SHIMAMOTO Shozo, Uzumaki on paper 1, 1965, enamel on cardboard laid down on canvas, cm 24x27,5 Dated, signed "1965, S. Shimamoto" (lower right) stamp of Museo Magi '900, Pieve di Cento (on the reverse) Certificate issued by Associazione Shozo Shimamoto, under no. 307, signed by the artist Private collection, Milan Museo Magi '900, Pieve di Cento
Crush bottle, 2000 tecnica mista su tela 86,5x170 cm, firma in basso a destra, dichiarazione d'autenticità dell'artista su certificato allegato, timbro per autenticità della Galleria d'Arte Nuova Artesegno (Udine) su foto.
Shozo Shimamoto 1928 - 2013 Palazzo Ducale, Genova inscribed and dated 2008 (on the reverse) acrylic and glass on canvas 166 x 215 cm; 65½ x 84⅝ in. Executed in 2008. This work is registered in the Shozo Shimamoto Archives under the no. 778 and it is accompanied by a certificate of authenticity signed by the artist. _________________________________________________________ Shozo Shimamoto 1928 - 2013 Palazzo Ducale, Genova inscrit et daté 2008 (au revers) acrylique et verre sur toile 166 x 215 cm; 65½ x 84⅝ in. Exécuté en 2008. Cette œuvre est enregistrée dans les Archives Shozo Shimamoto sous le no. 778 et est accompagnée d'un certificat d'authenticité signé par l'artiste.
Bottle crash, 2008 tecnica mista su tela 109x106 cm, firma in basso a destra, opera registrata presso l'archivio Shozo Shimamoto come da certificazione allegata. Bibliografia: - "Shozo Shimamoto, Kamikaze del colore", a cura di Massimo Sgroi, Nicola Pedana Arte Contemporanea, febbraio 2011.
Untitled, Capri - Certosa *H, 2008 acrilico e applicazione di vetro su tela 78x143 cm, firma in basso a destra, certificato d'autenticità e archivio ShimamotoLAB inc. allegato,opera realizzata in occasione della performance "bottle crash" presso la Certosa di San Giacomo a Capri nel 2008.
SHIMAMOTO SHOZO (1928 - 2013). Bottle crash in venice 06.. Signature lower right. Artist's authenticity certificate on photo. Certificate of origin issued by ARTeTIVU' of Marcon (VE). Exhibition: Cloister of S. Nicolo', Venice, September 2007. Publication: Shozo Shimamoto performance, Chiostro San Nicolo', Venice, 2007. Sitography: http://digilib.netribe.it/bdr01/visore2/index.php?pidCollection =Chiessi-52:498&v=-1&pidObject=Chiessi-52:498&page=52_087. 149,00 x 155,00 cm. 2006.
Buchi e tecnica mista su carta, cm. 51x36,5 (1958), L'opera è registrata presso l'Associazione Shozo Shimamoto con il n. 1216. Autentica dell'Associazione Shozo Shimamoto. Bibliografia: 1999, Shimamoto Shozo "Italian Festival", Catalogo edito da Adriano Parise Editore.
OHNE TITEL, 1999 Monotypie. 101 x 72 cm. Der Künstler war ein Meister des japanischen Actionpaintings. 1956 legte er erstmals mit Farbe gefüllte Beutel oder Flaschen auf den Malgrund und zerstörte diese, um so „Zufallsbilder“ zu erhalten. Literatur: Opera archiviata, collezione Berardelli n. 3571. (136231107) (10)
Shozo Shimamoto (1928-2013) Untitled (Two Works) 2009 Black: signed on the lower left White: signed on the lower right acrylic and broken glass on canvas each: 20 x 60 cm (7 7/8 x 23 5/8 in) each with Whitestone Gallery label affixed to the reverse
(Osaka 1928 - 2013) "Helicopter performance Work 11" 2005 mixed media on canvas cm 91x89 Signed lower right This work has been executed by dropping plastic cups containing watercolours and Japanese ink from a helicopter during a performance in Trevi on 26 May 2005 Provenance The work was acquired directly from the artist by the present owner Private collection, Padua This work is accompanied by a certificate of autenticity issued by the artist IT "Helicopter performance Work 11" 2005 tecnica mista su tela cm 91x89 Firmato in basso a destra Opera eseguita facendo cadere da un elicottero bicchieri di plastica contenenti acquerelli e inchiostro giapponese durante la performance avvenuta a Trevi il 26 maggio 2005 Provenienza Opera acquisita direttamente dell'artista dall'attuale proprietario Collezione privata, Padova Opera accompagnata da certificato di autenticità rilasciato dall'artista
SHIMAMOTO Shozo, Crane Performance in Itami 19, 2000, watercolor and ink on cloth, cm 92x91 Certificate issued by the artist Trevi Flash Art Museum, Trevi 2005 Private collection, Bari Galleria Orler, Favaro Veneto Signed "S. Shimamoto" (lower right) The work is part of the performance in Itami City (Japan) in 2000.
