■ Opening Party
　 3月7日(土) 18:00 - 無料
　 *ギャラリートークあり
■ Closing Performance 「光におくれる」
　 4月4日(土) open 19:00 / start 19:30 -
　 charge：adv. ¥3,000. / door ¥3,500. *予約制 (定員20名)
　 act：角正之 Masayuki Sumi 動態ダンス, sara (.es) piano, etc.


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今村源、ギャラリーノマルでの5年ぶりの個展 ー
広いギャラリー空間全体を使った体感型インスタレーション

普段、気にも留めないありふれたものに、少しの隙間を加える、あるいは天地を入れ替えたり裏返したり。一見するとユーモラスな造形が多いが、心静かに対面すると、その軽く透明感のあるイメージから一転、日常と表裏一体にある深遠な世界が観る人の眼前に広がってくるー。

80年代前半より制作活動をスタート、そのいずれにも寄らない独自の哲学的作風で早くから注目を集め、多方面から多くの支持を得ている、関西、日本を代表する現代美術作家の一人、今村源。ギャラリーノマルでは2021年以来5年振りとなる個展を開催いたします。

「色即是空、空即是色」ー 辿り着いた作家の哲学を体感する展示空間
今村は以前より、動きながら止まるような矛盾が共存する状態に関心をもち、独楽(コマ)や振り子といったモチーフを作品として登場させてきました。今展ではモビールの形態で天井から吊り下げられた、複数のロート状に整形されたオレンジ色の塩化ビニール板がクルクルと回りながら個々が影響しあいギャラリー空間全体を緩やかに浮遊するインスタレーション作品が展示の中心となります。ロート状の先はさらに下の円盤とつながり、その円盤も少し遅れて緩やかに円を描く。鑑賞者はその只中に身をおいて動きを感じ取る、体感型の展示となる予定です。
そのほか、やはり動きを伴う彫刻や色鮮やかなドローイング、また視覚と認識のズレを巧みに捉えた実験的な映像作品の制作にも挑戦中です。

生と死や時間と存在などの哲学的な概念が通底する作品の数々をどうぞご高覧ください。

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光におくれる　Down to Light Speed

’70年代ニューサイエンスが台頭しそれに感化され、最先端物理学が描く世界像が般若心経に代表されるような一千年以上前の仏教教典が示す世界観と接近していることに驚きを持って惹きつけられていたことを思い出します。
ですがそこは宗教、我々が煩悩に惑わされず物にとらわれない戒めの為の文言であると受け取っていたようです。
しかしここにきて色即是空、空即是色(目に見えるもの形あるものは実態がなく空であり、その空が形あるものとして生まれ出てくる)の文言がそのまま実態であるとストンと腑に落ちるようになった。この境地が妙に清々しく、心の中を風が抜けるようです。形も時間も空間もない世界から光のスピードに遅れながら一瞬表れ出てくるこの世界。
そこに何故か私という現象も生まれ、あとはそれに乗って楽しむほかないのでしょう。

今村 源



Hajime Imamura — First Solo Exhibition at Gallery Nomart in Five Years
A fully immersive, experiential installation occupying the entire gallery space

By introducing slight gaps into the ordinary things we usually overlook, or by inverting them—turning them upside down or reversing heaven and earth—Imamura creates forms that at first glance appear humorous. Yet when one quietly confronts these works, the lightness and transparency of their imagery suddenly give way, and a profound world—inseparable from everyday life—opens up before the viewer’s eyes.

Hajime Imamura began his artistic practice in the early 1980s. With a distinctive philosophical approach that resists easy categorization, he attracted attention early on and has since earned broad support across multiple fields. One of the leading contemporary artists of Kansai and Japan, Imamura returns to Gallery Nomart for his first solo exhibition here in five years, since 2021.

“Form Is Emptiness, Emptiness Is Form” — An Exhibition Space to Experience the Artist’s Arrived Philosophy
Imamura has long been interested in states where contradictions coexist—such as movement and stillness occurring simultaneously—and has incorporated motifs like spinning tops and pendulums into his work. At the core of this exhibition is an installation composed of multiple funnel-shaped orange PVC sheets, suspended from the ceiling in the form of mobiles. As they spin continuously, each element subtly influences the others, allowing the entire gallery space to drift gently as a whole.

The tapered ends of the funnels connect to discs below, which in turn trace slow circular movements, slightly delayed. Viewers are invited to stand within this environment, sensing and absorbing the motion with their bodies—an immersive, experiential exhibition.

In addition, Imamura is presenting kinetic sculptures, vividly colored drawings, and experimental video works that skillfully capture the disjunctions between vision and perception.

We invite you to experience these works, all of which are underpinned by philosophical concepts such as life and death, time, and existence.

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Down to Light Speed

I remember being struck and fascinated by the realization that the rise of New Science in the 1970s—by which I was deeply influenced—revealed a worldview depicted by cutting-edge physics that was drawing remarkably close to the cosmology expressed in Buddhist scriptures written more than a thousand years ago, such as the Heart Sutra.
At the time, however, I understood these teachings as religious doctrine—words meant as admonitions to keep us from being led astray by worldly desires and attachments.

Yet now, the phrase “form is emptiness, emptiness is form” (that which is visible and has shape has no fixed substance and is emptiness, and from that emptiness, form is born) has come to resonate with me as a direct description of reality itself. This realization has settled into me with sudden clarity. The state it brings is strangely refreshing, as if a breeze were passing through my mind.

From a world without form, time, or space, this world appears momentarily, lagging behind at the speed of light. And somehow, within it, the phenomenon called “me” also comes into being—and perhaps all that remains is to ride along with it and enjoy the experience.

Hajime Imamura