[{"data":1,"prerenderedAt":85},["ShallowReactive",2],{"WL0HOxY613":3,"tu4EI92it3":7},{"contents":4,"totalCount":5,"offset":5,"limit":6},[],0,1,{"id":8,"createdAt":9,"updatedAt":10,"publishedAt":11,"revisedAt":10,"kv":12,"thumbnail":16,"title_ja":18,"title_en":19,"title_cn":20,"subTitle_ja":21,"subTitle_en":22,"subTitle_cn":23,"category":24,"start_date":26,"end_date":27,"location_ja":28,"location_en":28,"location_cn":28,"description_ja":29,"description_en":30,"description_cn":31,"body_ja":32,"body_en":33,"body_cn":34,"artists_ja":23,"artists_en":22,"artists_cn":22,"works":35,"photos":36,"pdf_ja":53,"pdf_en":56,"pdf_cn":57,"pickup_artist":60},"xm8ojagre0-0","2026-06-01T06:44:46.815Z","2026-06-19T02:08:24.180Z","2026-06-05T06:25:45.890Z",{"url":13,"height":14,"width":15},"https://images.microcms-assets.io/assets/f9b3ab7185f2489e895807bb1adf6ec8/28817f21c8e9416e91348b7b8c7ef600/web_Yokomizo-JP.jpg",3471,4501,{"url":17,"height":14,"width":15},"https://images.microcms-assets.io/assets/f9b3ab7185f2489e895807bb1adf6ec8/4a2aa2d49a454eb0981b766f6063b115/web_Yokomizo_%E3%82%B5%E3%83%A0%E3%83%8D.jpg","Landscape@@水の記憶 交差する視線","Landscape@@Memories of Water: Intersecting Gazes","Landscape@@水之記憶 交錯的視線","横溝美由紀 個展","Miyuki Yokomizo","横溝美由紀",[25],"exhibition","2026-06-29T15:00:00.000Z","2026-07-31T15:00:00.000Z","ICHION CONTEMPORARY","横溝美由紀の個展。ICHION CONTEMPORARYの空間から想起した、かつての長屋の面影と、水都としての大阪の記憶を起点として、空間、光、線、記憶の交差する一瞬の光景を描き出す。","A solo exhibition by Miyuki Yokomizo.\nInspired by the space of ICHION CONTEMPORARY, the exhibition takes as its starting point the traces of Osaka’s former townhouses and its memory as a city of water, creating fleeting scenes where space, light, lines, and memories intersect.","橫溝美由紀個展。以ICHION CONTEMPORARY空間所喚起的昔日長屋風景與大阪作為水都的歷史記憶為起點，描繪空間、光線、線條與記憶交錯的一瞬景象。","\u003Cp>横溝美由紀は1990年代より、プラスチックなどの身近な人工物を用い、時間、空間、光を重要な要素とするミニマルなインスタレーションを国内外で発表してきました。近年は、インスタレーションとカンヴァスによる平面作品を組み合わせ、展示空間との関係のなかで、自身の心象風景を立ち上げる試みを展開しています。\u003C/p>\u003Cp>横溝が「彫刻としての絵画」と位置づける平面作品では、絵筆を用いず、油絵具を施した糸をカンヴァス上で弾くことで、画面に線の軌跡を刻み込みます。絵具の飛沫や盛り上がり、かすれ、ずれといった偶然性を含むその線は、絵画を平面上のイメージとしてだけでなく、現実空間に存在する物質として、また身体的な行為の痕跡として浮かび上がらせます。\u003C/p>\u003Cp>横溝はICHION CONTEMPORARYを訪れた際、大阪の都心にありながら、ビルの間に挟まれた細長い建築に、かつての長屋の面影と、水都としての大阪の記憶を重ね合わせました。各階に差し込む自然光が澱み、滞留し、刻々と表情を変える場において、横溝は「見えるもの」と「見えないもの」の領域を行き来しながら、空間、光、線、記憶の交差する一瞬の光景を生み出します。\u003C/p>","\u003Cp>Since the 1990s, Miyuki Yokomizo has presented minimalistic installations in Japan and abroad that use plastics and other familiar artificial objects, with time, space, and light as central elements. In recent years, she has been attempting to construct new landscapes by combining installation works with two-dimensional works that reimagine the installation space onto canvas.\u003C/p>\u003Cp>In the works she describes as “paintings as sculpture,” Yokomizo does not use a brush. Instead, she snaps thread coated with oil paint against the canvas, leaving traces of lines across the surface. Through splashes, raised textures, fading, and subtle displacements, these lines reveal painting not only as an image on a flat surface, but also as a material presence in real space and as traces of a physical gesture.