SHOZO SHIMAMOTO (1928 - 2013) Untitled Photographic print, ed. 11/30 39 x 59 cm Signed lower right and numbered lower left PROVENANCE: Private collection, Pavia
和平的證明AU 33 Proof of Peace AU 33 簽名右下：S.Shimamoto Signed lower right S.Shimamoto 「具體派」（GUTAI）是由嶋本昭三為其命名，1954年由吉原治良開宗立派，兩人亦師亦友共同創立「具體藝術協會」，至1972年吉原治良去世宣告解散，歷18年，先後有60餘位藝術家進出。嶋本昭三命名「具體」中「具」解作工具；「體」解作身體，意指「用工具和身體呈現」。成員拋棄了傳統藝術家的工具，尤其是「畫筆」的使用，用各種大膽無畏的自我表達，特別是肉身參與。是對西方抽象主義的反對和反叛，以「具體」之名辯駁「抽象」，繼承傑克遜・波洛克（Jackson Pollock）行動繪畫的衣缽，將「行動」更加豐富、深入、持久和激烈地滲透到藝術創作中。 「我認為首先，一個人應該用他的畫筆解放顏料。只有損壞、丟棄畫筆，顏料才能重獲自由，距離感也隨之生成。顏料只有從畫筆下被解放出來才能綻放活力。」—嶋本昭三，《畫筆詛咒理論》說道。作為Gutai的創建人之一，嶋本昭三以「讓顏料徹底脫離畫筆束縛」為目標，創思「具體」一詞，並帶有極強的觀念特徵：吉原治良畫圓；村上三郎穿越紙牆；白髮一雄用腳畫畫；嶋本昭三向畫布上投擲顏料瓶；元永定正將顏料瓶掛滿樹梢—行動和觀念的革命，是具體派的顯著特徵，其觀念藝術之觀念比美國觀念藝術還早生10年。 20世紀50和60年代，嶋本昭三以往大型畫布上扔瓶子、塗抹厚重的顏料、在布紋紙上打孔等方式探索繪畫的邊界，到了70年代嶋本昭三獲邀為新銳藝術家團體「AU」發聲，作品《和平的證明AU 33》正是這一時期的代表作。作品正中的粘貼一張褐色牛皮紙（Kraftpaper）亦可視為這一合作項目中作品的特徵，是創作前有過深思的想法。在原有拋擲顏料瓶的基礎上加入拼貼，使作品更有視覺上的立體層次感。嶋本經過一系列的動作之後，顏料瓶隨之打碎在畫布之上，色彩如此有行動力的繪畫中，被無序解構，玻璃碎屑瓶散落其中。當藍色被明黃所撞擊而產生新出的翠綠色，所有的偶然重新整合，在無序中構建新的秩序，留白的保留具有東方哲思。在看似隨機的炮製背後，是將自己對「和平」一詞的理解融入其中。嶋本昭三的創作通過行動慢慢轉移到二維平面的作品。大約同期，義大利藝術家盧齊歐•封塔納（Lucio Fontana）也開始打破平面，以重建三維或空間的平面。而德裔旅法藝術家漢斯•哈同（Hans Hartung）也都在以「行動繪畫」在世界藝術舞臺上嶄露頭角。 作品「和平的證明X AU」作為具體派最好的傳達語境，亦可視為日本與國際藝壇間的交流對話網絡，促成具體派與美國戰後抽象表現巨擘傑克遜・波洛克以及美國郵遞藝術之父雷．瓊森（Ray Johnson）的對話與交流。嶋本昭三其自身發表畫具、畫筆對於藝術的限制，以及關於美的理想論。近幾年來，藝術界重新肯定了此戰後藝術運動的重要性，在美國西岸藏家的支持下，「具體派」已常見於卓越的藝術藏品中。嶋本昭三的作品藏於倫敦泰特博物館、法國龐畢度中心、義大利國立現代藝術美術館等。 Founded by Jiryo Yoshihara in 1954, the Gutai movement was named by Shozo Shimamoto. The two teachers were friends who co-founded the Gutai Art Association. After the death of Yoshihara in 1972, it was announced that the association would be dissolved. Over 18 years, more than 60 artists have come in and out of the doors of the association. Shimamoto used the name "Gu" to mean "tool" and “Tai" to mean“body”as a way to signify the concept of “presenting with tools and bodies". Members abandoned the tools of traditional artists, especially the use of brushes. Instead, they used all kinds of bold and fearless self-expressions, especially physical participation. This served as a form of opposition and rebellion against Western abstraction, refuting "abstract" in the name of "figurative". Inheriting the mantle of Jackson Pollock's action painting, they imbued action into art through a richer, deeper, more persistent and intense style. "First of all, I think the brush should be used to liberate the paint. Only by destroying and discarding the paintbrush can the paint be freed again and a sense of distance created. Only when the paint is liberated from the paintbrush can it bloom." states Shimamoto in “The Theory of the Curse of the Brush.”As one of the founders of Gutai, Shimamoto aimed to "let the paint completely escape the bondage of the paintbrush", while coining the term "Gutai" with strong conceptual characteristics: Jiyuan Yoshihara drew circles; Saburo Murakami passed through paper walls; Kazuo Shiraga painted with his feet; Shozo Shimamoto threw paint bottles onto the canvas; Tada Motoyo hung paint bottles over treetops— a revolution in action and concept is distinctive feature of Gutai. Its concept art was more conceptual than American conceptual art by 10 years. In the 1950s and 1960s, Shimamoto explored the boundaries of painting by throwing bottles onto large canvases, applying heavy paint, and punching holes in textured paper. In the 1970s, Shimamoto was invited to speak for the emerging artist group, "AU". Proof of Peace AU 33 is a representative work from this period. A feature of the works from this collaborative project is a piece of brown kraftpaper