300日画廊そして佐藤君へ

About 300 Days Gallery

カズヒコカケガワ

佐藤君と初めて会ったのはJR阿佐ヶ谷駅前の喫茶店、評論家の故・鷹見明彦氏の紹介だった。
同年だったこともあるが、美術に対する姿勢と目指す方向に共感するところが多かったため、よく話し、飲み、企画し、共に展示を創り上げていった
300日画廊のコンセプトそのままかも知れないが
今とはなにか、生きているとはどういうことか、この場＝限り、『限り』とは一体どういうことなのか
そのようなことを常に考えての日々、
その辺りの感覚を共有出来たことが、彼と話し、そして共に現れを創り出してゆくことの居心地のよさだったのだろうと思う

『ノン・プロフィット』と言葉で言うことは簡単だが、実際そこに具体的な行為と形を与えて実現させるのは大変なこと
都市の片隅でそれを実現させた佐藤君、
300日画廊は、高い理想と純粋性を形にした場として企画そして実現された稀有な空間だった
限定状況として立ち現れた300日画廊は、その儚さ故に作家達の感性を刺激し存分に発揮させるだけの魅力を備えていたし、
発表する作家達もまた、若く潔癖な情熱と冴えた感性を持ち寄り、練り込んだ野心的な作品の発表によってあの白い空間に応えていった
あのとき300日画廊は場として生きていた

こうした空間は時代の中で稀に出現し、その性質ゆえに長命であることはあり得ないが、その意義と意味は各作家の活動史においてまた紡がれてゆく美術史において時が経つほどに重みを増してゆく
あの場は佐藤君の作品だったのだろう

また今回、写真の力といったものを改めて感じさせられた
園田氏の写真は美しく、それぞれの作家のあの時代あの場での輝きを見事に切り取っている
陳腐な表現になってしまうが、確かに存在していた一つの経験と記憶が、まるでそれが昨日のことであったかの様に極力風化させない形でパッキングし留めおくことが、撮影する者によって可能になるのだな、と
そしてそうした夢の朧な輪郭を損なわずに閲覧できるよう組み上げられた八木氏の精緻なデザインにも心惹かれる

300日画廊が放っていた独特の雰囲気と
その場に関わった作家達が共有した或る種透明で潔く熱の籠もった時間と空間、
その残り香がここにはある

カズヒコカケガワ

300 Days Gallery and to Mr. SatoKazuhiko Kakegawa

I first met Sato at a coffee shop in front of JR Asagaya Station through an introduction by the late critic Akihiko Takami.
We often talked, drank, planned, and created exhibitions together, partly because we were the same age, but also because we shared many of the same attitudes toward art and the direction we were aiming for.
The concept of 300 Days Gallery may be the same as that of 300 Days Gallery.
What is the present? What does it mean to be alive?
We are always thinking about these things,
I think the fact that I could share these senses with him was what made me feel comfortable in talking with him and creating this space together.

It is easy to say "non-profit" in words, but it is very difficult to give concrete action and form to it.
Sato has achieved this in a corner of the city,
The 300 Days Gallery was a rare space that was planned and realized as a place of high ideals and purity.
The 300 Days Gallery, which appeared as a limited situation, had the charm to stimulate the sensibility of the artists and let them show their works to the fullest because of its ephemeral nature,
The artists who exhibited there also responded to the white space by bringing their youthful and fastidious passion and brilliant sensibility and presenting well-crafted and ambitious works.
At that time, the 300 Days Gallery was alive as a place.

Such spaces rarely appear in the course of time, and because of their nature, they can never be long-lived, but their significance and meaning will gain more weight as time goes by in the history of each artist's activities and in the history of art that will be spun out over time.
That place must have been the work of Mr. Sato.

This time, I was also reminded of the power of photography.
Mr. Sonoda's photographs are beautiful, and they beautifully capture the brilliance of each artist's work at that time and place.
It may be a cliché to say, but it is possible for a photographer to keep an experience and a memory that existed in the past, as if it were only yesterday, in a way that does not fade away.
I was also fascinated by Mr. Yagi's exquisite design, which was assembled in such a way that the viewer can browse the works without losing the vague outline of the dream.

The unique atmosphere of the 300 Days Gallery and the artists who were involved in the exhibition
and the time and space shared by the artists who were involved in the exhibition, which were transparent, clean, and full of passion,
There is a lingering scent of it here.

Kazuhiko Kakegawa