\u003C/p>\u003Cp>In this exhibition, Yokomizo responds to the distinctive architecture of ICHION CONTEMPORARY, where natural light enters each floor and shifts throughout the day.　Between the visible and the invisible, she creates fleeting scenes where space, light, line, and memory intersect.\u003C/p>","\u003Cp>自1990年代起，橫溝美由紀便以塑膠等日常人造物為媒介，在日本及海外發表以時間、空間與光線為重要元素的極簡裝置作品。近年來，她透過結合裝置藝術與畫布平面作品，於展示空間的關係之中，持續探索並建構自身的心象風景。\u003C/p>\u003Cp>在橫溝所稱的「作為雕塑的繪畫」系列作品中，她不使用畫筆，而是將塗覆油彩的絲線彈擊於畫布之上，使線條的軌跡留存於畫面之中。顏料飛濺、堆積、暈散與錯位等偶然性所形成的線條，不僅使繪畫超越平面圖像的範疇，更作為存在於真實空間中的物質，以及身體行為所留下的痕跡而浮現。\u003C/p>\u003Cp>當橫溝造訪ICHION CONTEMPORARY時，她從這座位於大阪市中心、夾於高樓之間的狹長建築之中，看見昔日長屋的痕跡，並將其與大阪作為水都的歷史記憶相互重疊。在自然光穿透各樓層、停駐流轉且時刻變化的空間裡，橫溝遊走於「可見」與「不可見」之間，創造出空間、光線、線條與記憶交錯的一瞬景象。\u003C/p>",[],[37,41,44,47,49,51],{"url":38,"height":39,"width":40},"https://images.microcms-assets.io/assets/f9b3ab7185f2489e895807bb1adf6ec8/63aa1368e2a9437b8a48ea6186d20cb5/crossing%20M120.107.2025_01.jpg",1000,2000,{"url":42,"height":40,"width":43},"https://images.microcms-assets.io/assets/f9b3ab7185f2489e895807bb1adf6ec8/64f3aeb9d7274257934183eed61cb08e/No.19_landscape%20P020.015.2026_01.jpg",1458,{"url":45,"height":46,"width":40},"https://images.microcms-assets.io/assets/f9b3ab7185f2489e895807bb1adf6ec8/a70f609376864042b946da3855007765/No.23_line%20M012.390.2024_01.jpg",1353,{"url":48,"height":40,"width":40},"https://images.microcms-assets.io/assets/f9b3ab7185f2489e895807bb1adf6ec8/516279f47d8246b7ad19f5c0d2594f8b/still%20water%20030_01.jpg",{"url":50,"height":40,"width":40},"https://images.microcms-assets.io/assets/f9b3ab7185f2489e895807bb1adf6ec8/2a097a7c07c64ff8a53859a1c9d8e77d/theline%20S015.001.2021_01.jpg",{"url":52,"height":40,"width":40},"https://images.microcms-assets.io/assets/f9b3ab7185f2489e895807bb1adf6ec8/194f135f2ea6463788f638106cebd111/grid%20S100.010.2025_01.jpg",{"url":54,"fileSize":55},"https://files.microcms-assets.io/assets/f9b3ab7185f2489e895807bb1adf6ec8/d1e8312f04e34bb0bb2025bd1e8c82cc/YOKOMIZO_Miyuki_ArtworkList_JP_EN.pdf",37996334,{"url":54,"fileSize":55},{"url":58,"fileSize":59},"https://files.microcms-assets.io/assets/f9b3ab7185f2489e895807bb1adf6ec8/c9f7d84c00c44e499e9d0a016aec1e46/YOKOMIZO_Miyuki_ArtworkList_CH_EN.pdf",38046121,[61],{"id":62,"createdAt":63,"updatedAt":64,"publishedAt":63,"revisedAt":64,"photo":65,"name_ja":23,"name_en":22,"name_cn":23,"profile_ja":68,"profile_en":69,"profile_cn":70,"collection_ja":71,"collection_en":72,"collection_cn":73,"history_title_ja":74,"history_title_en":75,"History_title_cn":76,"history_desc_ja":77,"history_desc_en":78,"history_desc_cn":79,"history_ja":80,"history_en":81,"history_cn":82,"artwork":83,"exhibition":84},"miyuki_yokomizo","2026-01-09T10:22:59.986Z","2026-06-10T02:10:12.100Z",{"url":66,"height":40,"width":67},"https://images.microcms-assets.io/assets/f9b3ab7185f2489e895807bb1adf6ec8/02565bbe760c462aba2780887d6b829f/YOKOMIZO%20MIYUKI.jpg",1429,"横溝美由紀、1968年東京都生まれ。1994年多摩美術大学美術学部彫刻科卒業。活動初期では、時間・空間・光に重きを置いたサイトスペシフィックなインスタレーションを発表。近年は、赤い液体を満たした透明チューブを空間全体にめぐらせたインスタレーション《red cage》（2003）を起点としたシリーズ「line」をはじめ、彫刻的な絵画作品の制作に注力している。代表作の「line」は、絵画を彫刻とみなし、絵具を付着させた糸を弾いて立体的に積み上げていく作品シリーズ。同じ手法を使った新シリーズ「angle」（2020〜）にも取り組む。