pasted in the center of the work, an idea carefully pondered before creation. Building on the original method of throwing paint bottles, collage is added to make the work more visually three-dimensional. After a series of movements by Shimamoto, the paint bottle is shattered across the canvas. Through such actions, these dynamic colors in the painting are deconstructed in a disorderly manner, as the glass shards of the bottle are scattered across. When the blue is hit by a bright yellow to produce a new emerald green, all incidents are re-integrated, and a new order is constructed from amongst the disorder. The reservation of a blank space embodies Eastern philosophical concepts. Behind the seemingly random concoction, Shimamoto incorporates his own understanding of the word, "peace", into it. Shimamoto's creations are slowly transferred to two-dimensional planes through action. Around the same time, Italian artist Lucio Fontana also began to break down planar surfaces to reconstruct three-dimensional or spatial planes. Furthermore, French-based German artist Hans Hartung was also making his mark in the global art scene with his "action painting". Proof of Peace X AU is the best work that communicates the context behind the message of Gutai. It can also be regarded as a communication network between Japan and the international art world, which contributed to the conversations and exchange between Gutai and American postwar abstract expression master, Jackson Pollock, and the Father of American Mail Art, Ray Johnson. Shimamoto himself published articles on the limitations of painting tools and brushes on art, as well as on an ideal theory of beauty. In recent years, the art world has reaffirmed the importance of this postwar art movement, and with the support of collectors along the west coast of the United States, the "Gutai"movement has become common in outstanding art collections. Shimamoto's works are housed in the Tate Museum in London, the Centre Pompidou in France, and the National Museum of Modern Art in Italy, among others.
Shozo Shimamoto (1928 - 2013) MAGI 917. BOTTLE CRASH tecnica mista su tela, cm 160x130 2008 Opera archiviata presso l'Associazione Shozo Shimamoto, Napoli, come da documentazione fotografica allegata all'opera riportante il relativo numero d'inventario. Esposizione: Shozo Shimamoto e Yasuo Sumi. I colori della pace, Museo d'arte delle generazioni italiane del 900, Bologna 2008. (c)
Vintage inkjet print Edition 11 of 30 Numbered and signed in black ink on the white inferior recto margin The work is accompanied by a Certificate of authenticity released by the photographer
SHOZO SHIMAMOTO ARTIST'S PROOF 1/5 Lithograph: size of plate 13.5 x 19.25 in. (sight) Framed; reverse with taped Gallery paper, signed and numbered in margin, in pencil
acrylic and broken glass on fabric, executed in 2006, sold with a certificate by Association Shozo Shimamoto, Exhibited: 'Shozo Shimamoto-Avantgarde Shock' Karuizawa New Art Museum, Karuizawa, 29 April - 22 September 2016, illustrated as No.7 in the exhibition catalogue, not framed
SHIMAMOTO SHOZO (1928 - 2013). Crash bottle Art n.19.. Signature lower right. Shozo Shimamoto Archive, Napoli authenticity certificate with artist's signature. Executed in Itami.. Cm 245,00 x 92,00. 2000
Shozo Shimamoto (Osaka 1928-2013 Osaka) Untitled, (Bottle crash), 1980 oil and glass on canvas; unframed; 192 x 141 cm Provenance acquired directly from the artist's family; private collection, Italy Certificate of authenticity by Shozo Shimamoto Association, Napels/Nishinomiya is provided. The work is registered under the number 1314.
