiss-room-guide-room-1/fischli-weiss-4


◇ Collection FRAC Lorraine | Peter Fischli & David Weiss:Kanalvideo

Kanalvideo is a found material, a kind of cinematographic ready-made. Supplied by the Zurich highways department at the request of Peter Fischli & David Weiss, the video is made up of an hour of forward travelling shots by a remote-controlled camera inside a sewer, checking its salubrity.

Since then Fischli & Weiss have made more videos: Cleaning the Sewage System and Construction Workers in the Vereina Tunnel. For this pair of Swiss artists, such a marked interest in underground spaces, in the concealed, suppressed underside of the city and its human community, goes hand in hand with its inscription as part of the local mythology – their country’s reputation for cleanliness is here mockingly taken over the top. One of the main threads of Fischli & Weiss’s manifold work could be about seeking to create wonderment at the heart of what at first sight is completely insignificant, through a twofold movement of faith in some metaphysical transcendence of everyday life, and of sending up that belief by taking the mundane and grotesque to new extremes. Once they had laid their hands on this subterranean sequence shot, Fischli & Weiss worked on the tape in postproduction, adding intermittently to the picture, coloured rasters that appear to come from the gallery itself; the light passes from a milky white to a deep red, to almost complete darkness … Only the joins in the pipework punctuate this uninterrupted advance, with time passing by so monotonously as to tend hypnotically towards the point of inertia.

By manipulating the tape in this way, its inept banality is transfigured into a hallucinogenic, almost supernatural image, a cosmic aspiration up into the vastness of space, where spatial and temporal landmarks, up and down, from the infinitely small and the infinitely large, are all the same: an experience of antigravity, of weightlessness.

Some passages have not been reworked and they reveal details that bring the viewer back down to earth – mould on the walls, water trickling down. We soon realize that nothing is going to happen to disturb this imperturbable exploration of the urban intestine. When after twenty minutes a greasy piece of litter crosses the picture, or worse, when two rats appear and scurry off into the darkness, they become perfectly incongruous if not completely absurd events.

With Kanalvideo, Fischli & Weiss build up a movement taking reality off towards a dream world, the recognizable towards the unknown: a metaphor of the journey of initiation, of the labyrinth as a continuous advance towards possible enlightenment. They question our processes of seeing and knowing, the fascination pictures have on the viewer, who has to abandon any speculative thoughts and become hypnotised by reality.

François Piron

http://collection.fraclorraine.org/collection/print/572?lang=en


◇ Carnegie Museum of Art

The Swiss artistic duo Fischli and Weiss practices in a wide range of media—including photography, sculpture, video, film and installation—in an attempt to unearth the beauty and meaning in ordinary things. Using humble means and materials, their humorous and endearing work attempts to infuse a childlike sense of wonder into our everyday lives. For this work, the artists spliced together pre-existing video footage from a survey of underground sewer pipes in their hometown, Zürich. Transported into the space of the gallery and significantly enlarged in proportion to the viewer, this banal footage becomes a visual spectacle. A key aspect of the work hinges on the transformation of its mundane origins into the sublime and universal. The video's "real-time" progression is intended to encourage the viewer to experience the ordinary things we habitually take for granted in a new light; in this case, transfiguring a common sewage drain into a painterly, abstracted psychedelic journey.

http://www.cmoa.org/CollectionDetail.aspx?item=19950&retUrl=CollectionTheme.aspx%3Fid%3D17618&retPrompt=Return


◇ 『ペーター・フィッシュリ ダヴィッド・ヴァイス』金沢21世紀美術館で開催 - ARTiT

チューリヒの下水管の調査映像とカラフルな壁紙画像を重ね合わせた幻想的な《パラッツォ・リッタでのカナルヴィデオ》(1992/2008)

http://www.art-it.asia/u/admin_ed_news/XMUbjxhDeq45dkPWYVBl


◇ ペーター・フィッシュリ ダヴィッド・ヴァイス - 金沢21世紀美術館 | 21st Century Museum of Contemporary Art, Kanazawa.

