【概要】 - Koichi yamamura gallery -


新作ドローイングシリーズ「Black Box」発表のお知らせ
このたび、イバニーは人生を通じて深く結びついた映像の記憶をテーマにした新作ドローイングシリーズ「Black box」を発表いたします。本シリーズは、テレビ番組、映画、ビデオゲームのシーンを木炭で丹念に描き直し、記憶と体験を精神の地図として表現しています。幼少期の個人的体験や文化的記憶、愛や葛藤、社会的経験が織り交ざった作品群となっています。
また、CRTテレビの記憶を掘り起こす試みとして、過去に所有していたテレビのポートレートやミクストメディア作品も展示に含まれます。作品群は、ウィリアム・ギブスンの小説『ニューロマンサー』冒頭の一文にオマージュを捧げています。
―「港の空の色は、写らないチャンネルのテレビの色だった。」
本展のタイトル「Black box」は、劇場のシンプルな黒い空間を意味すると同時に、内部の詳細は見えないながらすべてを記録し続ける飛行機の記録装置への言及も含みます。映像体験を多層的な記憶の装置として探求し、鑑賞者を未知の内部へと誘います。灰色の砂嵐のようなノイズ画面を表現しています。この表現は、ロシアの画家カジミール・マレーヴィチの抽象絵画を思い起こさせます。マレーヴィチが1920年代のロシアで、家庭の神棚のように絵を置いていた時代背景は、宗教から共産主義体制への移行期にあたり、絵が神聖な役割を持っていたことを物語っています。
現代においては、かつて神のように崇められたものがテクノロジーや映像文化の中で若者たちによって異なる意味を持つようになりました。これらの視点は、映像や記憶、文化の変遷を読み解く鍵として作品に深みをもたらします。


【展示情報】
会期：2025年10月24日（金）～11月22日（土）
オープニングレセプション：10月24日（金）17:00～20:00
会場：Koichi yamamura gallery
〒106-0045 東京都港区麻布十番3-8-6 グランパセオ麻布十番1F
アクセス：東京メトロ南北線・都営大江戸線 麻布十番駅1番出口より徒歩4分
営業時間：火～土 11:00～19:00（日・月・祝休）
お問い合わせ：070-4479-8124 / info@koichiyamamuragallery.com

【The concept of this exhibition 】

These are drawings of television stills that are strongly tied to memories and

experiences from throughout my life. The source images are from TV shows, movies,

and video games meticulously redrawn in charcoal. Whether these moments contain

lessons of critical importance or obsessive non sequiturs is sometimes difficult for me to

tell. I have carried some of these scenes in my head for almost 40 years. This is a kind

of mental cartography.

At 3 years old I thought I saw an image of God the Father for the first time. A

giant, translucent, bearded, old man in the sky.

When I was 5, I watched a planet become a person. Shortly thereafter I came to

understand that my parents were not gods but people.

We all fought a lot in my elementary school. Everyone had a pretty good

understanding who could beat who and I was in the middle ranks somewhere.

I often wondered what it would be like to be at the top of the rankings.

My mother loved watching talk shows in the 90’s. So I watched along with her.

The host would rile up the audience members who were always so indignant. I

often heard my mother copy their turns of phrase.

As a teenager I came to understand the experience of love as being sacrificial

and painful.

When I was 16, I fell in love. I was overwhelmed. But the object of my affections

was unstable. I was scared by the secrets she confessed to me. The more I

learned about her, the stranger and less familiar she became.

I’ve often fallen for the wrong woman.



While watching anything with subtitles, there are times when the image + text

suddenly dislodges from the original context. like a line from a poem or one half

of a joke, it seeks a new meaning.

I was a freshman in college when I first encountered the work of Takashi

Murakami. It was his Lifesize, erotic, anime inspired sculptures that first caught

my attention. They felt familiar to me. As an animation fan, I often bought anime

blind. It was still difficult to get in the late 90’s and early 00’s. I was occasionally

surprised to discover that what I purchased was, in fact, pornography.

The relentless positivity of super robot anime has been a pool of energy that I've

drawn from throughout my life.



In my mid to late twenties I worked at a very demanding art studio. My fellow

coworkers and I were given impossible deadlines after impossible deadlines. These

conditions created a deep bond among us. It was the first time I had worked in

such a team environment. I understood that if I did not work to the best of my

ability on a painting, it meant the already extraordinary pressure on the other staff

increased. The idea of self-sacrifice for the good of the team seemed heroic

at the time.

After living and working in New York a while, I started to feel lost. I was

overwhelmed with a sense that my options were dwindling. Somehow, my life

was being decided for me. I was in my late twenties, and I was already

exhausted.



In the process of producing this series of drawings, I came to realize it was difficult to

recall what CRT televisions looked like. So, I began a series of mixed media pieces to

help recall the experience.



In addition to being portraits of some of my previous televisions over the years, the

The following works are an homage to the first line of William Gibson’s Neuromancer. -

The sky above the port was the color of television, tuned to a dead channel.

_by Ivanny Pagan

Ivanny Pagan はNYブルックリンを拠点に活動するアーティストで、自己犠牲の精神を持ちながら本能的に芸術コミュニティに参加してきた人文的な人物です。彼の作品はニューヨークの多様な文化やエネルギーを反映し、深い思考と感受性を感じさせます。現在、作家ローバート・ロンゴスタジオで制作マネージャーを務める傍ら、自作作品を制作し、初めての日本でのソロ展示をKOICHI YAMAMURAギャラリーで開催します。

Based in Brooklyn, Ivanny Pagan combines instinctive creativity with a spirit of self-sacrifice. While working as a production assistant at the Robert Longo studio, he is presenting his first solo exhibition in Japan at KOICHI YAMAMURA Gallery.