SHOZO SHIMAMOTO ARTIST'S PROOF 1/5 Lithograph: size of plate 13.5 x 19.25 in. (sight) Framed; reverse with taped Gallery paper, signed and numbered in margin, in pencil
SHOZO SHIMAMOTO 1928 - Osaka - 2013 Ohne Titel. Mischtechnik mit Acryl und Glasfragmenten 1991. Signiert (auf Japanisch). Auf kräftigem bräunlichen Vélin, an 3 Seiten mit unregelmäßig gerissenen Rändern. 107,5 x 117 cm. Shozo Shimamoto gehört zu den bedeutendsten Künstler der Nachkriegsära und gilt als Ikone des japanischen Action Painting. Schon früh zeigt er Interesse an abstrakter Kunst und nach Studien bei Jiro Yoshihara und an der Kansai Gakuin University, gründet er 1954 gemeinsam Yoshihara und dessen anderen Schüler“ wie Kanayama Akira, Murakami Saburo und Shiraga Kazuo die „Gutai”-Gruppe, die auch international bald als eine der bedeutendsten Bewegungen der Abstraktion galt. Shimamoto prägt die „Gutai“-Bewegung mit seinen experimentellen, avantgardistischen Werken, die in den Kontext von Action Painting und Happening zu stellen sind und auch die Kunst des Westens nachhaltig beeinflussten. Bereits 1956 legte er erstmals mit Farbe gefüllte Beutel oder Flaschen auf den Malgrund und zerstörte diese mit Kanonenschüssen oder Steinwürfen, um so „Zufallsbilder“ zu schaffen. Seine Kunst war aktionistisch - so entstanden u.a. Werke, indem der Künstler Farbe aus einem fliegenden Hubschrauber auf große Leinwände schüttete. Die kraftvollen Schaffensprozesse wurden oft auch musikalisch begleitet und standen damit der „Fluxus“-Bewegung nahe. Durch die Verwendung anti-künstlerischer Materialien wie Flaschen, Pingpongbällen u.a. sowie aktionsgeladener Auftragsmethoden der Farben und der Erweiterung des performativen Raums wird der unmittelbare, konkrete Charakter des Erschaffungsprozesses bedeutsam. Neben der Aktionskunst liegen die Schwerpunkte von Shimamotos Kunst auf der gestischen Malerei, der konzeptuellen Mail-art sowie Installationen. Die vorliegende Arbeit ist ein Teilstück einer größeren Arbeit, die der Künstler durch das Zerschlagen von mit unterschiedlichen Farbe gefüllten Glasflaschen im März 1991 anläßlich der Eröffnung der Ausstellung „Gutai -Japanische Avantgarde“ in der Mathildenhöhe, Darmstadt schuf. Das Zerreißen des Papierbogens gehörte zum Happening dazu und das Teilstück wurde vom Künstler signiert und direkt an den jetzigen Besitzer übergeben. [bg]
SHOZO SHIMAMOTO ARTIST'S PROOF 1/5 Lithograph: size of plate 13.5 x 19.25 in. (sight) Framed; reverse with taped Gallery paper, signed and numbered in margin, in pencil
(1928 Osaka 2013) Bottle crash. 1998. Öl und Glasscherben auf Leinwand. Unten rechts signiert. 160,5x115 cm. - Stellenweise fehlende kleine Glasscherben und Pigmentausbrüche.
acrylic on plastic panel, signed (lower right), executed in 1993, framed, sold with a certificate by Shozo Shimamoto Association, This work is a piece from a reconstruction of the 'cannon work' made in 1956. The reconstruction was shown at Venice Biennale in 1993.
