一super skill touch #120 (detail)2022
stainless steel｜414 × 436 × 57 mm

人間の淵をみせるということ

Showing the edge of humanity

内田千恵｜奈良・町家の芸術祭はならぁと2021 キュレーター

Chie Uchida | Curator of Nara Machiya Art Festival HANARART 2021

私と作家・築山有城との出会いは、TEZUKAYAMA GALLERYのらった。この10 年間、人が倦厭するような反復行為も、笑ってしまうよ

スタッフと作家としてだ。
ここでの10 年間、多数の展示を通して彼の作うな非現実的なアイデアも創意工夫によって可能にする築山を見てき品には身近に関わってきた。2019 年にギャラリーを退職し、フリーでたが、目の前に積み上がる膨大な量の新聞を見た時、今回だけは間「奈良・町家の芸術祭はならぁと（ 以下、略称の仕事をはじめた1年目に合わないのではないかという不安がよぎった。しかし、その熱意や『はならぁと』）のキュレーターとしての活動を始めた私は、築山に翌年作品に向き合う姿が人を動かし、スタッフ、ボランティアが一緒になり秋に開催される2 年目の『はならぁと2021』に参加してくれないかと膨大な新聞を手分けして作業し、作品制作の下準備ができてきた。

恐縮ながらも依頼した。

予定していたよりも早く設営が終わり、完成した会場に入るとその空環境問題がテーマであり作品の素材も自然素材を主体に作ってほ間は、空気が張り詰めるくらい完璧であった。新聞を手と指、そしてのりしいこと、制作過程においても環境負荷をかけない制作方法であるで貼ったようには全く見えない精密にコラージュされた作品がピッタリとこと、そして古い空き家・店舗が展覧会会場であるという制限があった。

整列し、もはや元々の壁紙であるかのようにそれはそこにあった。築山が言っていた「人間の淵」という言葉が私の頭の中にスッと入ってきた。

声をかけた翌月には、新聞紙の断片を私に見せて「株価の欄の数値部分のみを手指でちぎり抜いて巨大なコラージュをつくろうと思う。」

この展示に関わった約 1年 4ヶ月毎日必ず移動途中であろうが、と話してくれ、「人間の淵を見せるような展示にしたい」と語ってくれた。

正月であろうが新聞を触り制作してきたという。数字が羅列するデジ

自然素材である「紙」と道具も全く使わない自分自身の「手」のみでタル社会を暗示するような作品とは真逆をいくプリミティブな築山の挑戦するという。
そこから、奈良県天理市の元商店である会場に何度も足を運んでくれ、築山は新聞をちぎる日々、私は、築山に必要だと言われた台紙、制作行為は、破壊されつつある環境問題にも言及しており『はならぁと』のテーマにもしっかりと向き合っていたのだ。
なんという作家なんだろう。
『はならぁと』を通して見えてきた築山は、のりを協賛企業にかけあって素材を提供してもらった。
その頃、新型コ様々な困難を力に換えて乗り越え、人が次々と集まってくる「人間力」

ロナウイルスの状況が悪化し、秋開催で準備していたが、翌年の2 月をも備え、作家としてそういった能力を全て駆使して突き進んでいる姿「だいじょうぶ、延期にへ芸術祭が延期することになった。築山は、だった。

なって時間ができた分クオリティをアップするから」とさらっと答えた。

今回は、ステンレススチールを素材にするという。それもまた廃材でそしてさらに数ヶ月経ち、会場の構成も決めた私たちに、追い打ちをかもらってきたというのだ。
もう新聞はみたくないと言っていた彼が、またけるように元商店の会場が使えなくなったという連絡を受けた。真っ青

満面の笑顔で制作している姿が目に浮かぶ。になりながら築山に話すと笑いながら「しょうがないなぁ、新しい会場みつけてな」と言ってすんなりと受け入れてくれた。
ようやくみつかった新しい会場は、元々洋服店で、当時は装飾に相When I first met Yuki Tsukiyama, I was a staff of the Tezukayama
Gallery and he was one of our representative artists. I have been
involved closely with his works through several exhibitions for 10years at the gallery. When I retired from the gallery and started asa freelance and became a curator of HANARART, I was afraid but
asked Tsukiyama to participate in HANARART 2021, which wasgoing to be held next autumn for a second year as a curator.
There were a few limitations... The theme had to be about environmental issues; the main materials had to be natural materials;
and the venues were old abandoned houses and stores.

