1d ルポルタージュ、密室、瀧口修造と実験工房 Reportage, Closed-Door, Shuzo Takiguchi and Experimental Workshop

1d
ルポルタージュ、密室、瀧口修造と実験工房
Reportage, Closed-Door, Shuzo Takiguchi and Experimental Workshop

【本文確定】

朝鮮戦争が勃発した１９５０年代前半には、一方では岡本太郎の影響と、他方ではレアリスム論争が扱った問題を継承して、現実社会の緊迫した情勢を描く若手の作家たちが現れました。１９５３年の第１回ニッポン展に「あけぼの村物語」を出品した山下菊二や、中村宏、池田龍雄、利根山光人らは、共産党が関わった各地の米軍基地反対闘争などを実地取材によって土着的に描き、「ルポルタージュ絵画」と呼ばれました。あるいは、そのように正面から現実に立ち向かうのではなく、観念的で非情な画面を通して逆説的に現実に関わろうとする作家も登場し、第１回ニッポン展に「浴室シリーズ」を出品した河原温や、石井茂雄、小山田二郎らは、「密室の絵画」と呼ばれました*1d1。

「ルポルタージュ絵画」も「密室の絵画」も手法的にはシュルレアリスムの延長でしたが、同時代には山口長男や村井正誠等、抽象芸術系の画家たちの活動も見られました。その中でも特異な存在は、１９５１年に若手の美術家や音楽家、文学者の総合芸術グループとして東京で結成された「実験工房」でした*1d2。命名は詩人評論家の瀧口修造で*1d3、完璧さよりは冒険的な「実験」、芸術家個人のアトリエよりは共同作業者たちの「工房」たろうとし、１９５３年の実験工房第５回展ではテープレコーダーやオートスライド等、最新のテクノロジーを駆使して、日本のテクノロジー・アートとしての最初の成果を挙げました。

ところで、既成の公募団体による画壇構造に批判的な瀧口修造はかねてから個展という発表形式を重視していましたが、１９５１年より東京神田のタケミヤ画廊の顧問を無報酬で引き受けることとなりました。そして１９５７年まで計２０１回、新進作家の個展やグループ展の企画に携わりました。実験工房やそのメンバーのみならず、１９４９年に始まった読売アンデパンダン展で登場してきた新人の紹介を数多く行い、きたるべき反芸術の時代への布石とした格好となりました。

「読売アンデパンダン展」（アンパン）についても触れておきます*1d4。業界大手の読売新聞社の主催により東京都美術館で毎年２月か３月に開催された同展は*1d5、企画サイド内部にも、「無審査、無賞、自由出品」というアンデパンダン方式によって、「既成の公募団体を潰す」という過激な意識をもった海藤日出男なる仕掛人がいました。本節で言及した多数の若手たちはいわゆる「アンデパンダン作家」の第１世代、すなわち既成の公募団体には属さずに、個展と読売アンデパンダン展を主要な発表の場として活動するようになった新人作家群でした。

In the early 1950s when the Korean War broke out, some young artists came to depict tense situations of contemporary society, who were influenced by OKAMOTO Taro (岡本太郎) on the one hand, and succeeded the Realism Controversy on the other hand. Their works became called "Reportage Painting," among which YAMASHITA Kikuji (山下菊二) is known for "Akebono Village Story" shown at the 1st Nippon Exhibition, besides other painters like NAKAMURA Hiroshi (中村宏), IKEDA Tatsuo (池田龍雄), or TONEYAMA Kojin (利根山光人). They went to the scenes of conflicts like communist-led protesters against US military bases, painting those stories in indigenous fashion. Meanwhile, other young artists had begun attempts to grasp the reality paradoxically through notional and apathetic paintings instead of dealing with the immediate reality. Their works became called "Closed-Door Painting," among which KAWARA On (河原温) is known for "Bathroom Series" shown at the 1st Nippon Exhibition, besides other painters like ISHII Shigeo (石井茂雄) or OYAMADA Jiro (小山田二郎)*1d1.

While "Reportage Painting" and "Closed-Door Painting" were both extended from surrealism in terms of techniques, there were also painters rather close to abstract art such as YAMAGUCHI Takeo (山口長男) or MURAI Masanari (村井正誠). The most outstanding among those was a synthetic art group, the "Experimental Workshop," formed in Tokyo in 1951 by young artists, musicians and writers*1d2. In preference for adventurous "experiments" than perfection and for a co-workers' "workshop" than artists' individual ateliers, the groups was named so by the poet and critic TAKIGUCHI Shuzo 瀧口修造*1d3, marking first achievement of technology art in Japan in their making full use of the latest technologies like tape recorders or auto slide in the 5th Experimental Workshop Exhibition in 1953.

Takiguchi Shuzo (瀧口修造), having favored the style of the solo-exhibition critically against to the art circle structure composed of established contest-organizations, came to take charge of the curation for free at the Takemiya Gallery in Kanda, Tokyo. At the gallery where solo and group exhibitions of up-and-comming artists from 1951 to 1957 were counted up to 201 in total, he introduced not only the Experimental Workshop and its members, but also numerous newcomers who had emerged in the Yomiuri Independent Exhibition launched in 1949 as if to have laid foundations for the forthcoming era of anti-art.