SHOZO SHIMAMOTO (1928 - 2013) Hole 02 2003 Spray and mixed media on cardboard 32 x 24 cm Signed lower right Work accompanied by a certificate signed by the artist PROVENANCE: Private collection, Pavia
簽名右下：S. Shimamoto Signed lower right S. Shimamoto 作品《和平的證明 AU 33》是嶋本昭三於1976年獲邀為新銳藝術家團體「AU」之代表領袖，攜領日本各地成員藝術家進行創作發表。AU原以「Artist Union」藝術聯盟之名成立於1975年，為日本新達達主義創始人吉村益信號召成立，並於1980年正式更名「Art Unidentified」（未知藝術，縮寫成：AU）積極活躍於國際藝壇。作品正中的粘貼一張褐色牛皮紙（Kraftpaper）亦可視為這一合作項目中作品的特徵。在原有拋擲顏料瓶的基礎上加入拼貼，使作品更有視覺上的立體層次感。嶋本經過一系列的動作之後，顏料瓶隨之打碎在畫布之上，色彩如此有行動力的繪畫中，被無序解構，玻璃碎屑瓶散落其中。當藍色被明黃所撞擊而產生新出的翠綠色，所有的偶然重新整合，嶋本昭三的創作通過行動慢慢轉移到二維平面的作品。與此同時西方享負盛名的藝術家如盧齊歐・封塔納（Lucio Fontana）、漢斯・哈同（Hans Hartung）也都在以「行動繪畫」在世界藝術舞臺上嶄露頭角。 嶋本昭三作為《具體誌》發行人，作品「和平的證明X AU」作為具體派最好的傳達語境，亦可視為日本與國際藝壇間的交流對話網絡，促成具體派與美國戰後抽象表現巨擘傑克遜．波拉克（Jackson Pollock）以及美國郵遞藝術之父雷．瓊森（Ray Johnson）的對話與交流。嶋本昭三其自身發表畫具、畫筆對於藝術的限制，以及關於美的理想論。近幾年來，藝術界重新肯定了此戰後藝術運動的重要性，在美國西岸藏家的追捧下，「具體派」已常見於卓越的藝術藏品中。嶋本昭三的作品藏於倫敦泰特博物館、法國龐畢度中心、義大利國立現代藝術美術館。 This work is titled Proof of Peace AU 33. In 1976, Shimamoto was nominated as the leader of AU, a group of new artists, to help members across Japan create and publish their art. AU, originally an acronym for Artist Union, was established in 1975 by the founder of Japanese Neo-Dadaism, Masunobu Yoshimura. In 1980, AU changed its name to stand for Art Unidentified, and became active in the international art world. The piece of brown kraft paper at the center is a main feature in this joint project. By adding the element of collage to the bottle-throwing foundation, the work becomes more layered and three-dimensional visually. Shimamoto shattered bottles of paint against the canvas, rendering the dynamic colors in this painting deconstructed by disorder, with the glass smithereens scattered on it. The blue collides with the bright yellow, producing an emerald color, and realigning all the coincidences. Slowly, Shimamoto transferred action into two-dimensional works. At the same time, famous artists in the West, such as Lucio Fontana and Hans Hartung, were also emerging onto the world art stage with "action painting". Shimamoto was the publisher of the Gutai journal. His Heiwa No Akashi X AU (Proof of Peace) series served as the best ambassador for Gutai, connecting Japanese and international art circles. This led to Gutai's exchange with the giant of American post-war abstract expressionism, Jackson Pollock, and the father of American mail art, Ray Johnson. Shimamoto also published treatises on how painting tools and paintbrushes constrain art, as well as his theories on beauty. In recent years, the art world has reaffirmed the importance of Gutai as a post-war art movement. With a high demand from collectors in the west coast of the US, a work of Gutai art has since become a common component in all great art collections. Shimamoto’s works are housed in the Tate Museum in London, the Centre Pompidou in France, and the Galleria Nazionale d'Arte Moderna e Contemporanea in Italy.