《パラッツォ・リッタでのカナルヴィデオ》
観る者を無意識の領域に導くかのように延々と映し出されるトンネル。時に赤や黄色、そして白光に包まれる幻想的世界。実際は、チューリヒの下水管。

http://www.kanazawa21.jp/data_list.php?g=45&d=854


◇ Fischli and Weiss: Visible World | Tate

Fischli and Weiss work across a wide range of media and this exhibition presents their sculpture, installation, moving image and photography. Underlying all of their work is a childlike spirit of discovery which encourages the viewer to look afresh at their surroundings. In Fischli and Weiss’s world everyday objects take on an unexpectedly lifelike quality; they balance on each other, play off each other and collide into one another with a witty intelligence infused by the artists.

http://www.tate.org.uk/context-comment/video/fischli-and-weiss-visible-world

Imagineering - 岡山未来づくりプロジェクト

http://okayama-mirai.jp/imagineering/

街が美術館となり、散歩がアートとの出会いになる。

「Imagineering」それは、想像し、創造すること。
歴史的文化資産である岡山城とその周辺を中心に、
国内外から注目を集めるアートコレクション「石川コレクション」を展示し
日常の中に芽生える、アートとの出会いを通じて、家族や子どもたち、
市民ひとりひとりが想像し、創造できる場を生み出していきます。
さらには本コンテンツを軸として、都市部から人々が瀬戸内地域を訪れる際に、
岡山市がその導線の中心になり、瀬戸内のハブになるきっかけになればと考えています。

http://okayama-mirai.jp/imagineering/concept.html
http://okayama-mirai.jp/imagineering/artist.html
出展作家がとても豪華です。しかし、今回は訪問できそうにないのが残念です。


◎ 岡山未来づくりプロジェクト
http://okayama-mirai.jp/

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◇ 幸福はぼくを見つけてくれるかな？ ─ 石川コレクション（岡山）からの10作家［イントロダクション］｜東京オペラシティアートギャラリー

アートが私たちをひきつけてやまないのは、色やかたちや素材といった目に見える「もの」の魅力だけではなく、その背後にある意味や考えが、見る者にさまざまな問いをもたらすからではないでしょうか。本展で紹介する10組のアーティストは、私たちをとりまく現代の問題（誰もが感じることはあるが、見過ごしてしまうようなこと）に立脚した制作を続けています。都市と自然、個人のアイデンティティと歴史、アートとは何かという問いーアプローチはさまざまですが、彼らの作品は、それらの個人的経験を見る者が自身に置きかえて深いレベルで共有することを可能にします。出品作家の多くは日常に目を向けながら、その視点をずらしたり置き換えたりすることで、私たちに新しい世界の見方を示してくれます。それは、やがて作品を見る私たち自身の問いかけそのものへと変わるでしょう。
本展はコンセプチュアルな作品を多く収集するコレクター石川康晴氏のコレクションより、国際的に注目を集める10組のアーティスト、ミルチャ・カントル、オマー・ファスト、ペーター・フィッシュリ ダヴィッド・ヴァイス、ライアン・ガンダー、リアム・ギリック、ピエール・ユイグ、小泉明郎、グレン・ライゴン、島袋道浩、ヤン・ヴォーの作品を紹介します。

◎展覧会タイトルについて
「幸福はぼくを見つけてくれるかな？」は、本展の出品作家ペーター・フィッシュリ ダヴィッド・ヴァイスの作品から引用しました。幸福とは自分で見つけるもの、誰もがそう考えるでしょう。しかしここには幸福が私たちを見つけるかもしれないという視点の変換がみられます。人生に見出すわずかな希望･･･？やるせなさを感じさせるひと言にもとれますが、誰の心にも浮かぶ小さな問いかけをそのままにせず、何気ない日常をさまざまな角度から見つめることで新たな世界の見方は開けるのではないでしょうか。本展がより多くの方にとって現代美術と出会う場となることを願い、このタイトルをつけました。

原文はドイツ語でFindet Mich das Glück? 日本語は2010年に金沢21世紀美術館での個展で展示された作品《質問》(2000-2010)のために酒寄進一氏によって翻訳されたものです。また、この言葉は2011年にFOILより出版されたペーター・フィッシュリ ダヴィッド・ヴァイスのアーティスト・ブックのタイトルにもなっています。

https://www.operacity.jp/ag/exh163/j/introduction.html
https://www.operacity.jp/ag/exh163/