The above-mentioned Yomiuri Independent Exhibition needs special attention*1d4. Persisting in the independent style of "no jury, no prize, and open to everybody," the Yomiuri Independent Exhibition (abbreviated "Anpan") was held every February or March at the Tokyo Metropolitan Art Museum under the auspices of a major newspaper publisher, the Yomiuri Shimbun Company*1d5. Inside the company too, there was a planner with radical ambition, KAIDO Hideo (海藤日出男), who regarded the independent style as "crushing the established contest-organizations." Many young artists mentioned in this section were the first generation of so-called "Independent Exhibition Artists," who came to present their works mainly at solo exhibitions or the Yomiuri Independent Exhibition without belonging to any established contest-organization.

【註確定】

*1d1
東京国立博物館で１９５５年に開催された「メキシコ美術展」は、「ルポルタージュ絵画」や「密室の絵画」の画家たちを大きく鼓舞し、利根山光人や河原温がメキシコに渡航するきっかけとなりました。同展はホセ・クレメンテ・オロスコやダビィド・アルファロ・シケイロスら、メキシコ革命とメキシコ・ルネサンスの壁画家たちを紹介していました。自国の欧化政策を阻止したメキシコの革命芸術家たちの、主題を描き大衆に訴える土着的な絵画は、自国の米化政策をしばしば阻止しようとした当時の日本の若手画家たちにとって、貴重な前例となったにちがいありません。
The "Mexican Art Exhibition" held at the Tokyo National Museum in 1955 inspired artists of "Reportage Painting" and "Cloed-Door Painting" so much that it eventually prompted TONEYAMA Kojin (利根山光人) or KAWARA On (河原温) to visit and stay Mexico. The exhibition introduced wall painters of the Mexican Revolution and the Mexican Renaissance such as Jose Clemente Orozco, David Alfaro Siqueiros and others. Works of those Mexican revolutionary artists, which propagated themes in indigenous aesthetics to the mass and kept their government away from Europeanization policies, must have appeared as a significant example for young Japanese artists who often tried to prevent their nation from pursuing Americanization policies.

*1d2
実験工房のメンバーは、山口勝弘（美術家）、北代省三（美術家）、福島秀子（美術家）、駒井哲郎（版画家）、武満徹（作曲家）、大辻清司（写真家）、秋山邦晴（詩人、評論家）、園田高弘（ピアニスト）、今井直次（照明家）ほか。海外からの文化情報が僅少な時代に直近の西洋前衛芸術を積極的に紹介し、また、ジャンル間での連繋を推し進めた彼らの活動は、貴重なものでした。しかし主体的な創造と西洋文化の研究を混同し、ジャンル間の本来的な排他性にも無自覚な、優等生的な欠点も併せ持っていました。
The members of the Experimental Workshop, they were YAMAGUCHI Katsuhiro (山口勝弘) (visual artist), KITADAI Shozo (北代省三) (visual artist), FUKUSHIMA Hideko (福島秀子) (visual artist), KOMAI Tetsuro (駒井哲郎) (printmaker), TAKEMITSU Toru (武満徹) (composer), OTSUJI Kiyoji (大辻清司) (photographer), AKIYAMA Kuniharu (秋山邦晴) (poet, critic), SONODA Takahiro (園田高弘) (pianist), IMAI Naotsugu (今井直次) (lighting artist) and others. They left unique activities in that while promoting collaborations among different genres, they energetically absorbing and introducing the latest works of the Western avant-garde at a time when cultural information from abroad was extremely scarce. On the other hand, their cleverness faild to recognize their having confused independent creation with study of Western culture and being ignorant on inherent exclusiveness left among genres.

*1d3
詩人評論家の筆頭は１９世紀フランスのシャルル・ボードレールですが、現代日本ではシュルレアリスム詩人の瀧口修造、散文詩人の建畠晢、方法詩人の篠原資明らがこの系譜に連なります。瀧口修造はシュルレアリスムが危険視された第二次大戦中、シュルレアリスム画家の福沢一郎とともに逮捕監禁された過去がありました。
Charles Baudelaire in France of the 19th century may represent the poet and critic, and the line is also followed in contemporary Japan by the surrealist poet TAKIGUCHI Shuzo (瀧口修造), the prose poet TATEHATA Akira (建畠晢) and the method poet SHINOHARA Motoaki (篠原資明). During the World War II when surrealism was regarded as dangerous thought, TAKIGUCHI Shuzo (瀧口修造) was once arrested and jailed together with the surrealist painter FUKUZAWA Ichiro (福沢一郎).

*1d4
*3b10参照。
See *3b10.

*1d5
西洋と違い日本では、美術館が会場を新聞社等の企業に貸し出すことがあります。新聞社等の企業は、美術館や時に百貨店から会場を借り受け、文化事業として美術展を主催することがあります。たとえば敗戦直後盛んだった「泰西名画展」（印象派、アンリ・マティス、パブロ・ピカソ等）の多くはこの方式でした。読売アンデパンダン展の特徴の一つは、アンデパンダン方式の展覧会がこの方式、すなわち企業が美術館を貸会場として借りる方式で行われたことです。*3b7参照。
Unlike in the West, museums in Japan rent out spaces to exhibitions, and companies like newspaper publishers have held exhibitions as mecenat activities by renting spaces from museums or sometimes department stores. "Masterpieces of the Western Painting" (impressionists, Henri Mattisse, Pablo Picasso and the like), a series of exhibitions popular for a while after the defeat, were usually held in this style. Unique to Japan, even independent exhibitions like the Yomiuri Independent Exhibition were also held in the same style by companies renting space from museums. See *3b4, *3b7.