簽名右下：S. Shimamoto Signed lower right S. Shimamoto 「具體派」（Gutai）藝術是1960年代開始活躍於日本的美術協會。作為日本最具影響力的戰後先鋒藝術群體，這些藝術家剛剛從戰時嚴酷的極權主義中掙脫出來，渴望取得一種新的文化身份，這種身份要獨特，同時還要和西方平起平坐。當時的日本在物質層面上效仿歐美文明的行動，因此被置於一個分化的構造中，民眾反思於當下，社會環境尋求恢復和保持日本起 源於鄉土文化的精神純度。在當時的日本藝壇同樣在尋找一種抽象的普世語言，自我本身成了實驗活力的源泉。作為Gutai的創建人之一，嶋本昭三以「讓顏料徹底脫離畫筆束縛」為目標，創思「具體」一詞。嶋本昭三命名「具體」中「具」解作工具；「體」解作身體，意指「用工具和身體 呈現」。成員拋棄了傳統藝術家的工具，尤其是「畫筆」的使用，用各種大膽無畏的自我表達，特別是肉身參與。 嶋本昭三以他具有破壞性的創作，甚具戲劇張力，糅合表演與繪畫兩種藝術，點燃顏料的熾烈活力，爆炸揮灑的材料與洶湧翻騰的人生精神無間融合。 「具體派」藝術命名者的嶋本昭三，1950年畢業於關西學院大學文學部。1954年結識吉原治良，兩人亦師亦友共同創立「具體藝術協會」，其後以主要成員之姿活躍於藝壇。早在加入具體派前，嶋本就已經開始構思並實踐自身的藝術創作行為。為其後嶄新的藝術領域打下深厚的基礎，並發表體驗型的創作《この上を步いてください（Please Walk on Top；直譯：請走在這之上）》（1955年），以及利用大砲將顏料噴灑至畫布的「大砲繪畫」（1956年）。同年於東京‧青山小原會館舉行的第2屆具體美術展中，將石頭放置於畫面中央做為標的，投擲裝有顏料與異物的玻璃瓶，利用其飛沫痕跡完成作品「擲瓶繪畫」（1956年），這種創作方式也成為他作品的主要特徵。 在過去的2019年，作為日本戰後首個激進藝術團體「具體派」，以獨具根本的創造精神與極致的純粹，上下求索。成員們在創作當中尋找興奮點的魅力，使「具體派」依舊活躍在當今世界舞臺。其中寶龍美術館（Powerlong Art Museum）、費格斯・麥卡弗裡畫廊（Fergus McCaffrey Gallery）、東京歌劇院畫廊（Tokyo Opera City Art Gallery）、白石畫廊（Whitestone Gallery）、金馬賓館當代美術館（Alien Art Centre）等美術館或畫廊機構都有對「具體派」舉辦不同規模的回顧展。具體派再次厚積薄發向世界展示探索繪畫顏料，力求身體與物質間「新精神靈性」的藝術哲思，亦宣告了具體派作為亞洲現代藝術的重要流派，在世界舞臺上的特殊地位。近年來，藝術市場中的「具體派」浪潮正如火如荼地展開，席捲整個歐美，並在亞洲屢創佳績。這也是在半世紀後的今日，人們逐漸認識到具體派的核心是從表演、裝置、科技、聲音、互動、觀念、行動中傳達出一種獨立的藝術精神和形式，是區別於當時世界任何一種藝術觀念。 在第二次大戰後期，日本的藝術活動即開始平凡與歐洲激進藝術相交匯，從而發展出趨同感的抽象藝術浪潮。吉原治良在1954年創立具體派，逐漸在1950年代的日本形成反西方的抽象藝術的風潮。1955年，具體派藝術首次在東京小原會館舉辦藝術展。1957年，來自法國理論家米榭・塔皮耶（Michel Tapié）造訪日本，推崇不定形藝術（Informel）的他對戰前流行的抽象藝術的幾何式構圖感到厭倦，這一點與具體派不謀而合，也正是塔皮埃的撰文讓歐美藝術界認識到東方的具體派藝術。1958年，日本具體派於紐約馬薩·傑克遜畫廊（Martha Jackson Gallery）舉行首次美國展覽，卻遭受評論家們毫不留情的批判。1994年紐約古根漢美術館「1945年以後的日本藝術；向天空吶喊」展覽大獲好評；2009年威尼斯雙年展主展區展出具體派作品；而2013年，紐約古根漢博物館再次舉行了「具體：燦爛的遊樂場」展覽廣獲好評。其後「具體派」在多個重要的美術館和畫廊均有回顧性的展出，如紐約的現代美術館「東京1955-1970：新前衛」；洛杉磯當代藝術美術館的「破壞圖畫：繪在空洞1949-1962」展覽。 「具體派」核心人物之一－嶋本昭三把裝滿顏料的玻璃瓶擲向鋪在堅硬表面或石頭上的畫布，玻璃瓶破碎爆裂，瓶裡的顏料也噴灑而出，形成生氣盎然、極富動感的圖案，令人目眩神迷。即是1956年首次嘗試的「擲瓶」方法繪畫，這一創作形式一鳴驚人，大開風氣之先，以及之後1965年獨創的「渦流」作品創作手法開創先河。對早期具體藝術貢獻至為重要，為戰後藝術注入不可或缺的動力，體現了從破壞中變革創新、透過徹底毀滅達至重生與解放的力量。 而此件《和平的證明 2007-13》明顯是創作前有過深思的作品，具有東方哲思的留白。畫面雖以紫色為主，卻因「投擲」的隨機感，紫色顏料的深淺有度，亦是藝術家有意為之的收放自如。而肌理的表達是二次創作的結果，將自然流淌的顏料經過塗抹，打破原有脈絡的走向使其與邊緣的青綠、明黃、湖藍等色聚攏在紫色之邊緣。單一用色的作品，在嶋本昭三的創作中比較少見，藝術家在看似隨機的炮製背後，是將自己對「和平」一詞的理解融入其中。2007嶋本昭三在一衣帶水的東亞文化圈中，展開了一系列以「和平」為主題的藝術活動，此件作品無論是從名喚上還是歷史意識上都是一件舉足輕重的作品。在「和平的證明」的一系列作品中，無不體現著「具體派」一貫宣導的「脫離傳統藝術的材枓和技巧，在實際生活環境找出創作材料，表現物料的內在性」的理念。 In 2019, the first radical Japanese post-war artistic group "Gutai" had been devoted to a unique and extremely pure sense of creativity. With its members creating exciting and charming works of art, Gutai remains relevant on the world stage. Many art museums and galleries have organized retrospective exhibitions of various scales on Gutai, including Powerlong Art Museum, Fergus McCaffrey Gallery, Tokyo Opera City Art Gallery, Whitestone Gallery, and Alien Art Centre. Through the exploration of paint, Gutai once again demonstrates to the world its search for "Neo-spirituality", an artistic philosophy that focuses on the interaction between the body and the materials. It has thus established itself as an important school of Asian modern art, earning a spot on the international stage. In recent years, Gutai fever has been sweeping through the US and European art markets, as well as breaking records in Asia. Half a century after the founding of this art group, people have only begun to gradually realize that the core of Gutai is an independent artistic spirit and form expressed through performance, installations, technology, interaction, concept, and action. This artistic concept was one of a kind in the world at its time. In the late stages of the Second World War, the exchange between Japanese art and European radical art became frequent, converging into a wave of abstract art. In 1954, Jiro Yoshihara founded Gutai. From then, a trend of anti-Western abstract art started to catch on in 1950s Japan. In 