Anthony Hernandez (Getty Museum)

http://www.getty.edu/art/gettyguide/artMakerDetails?maker=30592


◎ Anthony Hernandez
http://anthonyhernandezphotography.com/


◇ Collection Online | Anthony Hernandez - Guggenheim Museum
http://www.guggenheim.org/new-york/collections/collection-online/artists/bios/2963/Anthony%20Hernandez


◇ Anthony Hernandez - Google 検索
https://www.google.co.jp/search?q=Anthony+Hernandez&es_sm=91&tbm=isch&tbo=u&source=univ&sa=X&ei=6jxzVMWQG9O68gWvkoGYAQ&ved=0CB4QsAQ&biw=1440&bih=828

SFMOMA | Open Space — The Modern Art Notes Podcast: Robert Adams

Today at Modern Art Notes, Tyler Green interviews American photographer Robert Adams. SFMOMA has many pictures by Mr. Adams in the collection, and an interview with the artist is a rare treat. Thanks to Tyler for sharing a clip of the podcast — on Adams in relation to Carleton Watkins — with us! Please welcome him.

http://openspace.sfmoma.org/2012/08/man-podcast-robert-adams/


◇ The Modern Art Notes Podcast: Robert Adams | Tyler Green: Modern Art Notes | ARTINFO.com
http://blogs.artinfo.com/modernartnotes/2012/08/the-modern-art-notes-podcast-robert-adams/


◇ This week’s Modern Art Notes Podcast features a... | The Modern Art Notes Podcast
http://manpodcast.com/post/29555722632/this-weeks-modern-art-notes-podcast-features-a


◇ A Rare Interview with Robert Adams | Fraenkel Gallery

The Modern Art Notes Podcast is a weekly podcast featuring artists, curators, art historians and authors and is an independent production of Modern Art Notes Media. The show is produced and hosted by Tyler Green and edited by Wilson Butterworth. They recently interviewed legendary photographer Robert Adams, whose major 46-year career survey, the first such exhibition since 1989, is on view at the Yale University Art Gallery through October 28.

“Adams may be the greatest living American photographer. In the 1960s and 1970s he brought a new sensibility to photographing the most classic subject in American art, the land. By emphasizing man’s impact on Colorado and its suburbs in series such as “The New West” and “What We Bought,” Adams helped pioneer art that addressed our impact on the landscape and on the Earth. While Adams is best known for his work looking at America’s consumption of Western land, he has also photographed the land he loves in ways that remind us why he loves it.”

http://fraenkelgallery.com/a-rare-interview-with-robert-adams

Fraenkel Gallery at 35. - Video

http://video.sfgate.com/Fraenkel-Gallery-at-35--28147365


◇ An Evening with Nan Goldin and Vince Aletti: Remembering Peter Hujar on Vimeo

On January 8th, Fraenkel Gallery hosted a dialogue about the work of Peter Hujar, on the occasion of the exhibition Love & Lust. On hand were Vince Aletti, respected photography critic for The New Yorker, and Nan Goldin, whose 1980s work The Ballad of Sexual Dependency, produced a sea-change in the photographic medium. Both were intimate friends of Hujar’s. The evening was moderated by Jeffrey Fraenkel.

https://vimeo.com/84351746


◇ The Unphotographable - YouTube

Fraenkel Gallery is pleased to announce The Unphotographable, an ambitious survey exploring the history of that which cannot be photographed. Comprised of approximately fifty works, the exhibition interweaves prints by artists as wide ranging as Alfred Stieglitz, Sophie Calle, Man Ray, and Glenn Ligon, as well as works by anonymous and virtually unknown photographers from the nineteenth and early twentieth centuries.


In the book's introduction Jeffrey Fraenkel writes, "From the moment of its invention almost 175 years ago, photography has proven adept at depicting the photographable: the solid, the concrete, that which can be seen. [...] But another tradition exists, a parallel history in which photographers and other artists have attempted to describe by photographic means that which is not so readily seen: thought, time, ghosts, god, dreams. A vast array of strategies has been employed to bring such pictures about, tactics that have intersected and enriched the strains of modern art."


