金氏徹平 / Teppei Kaneuji



1978年京都府生まれ、京都市在住。2001年京都市立芸術大学在籍中、ロイヤル・カレッジ・オブ・アート(ロンドン)に交換留学。2003年京都市立芸術大学大学院彫刻専攻修了。現在、同大学彫刻専攻講師。日常の事物を収集し、コラージュ的手法を用いて作品を制作。彫刻、絵画、映像、写真など表現形態は多岐にわたり、一貫して物質とイメージの関係を顕在化する造形システムの考案を探求。個展「金氏徹平のメルカトル・メンブレン」(丸亀市猪熊弦一郎現代美術館、2016)、「四角い液体、メタリックなメモリー」(京都芸術センター、2014)、「Towering Something」(ユーレンス現代美術センター、2013)、「溶け出す都市、空白の森」(横浜美術、2009)など国内外での展覧会のほか、舞台美術や装丁も多数。あうるスポットプロデュース「家電のように解り合えない」(2011)、KAATキッズ・プログラム2015 おいしいおかしいおしばい「わかったさんのクッキー」(2015-2016)での舞台美術をはじめ、自身の映像作品を舞台化した「tower(THEATER)」(2017)では演出を手掛ける。

Born 1978 in Kyoto and lives in Kyoto. In 2001, while attending Kyoto City University of Arts, he studied at Royal College of Art (London) as an exchange student. He graduated with a M.A. in sculpture from Kyoto City University of Arts, where he currently serves as lecturer. He collects everyday objects to create sculptures with a collage-like method. He uses various forms of expression such as sculpture, painting, video and photography to explore a consistent system of formulation that actualises the relationship between material and image. His works has been shown in various domestic and international venues including solo exhibitions “Melting City / Empty Forest” (Yokohama Museum of Art, 2009), “Towering Something (Ullens Center for Contemporary Art, 2013), “Cubed Liquid, Metallic Memory” (Kyoto Art Center, 2014) and “Teppei Kaneuji’s ‘ZONES’” (Marugame Genichiro-Inokuma Museum of Contemporary Art, 2016). His works have been used as covers for numerous books, while he has also done the stage design for various plays such as “We Can’t Understand Each Other Like Household Appliances” (Produced by Owl Spot) and KAAT Kids Program 2015 ‘Yummy and Fun Play’ “Wakatta-san’s Cookies.” He made “tower(THEATRE)” (2017), a theatrical adaptation of his video.














There is a sense of secretive rituals in NAZE’s works. It is as if the city, body and image have been blown apart to be distortedly recomposed. I believe that they are truly, graffiti of the modern times, in the way they transform the shape of the city and image from an individual level through the process of creating, not just being things of form.




Kazumichi Komatsu’s work and stance are extremely complex. One cannot tell the difference between true and false. Although he always uses things without shape, a mysterious physical sensation lies there. I am interested to see what he will show us this occasion, as he wanders freely between various contexts and forms.


(Kazumichi Komatsu)


Yosuke Yano’s works, whether figurative or abstract, feel as if the wood has transformed, not in terms of growth, but like how a stone does under a long period of time. As a result, they may seem to be like a shape created intuitively on the spot from clay. The feeling as if material and image are travelling together is a very new one.


(Yosuke Yano)


助成 一般財団法人ニッシャ印刷文化振興財団