1955, Gutai held its first art exhibition at the Ohara Hall in Tokyo. In 1957, the French theorist Michel Tapié visited Japan. An advocate of the Art Informel, Tapié had become tired of the geometric composition in abstract art that was popular before the war. These feelings happened to coincide with the sentiments of Gutai. It was Tapié's writing that first introduced Gutai to the Western art world. In 1958, Gutai held its first US exhibition in New York City’s Martha Jackson Gallery, but was met with relentless criticism. The 1994 Solomon R. Guggenheim Museum exhibition, Japanese Art After 1945; Scream against The Sky, was widely praised. In 2009, Gutai's works were featured in the main exhibition area of the Venice Biennale. In 2013, the Guggenheim Museum held the exhibition Gutai: Splendid Playground, which once again received wide acclaim. Since then, there have been several retrospective exhibitions on Gutai in major museums and galleries, such as Tokyo 1955–1970: A New Avant-Garde at the Museum of Modern Art (New York City) and Destroy the Picture: Painting the Void, 1949–1962 at Museum of Contemporary Art (Los Angeles). One of the core members of the Gutai is Shozo Shimamoto. In 1956, he attempted a new painting technique––by smashing a glass bottle full of paint against a canvas laid on a hard surface or rocks. As the bottle shatters, the paint within splashes onto the canvas, creating a lively and dynamic pattern that captivates visually. This unique method took the art world by storm, and also laid the foundation for Shimamoto's original series "uzumaki"(meaning whirlpool) in 1965. With important contributions to early Gutai art, he also provided the post-war art scene with much needed momentum by manifesting transformation and innovation within destruction, rebirth and liberation within total annihilation. This work Heiwa No Akashi 2007-13 is part of Shimamoto's ambitious 100-year project, the Heiwa No Akashi (Proof of Peace) series. Starting in the year 2000, the artist would perform before the monument at Nishijima Yacht Harbour every year. The work is able to delight viewers as soon as they see it. The bright purple blooms in the corner of the canvas, like a cluster of flowers, immediately draw attention. Originating from the ancient Chinese worship of the North Star, purple is considered to be the color of regality in the Chinese tradition. This can be seen in the Chinese expression of good fortune, “紫氣東來” (purple haze comes from the east). Under this influence, Japanese nobility revere the color purple to this day. The past works of Shimamoto are also full of volatile elements, with multiple coats of paint layered on the canvas. Heiwa No Akashi 2007-13 is a work obviously composed through much deliberation and thought. Much of the canvas is left empty, reflecting the Eastern philosophy imbued within the work. Although the picture is dominated by purple, the shades of the purple are intentionally different, due to the randomness of the bottle smashing technique. The expression of texture is the result of a secondary creation. By smearing the natural flow of the purple paint, the artist breaks its original pattern, converging it on the edge with turquoise, bright yellow and acid blue. Single-colored Shimamoto works are relatively rare. His creative process may seem unkempt, but the works are infused with the artist's understanding of peace. In 2007, Shimamoto launched a series of artistic activities with the theme of "peace" in closely-connected East Asian cultural circles. This is a significant work both in name and in its historical awareness. The Heiwa No Akashi series embodies the Gutai creed of "breaking away from traditional art materials and techniques; finding materials from the environment we live in and revealing their inner life."
