小谷元彦 Motohiko Odani

Profile

1972年京都府生まれ。
失われた知覚や変容を幻影として捉え、覚醒と催眠、魔術と宗教、合理と非合理、人間と非人間など両義的な中間領域を探求する。また日本の近現代彫刻史の新たな脱構築に向けて、研究と実践を行う。ヴェネチア・ビエンナーレ日本館(2003)、リヨンビエンナーレ(2000)、イスタンブール・ビエンナーレ(2001)等多くの国際展に出品。立体作品のみならず多様なメディアを用い、綿密に構成された完成度の高い作品が内外で評価されている。近年の展示に「新しいエコロジーとアート」(東京藝術大学大学美術館、2022)、「リボーンアートフェスティバル2021-2022 利他と流動性」、「瀬戸内国際芸術祭2022」(女木島)、「A Gateway to Possible Worlds」(ポンピドゥ・センター・メッス、2022)がある。2020年には「Public Device 彫刻の象徴性と恒久性」(東京藝術大学陳列館)のキュレーションを手がけた(共同キュレーター小田原のどか)

Born in Kyoto, 1972.
The core theme of his work encompasses the phantasm in lost physical sensations and transformation of the body, and explores ambivalent gap between existence/absence, magic/religion, rationality/irrationality, and a state of awakening/half dreaming. He conducts extensive research and practice to bring a new perspective to the deconstruction of the history of modern and contemporary sculpture in Japan.
His works have been showcased at the international exhibitions including Lyon Biennale (2000), Istanbul Biennale (2001), and at the Japan Pavilion in Venice (2003).
His artistic interest and sensibility further reach out to the genealogies of sculpture and expand to diverse media, and his oeuvre is highly acclaimed in and out of his country.
His recent exhibitions include, Art & New Ecology, The University Art Museum, Tokyo University of the Arts (2022; Tokyo), Reborn-Art Festival 2021-22 – Altruism and Fluidity – (2022; Miyagi), Setouchi Triennale 2022 (2022, Kagawa), and A Gateway to Possible Worlds, Centre Pompidou Metz (2022-23).
In 2020, his first curatorial project PUBLIC DEVICE – Symbolism and Permanence of Sculpture, was held at the Chinretsukan Gallery, University of the Arts, Tokyo (co-curator: Nodoka Odawara).