Next month, after I asked him about participation, he showed mea piece of newspaper and said, “I am thinking of making a hugecollage by tearing out the numbers from the stock prices section
by only using my hands.” He continued, “I want to show the edgeof humanity.” He will try to exhibit with “paper” which is a naturalmaterial, and “hands” without any tools.
Since then, he visited to the venue in Tenri-city in Nara Prefecture
continuously, which is an old store. And during the time he wastearing the newspaper, I was looking for cooperation companies to ask for the base paper and glue that Tsukiyama said heneeded. At that time, the COVID-19 spread and the situation got
worse, and we were preparing for the autumn, but the art festival
was postponed until next February. However, Tsukiyama casuallysaid, “It is okay. I will make sure to increase the quality of thework since I have more time now. “ After spending a few months
deciding on the structure of the exhibit, I received the news that
we cannot use the venue anymore. I told to Tsukiyama about thatwith a pale face. He accepted it and said, “Well, there’s no otherway. Please find me a new venue.” with some laughter.

当のお金をかけたのであろうガラスのショーケースや照明があり、レトロな壁紙で飾られた広い空間。殺風景だった前の商店と雰囲気はがThe new venue that we found after a long search used to be an
old clothing shop, and it seems like they spent a lot of money on
the decor. It is a big space with glass showcases, lighting, andretro wall paper. We needed to rethink the exhibition plan since
the last plan was for a dreary small store and it became this wholeanother venue. Furthermore, I thought it was a stupendous time
because we needed more works than we simulated to make theexhibit filled with a collage of newspaper that is a chunk of iddybiddy numbers.

らっとかわり、新たに展示構成を再考察する必要があった。
それに、広くなったスペースに小さな小さな数字の蓄積である新聞のコラージュを展示するには、作品量も想定以上に必要となり、気が遠くなるような時間に思えた。
作品の素材となるのは、毎日新聞の株価欄のページ1枚のみ。共催である奈良県庁で集めてもらっていた分では足りず、築山が大阪の毎日新聞社にかけあい、普通車 3 台分にいっぱいの新聞を提供してもThe material that he could use was only one page of the stocknumbers of the Mainichi Shimbun newspaper. The ones that theNara Prefectural Government Office, which is a co-organizer ofthis festival, provided were not enough, so Tsukiyama went to
ask The Mainichi Shimbun newspaper in Osaka and received
the amount that could fill three normal sized cars. I have been
watching him making it possible something like repeating thesame thing again and again that people avoids or impossible andlaughable ideas by his creativity in this ten years, however, I had
an anxiety that this time cannot make it time when I saw the enormous amount of newspaper in front of myself. Thus, his enthusiasm and attitude towards his artwork moved people around him.
Staff and volunteers got together and did the separation work of
the newspaper and it was ready to be seated as his artwork. (prepared for the creation of the work.)
The set up was finished earlier than it was scheduled and theexhibit was so perfect and I felt the air was tense when I enteredthe venue. The work that was precisely collaged and did not look
like it was being done by just hand, fingers, and glue were lined
up and it looked like it was the wall paper that existed already.
The words “edge of humanity” that Tsukiyama said came into myhead very smoothly.

During the time that he was involved with this exhibition for about
one year and four months, he had been touching the newspaperand created the work even on New Year or on the train. The primitive act of creation of Tsukiyama goes the opposite way from thework that indicates the digital society with enumerated numbers
and that is also referred to as environmental issues, which is themain theme of HANARART.
What an artist... Tsukiyama who I saw through the HANARART
was a figure that he overcame a variety of difficulties and transformed them into power and even had social grace that gatheredpeople around him and went forward with all of those abilities asan artist.
Apparently he is going to use stainless steel as a material for thissolo exhibition. That is also what he received as some scraps. I canimagine him enjoying creating his work with a big smile on his face,
who was saying he did not want to see the newspaper anymore.