このほか、自身の過去のインスタレーションを平面に置き換えて再構築した作品などを手がけている。","MIYUKI YOKOMIZO was born in Tokyo in 1968 and graduated from Tama Art University, Faculty of Fine Arts, Department of Sculpture in 1994.\nIn her early career, she created site-specific installations that emphasized time, space, and light.\n\nIn recent years, she has focused on sculptural paintings and the \"line\" series, which originated from the installation \"red cage\" (2003), where transparent tubes filled with red liquid extend throughout the space.\nHer signature \"line\" series reinterprets painting as sculpture, constructing three-dimensional compositions by stretching and layering paint-coated threads.\nShe has also developed the \"angle\" series (since 2020), which applies the same technique in a new approach.\nAdditionally, she explores the reconstruction of her past installations into two-dimensional works, further expanding her artistic expression.","橫溝美由紀，1968年生於東京，1994年畢業於多摩美術大學美術學部雕塑系。\n她的早期創作以時間、空間與光為核心，發表了多件場域特定（site-specific）裝置藝術。\n\n近年來，她專注於雕塑性的繪畫創作，並推出了「line」系列，其起點為裝置作品 《red cage》（2003），該作品以充滿紅色液體的透明管道貫穿整個空間。\n她的代表作「line」系列將繪畫視為雕塑，透過拉伸與層疊附著顏料的線，構築出三維立體結構。\n此外，她還開展了使用相同技法的全新系列「angle」（2020年至今）。\n\n同時，她也探索將自身過去的裝置藝術轉化為平面作品，進行重新構築，以拓展藝術表現的可能性。","羽田空港国際線JALファーストクラスラウンジ（東京）、フォーシーズンズホテル（京都）、島津製作所本社ビル、ザ・リッツカールトン京都（京都）、パレスホテル東京（東京）、大本型Domain（香港）、スカパー東京メディアセンター（東京）、麻布第一マンションズ六本木（東京）、関西医科大学附属枚方病院（大阪）、国際交流基金","JAL First Class Lounge - Tokyo International Airport (Haneda),Tokyo; Four Seasons Hotel Kyoto, Kyoto; Shimadzu Corporation, Kyoto; The Ritz Carlton Hotel Kyoto, Kyoto; The Palace Hotel Tokyo, Tokyo; Domain, Hong Kong; SkyperfectTV! Media Center Tokyo, Tokyo; Azabu Daiichi Mansions, Tokyo; Kansai Medical University Hirakata Hospital, osaka; The Japan Foundation","日本航空頭等艙貴賓室 – 東京國際機場（羽田），東京; 京都四季酒店，京都; 島津製作所總部，京都; 京都麗思卡爾頓酒店，京都; 東京皇宮酒店，東京; Domain，香港; SkyperfectTV！東京媒體中心，東京; 麻布第一豪宅，東京; 關西醫科大學枚方醫院，大阪; 國際交流基金會","主な展覧会","Major exhibitions","主要展覽","「criterium 37」水戸芸術館（1998年）、「プラスティックの時代」埼玉県立近代美術館（2000年）、「傾く小屋」東京都現代美術館（2002年）、「盗まれた自然」川村記念美術館（2003年）、「未来への回路―日本の新世代アーティスト」国際交流基金（2004−19年）、「Landscape – やわらかな地平のその先に」ポーラミュージアムアネックス（2021年）、「ABSTRACTION 抽象絵画の覚醒と展開 セザンヌ、フォーヴィスム、キュビスムから現代へ」アーティゾン美術館（2023年）","Criterium 37 (Mito Arts Tower, 1998), The Age of Plastic (The Museum of Modern Art, Saitama, 2000), Leaning Hut (Museum of Contemporary Art Tokyo, 2002), Stolen Nature (Kawamura Memorial DIC Museum of Art, 2003), Circuits for the Future: New Generation Artists from Japan (The Japan Foundation, 2004–2019), Landscape – Beyond the Soft Horizon (Pola Museum Annex, 2021), and ABSTRACTION: The Awakening and Development of Abstract Painting — From Cézanne, Fauvism, and Cubism to the Present (Artizon Museum, 2023).","Criterium 37（水戶藝術館，1998）、The Age of Plastic（埼玉縣立近代美術館，2000）、Leaning Hut（東京都現代美術館，2002）、Stolen Nature（DIC 川村紀念美術館，2003）、Circuits for the Future: New Generation Artists from Japan（日本國際交流基金會，2004–2019）、Landscape – Beyond the Soft Horizon（Pola Museum Annex，2021）、以及 ABSTRACTION: The Awakening and Development of Abstract Painting — From Cézanne, Fauvism, and Cubism to the Present（Artizon Museum，2023）。",[],[],[],[],[],1784800806520]