SHOZO SHIMAMOTO (1928-2013) Untitled; & Untitled signed and dated ‘1965 S. Shimamoto’ (lower right) ; & signed ‘S. Shimamoto’ (lower left) enamel paint on Japanese paperboard shikishi laid on board; & enamel on paper laid on canvas 24.3 x 27.3 cm. (9 5/8 x 10 3/4 in.) ; & 19.5 x 19.5 cm. (7 5/8 x 7 5/8 in.) Executed in 1965; & 1962
SHOZO SHIMAMOTO (1928-2013) Untitled; & Untitled signed ‘S. Shimamoto’ (lower right) ; & signed and dated ‘1965 S. Shimamoto’ (lower right) enamel on paperboard laid on canvas ; & enamel on paper laid on canvas 24 x 31.7 cm. (9 1/2 x 12 1/2 in.) ; & 24.1 x 27.3 cm. (9 1/2 x 10 3/4 in.) Executed in 1965; & 1965
SHOZO SHIMAMOTO (1928-2013) Untitled; & Middle Uzumaki on paper 2 signed ‘Sh.’ (lower right) ; & signed and dated ‘1965 S. Shimamoto’ (lower right) enamel on paper laid on canvas ; & enamel paint on paper board laid on canvas 23.3 x 18.2 cm. (9 1/2 x 7 1/8 in.) ; & 35 x 27 cm. (13 3/4 x 10 5/8 in.) Executed in 1965; & 1965
SHIMAMOTO SHOZO (1928 - 2013). Untitled.. Signature lower right. Thanks to Morra Foundation, Napolii to confirming the provenance of the artwork (email).. Cm 55,00 x 80,00.
Please note the exact Buyer’s Premium charges which can be found in the Conditions of Sale in the Terms below. (Osaka 1928–2013) Magi 914 (Bottle Crash), 2008, signed and dated on the reverse, acrylic and broken glass on canvas, 130 x 160 cm, framed This work is accompanied by a photo certificate of authenticity issued by the Shozo Shimamoto Association, Naples under no. 695. Provenance: Artist’s personal performance (Museo Magi 900, Pieve Di Centro-Bologna, 11 November 2008) Private Collection, Italy Kanalidarte, Brescia European Private Collection Exhibited: Pieve Di Cento (Bologna), Museo Magi 900 - Museo delle Generazioni Italiane del 900, Shozo Shimamoto/ Yasuo Sumi - Colours of Peace, 2008, exh. cat. artist´s performance on 11 November 2008 (label and stamp on the reverse). Karuizawa, Karuizawa New Art Museum and Whitestone Art Foundation, Gutai Still Alive, 1 October 2014 – 23 September 2015, exh. cat. p. 77 with ill. Brixen, Galerie Hofburg, Shozo Shimamoto. Malerei und Geste /Painting and Gesture, curated by Vittoria Coen, 24 August - 14 September 2013, exh. cat. p. 42. with ill. More than anything else, I find stimulation in the materialization of an unpredictable expression. Shozo Shimamoto I believe that the first thing to do is free colour from the paintbrush. If in the process of creating the paintbrush isn‘t cast aside, there is no hope of emancipating the tones.‘ Shozo Shimamoto