写真：長谷川朋也｜Photo: Tomoya Hasegawa
23

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super skill touch #36-092022
stainless steel｜640 × 1165 × 56 mm
8super skill touch #1202022
stainless steel｜414 × 436 × 57 mm
9super skill touch #36-01
2022
stainless steel｜151× 541 × 56 mm
10super skill touch #36-02
2022
stainless steel｜195 × 441 × 56 mm

super skill touch #36-03
2022
stainless steel｜255 × 507 × 56 mm

super skill touch #36-04
2022
stainless steel｜361 × 536 × 56 mm
11

HEAVY METAL -032
2022
stainless steel｜50 × 563 × 74 mm
12

HEAVY METAL -4×502022
stainless steel｜80 × 80 × 50 mm
13

HEAVY METAL -π
2022
stainless steel｜122 × 80 × 48 mm
14HEAVY METAL -09
2022
stainless steel｜49 × 118 × 73 mm

HEAVY METAL -15
2022
stainless steel｜84 × 100 × 61 mm

untitled
2007
stainless steel｜43 × 112 × 22 mm

HEAVY METAL -08
2022
stainless steel｜121 × 97 × 49 mm

HEAVY METAL -09
2022
stainless steel｜109 × 99 × 82 mm
15super skill touch #36-05
2022
stainless steel｜1385 ×φ60 mm
16super skill touch #36-06
2022
stainless steel｜599 ×φ48 mmsuper skill touch #36-07
2022
stainless steel｜599 ×φ48 mmsuper skill touch #36-08
2022
stainless steel｜599 ×φ48 mm
17void2007
stainless steel｜420 × 420 × 140 mm
18L→R

究無 ̶stainless̶究無 ̶stainless̶究無 ̶stainless̶究無 ̶stainless̶

2009
stainless steel｜300 × 300 × 300 mm

2009
stainless steel｜160 × 160 × 160 mm

2009
stainless steel｜160 × 160 × 160 mm

2009
stainless steel｜300 × 300 × 300 mm
19

築山有城

Yuki Tsukiyama

兵庫県在住

Lives and works in Hyogo

1976

兵庫県神戸市生まれ

1976

Born in Kobe, Japan

2000

京都造形芸術大学芸術学部美術科彫刻コース卒業

2000

Kyoto University of Art and Design B.A.

2009–

C.A.P.（ 芸術と計画会議）の理事を務める

2009–

A member of trustees of The Conference on Art and Art Projects主な個展
̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶Selected Solo Exhibitions̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶2022

Exhibition 2022｜TEZUKAYAMA GALLERY2022

2021

Exhibition 2021｜TEZUKAYAMA GALLERY2021

Exhibition 2022 | TEZUKAYAMA GALLERYExhibition 2021 | TEZUKAYAMA GALLERY2020

Exhibition 2020｜TEZUKAYAMA GALLERY

2020

Exhibition 2020 | TEZUKAYAMA GALLERY

築山有城 ドローイング展「I am still awake」｜KOBE STUDIO Y3, 神戸

Yuki Tsukiyama Drawing Exhibition “I am still awake”

2019

Exhibition 2019｜TEZUKAYAMA GALLERY2018

アトリエ美術館vol.22 ｢life-long learning｣｜枚方市立御殿山

2019

KOBE STUDIO Y3, Kobe
Exhibition 2019 | TEZUKAYAMA GALLERY

生涯学習美術センター, 大阪

2018Atelier Museum vol.22 ‘life-long learning’

Exhibition 2018｜TEZUKAYAMA GALLERYHirakata City Gotenyama Lifelong Learning Art Center, Osaka
Exhibition 2018 | TEZUKAYAMA GALLERYDiver ｜ギャラリー島田 , 神戸

2017

Exhibition 2017｜TEZUKAYAMA GALLERYVOLTA NY｜Pier 90, ニューヨーク

2017

ラウンダバウト / roundabout｜LOKO GALLERY, 東京

2016

VOLTA NY | Pier 90, New Yorkroundabout | LOKO GALLERY, Tokyo

39 /40｜TEZUKAYAMA GALLERY
小さな紙のデイリー｜KOBE STUDIO Y3, 神戸

2015

垂木フィクション｜ギャラリーあしやシューレ 兵庫

2014

木が輝くとき｜ギャラリー揺 京都

Diver | Gallery Shimada, Kobe
Exhibition 2017 | TEZUKAYAMA GALLERY

2016

39/40 | TEZUKAYAMA GALLERYDaily of small paper | KOBE STUDIO Y3, Kobe

2015

Taruki Fiction | GALLERY ASHIYA SCHULE, Hyogo
When a Tree Shines | Gallery Yuragi, Kyoto