Artists participating in the exhibition include Robert Adams, Diane Arbus, F. Baldet & F. Quénisset, Walead Beshty, Mel Bochner, Sophie Calle, Bruce Conner, Jay DeFeo, Liz Deschenes, Kota Ezawa, Tom Friedman, Adam Fuss, Paul Graham, Idris Khan, Clarence John Laughlin, Richard Learoyd, Glenn Ligon, Adrien Majewski, Man Ray, Christian Marclay, Chris McCaw, Ralph Eugene Meatyard, Richard Misrach, Jakob Ottonowitsch von Narkiewitsch-Jodko, Gerhard Richter, Frederick Sommer, Alfred Stieglitz, Hiroshi Sugimoto, and Wolfgang Tillmans.


The Unphotographable will be on view from January 3 through March 23, 2013, and will be accompanied by a 124-page hardcover book.


More information about the exhibit may be found here:
http://fraenkelgallery.com/exhibitions/the-unphotographable

http://youtu.be/EmBqkQ1_WkU


◎ Fraenkel Gallery
http://fraenkelgallery.com/

サウスパーク - Wikipedia

日本未放映回
番組内容の過激さもあり、日本では放送されなかった回もある。

  • 第3シーズン・第10話「CHINPOKO MON（チンポコモン）」
  • 第2シーズン・第1話「Terrance and Phillip in Not Without My Anus（テレンス&フィリップ緊急特番）」
  • 第4シーズン・第10話「Do The Handicapped Go To Hell?（ティミーは地獄行き?）」
  • 第4シーズン・第11話「Probably（地獄の三角関係）」
  • 第6シーズン・第12話「A Ladder to Heaven」

上記4つは当時イラク大統領であったサッダーム・フセインが登場するため自粛。
「テレンス&フィリップ緊急特番」は後のDVDBOXの発売の際に新たに日本語吹き替え版を加えて収録され、AXNでも放送された。また、第4シーズンの第10話・11話は字幕版でDVDに収録された。
フセインの逮捕後は自粛を解除したため、第7シーズン第14話「アイクをたずねて3000里」はそのまま放送されることになった。
第7シーズン・第2話「Krazy Kripples（世界征服クラブ）」
スーパーマンであるクリストファー・リーヴをネタにした内容。第7シーズン第一話の最後で予告映像が流れるも、彼が急逝したためにシーズン6の#3が再放送された。

すべて放送されていれば放送100回を迎える記念の回では、ラストで放送100回を祝う内容が入ったために、途中放送されなかったエピソードがあったことがわかる（また日本独自の内容で放送をとばしたことをカイルがつっこんでいる）。

http://ja.wikipedia.org/wiki/%E3%82%B5%E3%82%A6%E3%82%B9%E3%83%91%E3%83%BC%E3%82%AF

The Roof is on Fire (1994) on Vimeo

Suzanne Lacy, Chris Johnson, and Annice Jacoby produced TEAM’s first large-scale performance art event, which featured 220 public high school students in unscripted and unedited conversations on family, sexuality, drugs, music, neighborhoods and the future as they sat in 100 cars parked on a rooftop garage. This one-hour documentary by Craig Franklin aired on KRON Channel 4, the Bay Area’s local NBC affiliate.

https://vimeo.com/39865636


◇ The Oakland Projects - The Roof is on Fire (1994)

Between 1991-2000, Suzanne Lacy worked with a broad coalition of activists, artists, youth and politicians under the acronym TEAM (Teens + Educators + Artists + Media Makers) to produce large-scale projects that included youth workshops, media intervention, and institutional programs and policies. Socially oriented public performances with youth in Oakland, California challenged negative media images. Funded in part by the Surdna Foundation, The Nathan Cummings Foundation, Oakland’s Kids First Initiative and many others, this was one of the most developed explorations of community, youth leadership, and public policy in visual arts practice.

http://vimeopro.com/suzannelacy/oakland-project