Title : Emit 北緯67度51分 Emit 北緯35度14分
Emit / 67°51'N.  Emit / 35°14'N.
Place : The Ueno Royal Museum
Date : 14th-30th Mar. 2011
Size : 194cm×194cm×3.5cm ( S120 ) × 2pieces
Material : Acrylic and gesso on linen canvas and paulownia wood

Exhibition  : VOCA 2011


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市川武史は、 2007 年秋に北緯 67 度 51 分に位置するスウェーデンのキルナにおもむいた。


必然ではなかっただろうか。 2年を経て、愛知トリエンナーレにおいて発表された絵画的インスタレーション作品は、その現実的な成果である。

今回、 VOCA 展のために描かれた作品は、むしろはっきりと絵画を前提としている。

ディプティックは、左がオーロラ、右が LED の光を表現しようと試みた画面である。


南 雄介 (国立新美術館学芸課長) 

In the autumn of 2007, Takefumi Ichikawa traveled to Kiruna, Sweden,
which is located at 67 degrees 51 minutes noth latitude.

He had been making ephemeral sculpture that floated in the air using plastic film and helium gas
and had conceived his next step as "light painting."
For this reason, he wanted to exprerience thepreviously unseen light of the aurora borealis.

The aurora experience was clearly overwhelming to him.
It was an encounter with light and at the same time an encounter with "something too big."

Ichikawa had been wrestling with the essential issue of how to make something that could be considered
a "base layer of perception" appear in an artwork, something that could not be encompassed by conceptual
framework of meanings.
The realistic result two years later was the painterly installation shown at the Aichi Triennale.

The work painted for this VOCA exhibition is crearly premised on the practic of painting.
It is conceived as an intersection between the history and present condition of light painting.

This multi-faceted approach was also seen in Ichikawa's series of floating works.

In the diptych shown here,
the left-hand images shows the aurora and the right-hand images refers to LED light.
An image of the vail worn by Fillippo Lippi's Maddonna and Child is juxtaposed with mid air slhouttes
of Massaccio's Adam and Eve banished from the Garden of Eden.
A number of oppositions are presented in this work :nature and artifice, heaven and earth, God and man.

Canvas is stretched on both sides of the stretcher bars, and both sides of each canvas are painted.
That is, only a fourth of the painted imagery can be seen when thie painting is hung on the wall.
It will be interesting to see what sort of "base layer of perception" can be manifested by the painterly
structure that Ichikawa presents, a painterly structure that Ichikawa presents, a painterly structure
that cannot be fully grasped.


Yusuke Minami
Curator,   National Art Center, Tokyo


                                                                                    Translated by  Stanley N. Anderson