2014
主なグループ展, その他
̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶

Selected Group Exhibitions...etc,̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶̶

2022

奈良・町家の芸術祭はならぁと 2021｜旧いわい洋品店 奈良

2022

Nara Machiya Art Festival HANARART 2021 | Former Iwai Clothing Shop, Nara

2021

六甲ミーツ・アート 芸術散歩 2021
（ C.A.P. のメンバーとして参加）

2021

Rokko Meets Art 2021 (participated as a member of C.A.P.)

2020

Grand Hotel Rokko Skyvilla, Kobe
Saimatsu run run | Gallery Saihate, Kobe

グランドホテル六甲スカイヴィラ迎賓館 , 神戸2020

2019

歳末ルンルン｜ギャラリーサイハテ, 神戸
六甲ミーツ・アート 芸術散歩 2020（ C.A.P. のメンバーとして参加）

Rokko Meets Art 2020 (participated as a member of C.A.P.)

グランドホテル六甲スカイヴィラ迎賓館 , 神戸

Lifting the Lid ｜Art Spot Korin, 京都

Grand Hotel Rokko Skyvilla, Kobe
Lifting the Lid | Art Spot Korin, Kyoto

バインド！｜KOBE STUDIO Y3, 神戸

BIND! | KOBE STUDIO Y3, Kobe

C.A.P. 25 周年企画「私と私たち」展｜KOBE STUDIO Y3, 神戸2019

さんにん アートフェア｜築山スタジオ, 神戸

KOBE STUDIO Y3, Kobe
Sannin Art Fair | Tsukiyama Studio, Kobe

CITY AS NATURE FESTIVAL｜千鳥文化, 大阪
ART in PARK HOTEL TOKYO 2019｜パークホテル東京 , 東京CITY AS NATURE FESTIVAL | Chidori Bunka, Osaka
ART in PARK HOTEL TOKYO 2019 | PARK HOTEL TOKYO, Tokyo

3331 ART FAIR 2019｜3331 Arts Chiyoda, 東京
C.A.P.のCAP 展｜KOBE STUDIO Y 3 , 神戸2018
20172018

ART TAIPEI 2018 | Taipei World Trade Center, Taiwan
RE: FOCUS vol.3 | TEZUKAYAMA GALLERY

2017

Drawing Exhibition 2017 | KOBE STUDIO Y3, Kobe

Drawing Exhibition 2017｜KOBE STUDIO Y3, 神戸
原田の森ギャラリー リニューアルオープン展

2016

3331 ART FAIR 2019 | 3331 Arts Chiyoda, Tokyo
C.A.P.’s CAP SHOW | KOBE STUDIO Y3, Kobe

ART TAIPEI 2018｜台北世界貿易センター, 台湾
RE: FOCUS vol. 3 ｜TEZUKAYAMA GALLERY

C.A.P. 25th Anniversary Exhibition: Watashi & Watashitachi

兵庫県立美術館王子分館 原田の森ギャラリー, 兵庫Exhibition of open after renovation

See Saw Seeds ̶ 4つのアートコミュニティを繋げる試み｜Tashkeel, ドバイ

Hyogo Prefectural Museum of Art Oji Branch Haradanomori Gallery, Hyogo

ART OSAKA 2016｜ホテルグランヴィア大阪, 大阪

2016

See Saw Seeds: An Experiment Connecting Four Art Communities
Tashkeel, Dubai
ART OSAKA 2016 | Hotel Granvia Osaka, Osaka

20

HEAVY METAL -4×50 (detail)2022｜stainless steel｜80 × 80 × 50 mm

築山有城 ｜ Yuki Tsukiyama

Exhibition 2022
2022 .6.24 –7. 23Yuki Tsukiyama | Exhibition 2022
Published by TEZUKAYAMA GALLERY
www.tezukayama-g.com
Printed in July 2022
Photographer: Hyogo Mugyuda
Book design: Keigo Shiotani
Special Thanks:
C.A.P.（芸術と計画会議）, Shiko Miyake, トーアス株式会社
Printed in Japan© TEZUKAYAMA GALLERY, 2022 All Rights Reserved22