半田 真規Masanori Handa半田真规

Masanori Handa

Masanori Handa

半田 真規 六本木モスク 2011年 ミクストメディア
展覧会風景:オオタファインアーツ、東京、2011年
Masanori Handa ROPPONGI MOSUQUE 2011 mixed media
Exhibition view: Ota Fine Arts, Tokyo, 2011
Masanori Handa ROPPONGI MOSUQUE 2011 mixed media
Exhibition view: Ota Fine Arts, Tokyo, 2011
半田真規は出会った風景や物事を契機として、そこに自らの感覚を開き、時に支離滅裂で流動的な世界をインスタレーションや大型彫刻として作品化します。

弊廊での初個展では、イスラム教におけるオブジェクトである<150面体>-イスラム教徒にも広くは認知されていないシンボルを高さ3m程の構造物として真鍮とガラスで再構成し、バターミルクとコールタールで彩色しています。塗膜は、時を経るにしたがいひびわれ、雪片のようにまだら模様に床に落ちていきます。さらに、真鍮製の「金色の雲」とモスクの裏にあったというガラスのひびわれた看板を配置し、違和をたたえた出自の異なる物が形作る不条理な仮構のモスクを展示しました。
作品の契機となったのは、スペインの浜辺で見た松ぼっくり。形態の類似性から、かつてどこかで見た<150面体>をフラッシュバックさせた、と半田は語ります。また世界各地に数多あるイスラム圏の都市、そこで日々繰り返される信仰と日常の営みの壮大さを「どんなものも表面の表面までは説明できない、物事や宇宙は人の気を知らない。」と形容します。世界は流動的で、不確定なものであり、完全に理解することも、説明することもできない。一見無関係なものでも、事物には通底する共通要素や関係がある。
あくまで自らが接した事物と風景を集約させることで、<150面体>は地球儀のようにその世界を示す世界地図として半田による世界観を提示しています。

半田は2008年に「ロレックス メントー&プロトジェ アートプログラム」でレベッカ・ホルンと一年間スタジオを共有し、師と生徒としてベルリンを拠点に活動。2010年からは文化庁の助成を受け、欧州での滞在制作を継続しています。
Masanori Handa's world is one of playful, impressionistic, yet nonetheless contemplative experimentation. Fleeting encounters and occurences often give vital momentum to his practice. Sites, scenery, and urban phenomena are the loci at which incidents are recorded and vividly remembered by Handa. His unique approach results in a variety of large installations and sculpture.

At his first solo exhibition in Ota Fine Arts Tokyo, he reconfigured "150 hedron", a particular Islamic symbol. The structure was constructed with brass and glass, 3 metres in height and coloured by buttermilk and coal tar. This paint mixture became cracked as time passed by, and came to litter the floor, dappling it like snowflakes. In addition, he set up "Golden Cloud" made of brass and a cracked signboard with directions to an absurd and fictitious mosque formed by objects from strange, different origins. Handa wished to express the magnificence of daily religious activities in Islamic cities around the world as something that could not be fully explained or understood.

At Ota Fine Arts Singapore, Handa staged an immense, yet intricate, site-specific installation titled "nakakiyo no entakukei" put together with an assortment of trailing vines, timber, cement, canvas, foam and fabric. The enormity of the work was breathtaking, and inspired by the atmosphere, climate, psychogeography and cross-cultural dialogue.

Born in Kanagawa, Japan in 1979, Masanori Handa completed a BA in Fine Arts at the Tokyo University of the Arts, where he continues to work today. His works have previously been shown at the Echigo-Tsumari Art Triennale (2006). In 2009, Handa was selected to be a part of the prestigious "Rolex Art Initiative Mentor and Protégé" program in Berlin where he was mentored by Rebecca Horn, an accomplished German installation artist and film director. Subsequently, he participated in notable group exhibitions, workshops and site-specific projects at the National Museum of Art, Osaka (2011), the Hara Museum, Tokyo (2009), the Edoardo Chiossone Museum, Genoa (2009) and the TATE Modern, London (2009).
Masanori Handa's world is one of playful, impressionistic, yet nonetheless contemplative experimentation. Fleeting encounters and occurences often give vital momentum to his practice. Sites, scenery, and urban phenomena are the loci at which incidents are recorded and vividly remembered by Handa. His unique approach results in a variety of large installations and sculpture.

At his first solo exhibition in Ota Fine Arts Tokyo, he reconfigured "150 hedron", a particular Islamic symbol. The structure was constructed with brass and glass, 3 metres in height and coloured by buttermilk and coal tar. This paint mixture became cracked as time passed by, and came to litter the floor, dappling it like snowflakes. In addition, he set up "Golden Cloud" made of brass and a cracked signboard with directions to an absurd and fictitious mosque formed by objects from strange, different origins. Handa wished to express the magnificence of daily religious activities in Islamic cities around the world as something that could not be fully explained or understood.

At Ota Fine Arts Singapore, Handa staged an immense, yet intricate, site-specific installation titled "nakakiyo no entakukei" put together with an assortment of trailing vines, timber, cement, canvas, foam and fabric. The enormity of the work was breathtaking, and inspired by the atmosphere, climate, psychogeography and cross-cultural dialogue.

Born in Kanagawa, Japan in 1979, Masanori Handa completed a BA in Fine Arts at the Tokyo University of the Arts, where he continues to work today. His works have previously been shown at the Echigo-Tsumari Art Triennale (2006). In 2009, Handa was selected to be a part of the prestigious "Rolex Art Initiative Mentor and Protégé" program in Berlin where he was mentored by Rebecca Horn, an accomplished German installation artist and film director. Subsequently, he participated in notable group exhibitions, workshops and site-specific projects at the National Museum of Art, Osaka (2011), the Hara Museum, Tokyo (2009), the Edoardo Chiossone Museum, Genoa (2009) and the TATE Modern, London (2009).