浦添市美術館『TARTAROS 浮世ノ琉球八景』−北斎と筍崖夕照−
『TARTAROS 浮世ノ琉球八景』−北斎と筍崖夕照−
浦添市美術館 2026年5月27日(水)〜6月7日(日)
ご来場頂いた皆様、SNS応援頂いた皆様有難う御座いました。無事に11日の会期を終え、648名の方にご来場頂きました。個展初の有料展示でしたが沢山の方々に楽しんで頂けました。浦添市美術館、後援頂いた浦添市教育委員会、共催頂いたWithArtうらそえを考える会の皆様、GalleryATOSに感謝申し上げます。
浦添市美術館 @ura.art.museum
With Art うらそえ @wau202341
GalleryATOS @yutakanagamine555
TARTAROS/日乃谷啓 @tartarosjapan
会場展示Text『紙幣絵画と沖縄』
北斎の絵を見た時、そこに自分が居る感覚 。
造形的な箱庭風景は、世界を俯瞰で捉え、愛でる様に描き込まれ、細部迄生き生きとしている。
北斎に紙幣を重ねて描く発想は、2016年金沢の銀行跡地での巨大な金庫内部の展示依頼から始まった。裁断した1$紙幣を並べて描く技法がこの時生まれた。展示の反響と紙幣作品の手応えから実験作品作っていた頃、北斎の『神奈川沖浪裏』を眺めている時、ふと波と紙幣が重なるイメージが湧いた。紙幣が生き物の如く動く様は現代人の営みや歴史を包含した風景の様に視えた。『AutomaticWave』の誕生である。
現代に浮世絵を引用する事は、江戸と現代を重ねる歴史のコラージュ、積層でもある。世界百カ国紙幣を混ぜると世界経済圏そのものである。
北斎が「球陽八景」からイメージし描いた琉球は、想像で描いたとは思えない程リアルに感じられ、幻想的な趣きには確かに江戸の琉球が息づいており、紙幣を重ねると現代の沖縄が現れる。
沖縄の濃密で緩やかな時間が生んだ浮世絵紙幣絵画を、沖縄の皆さんに見て頂けるのは感慨深いものがある。
ーーー
−展示を終えて−
改めて沖縄で紙幣絵画が生まれた背景、自身と沖縄と北斎の関係性を再確認した個展だった。沖縄が抱える様々な二重性、日本と琉球、日本と米国、自然と開発、此等は本土(内地)より一層強く露出し、様々な問題を沖縄は抱えているが、沖縄の風土と人の心が其れ等を包み込み、受容と対峙を経て変容する様をこの十年で観て来た。ナイチャー(本土人)である私なりに少しづつ理解し寄り添って来た十年は、そのまま浮世絵紙幣絵画に現れて来た。北斎の壮大な自然観察と人間への視点が、沖縄、日本、世界を包む土台を提供してくれたからに他ならない。感謝しながら次の世界の祝福を描きたい。
TARTAROS/日乃谷 啓
次回展示予告
『TARTAROS 浮世絵紙幣絵画展−黄金ノ波上−』
会期 6/30(火)〜7/6(月) 10:00〜20:30
※最終日17時閉場
会場 パレットくもじ2F ryubo art gallery
@
作家在廊予定 7/3(金).7/4(土).7/5(日)
『浮世ノ琉球八景』展示作品を厳選し新作を加えた個展を開催します。是非ご覧頂ければ幸いです。
"TARTAROS: Eight Views of Ryukyu in the Floating World" – Hokusai and "Evening Sunlight on Bamboo Cliffs" –
Urasoe City Museum of Art, May 27 (Wed) – June 7 (Sun), 2026
Thank you to everyone who visited the exhibition and to those who supported us on social media. The exhibition successfully concluded its 11-day run, with 648 visitors in attendance. Although this was my first solo exhibition with an admission fee, I was delighted that so many people came to view the works. I would like to express my gratitude to the Urasoe City Art Museum, the Urasoe City Board of Education for their support, everyone at the With Art Urasoe Committee for co-hosting the event, and GalleryATOS.
Urasoe City Art Museum @ura.art.museum
With Art Urasoe @wau202341
GalleryATOS @yutakanagamine555
TARTAROS/Kei Hinotani @tartarosjapan
Exhibition Text: “Banknote Paintings and Okinawa”
When I look at Hokusai’s paintings, I feel as though I am right there.
His sculptural miniature landscapes capture the world from a bird’s-eye view, rendered with such care and admiration that every detail comes alive.
The idea of superimposing banknotes onto Hokusai’s work began with a commission in 2016 to create an installation inside a massive vault at a former bank in Kanazawa. It was then that I developed the technique of arranging cut-up $1 bills to create my artwork. While experimenting with new works, inspired by the positive response to the exhibition and the tangible results of my banknote pieces, I was gazing at Hokusai’s *The Great Wave off Kanagawa* when an image suddenly came to mind: the waves and the banknotes overlapping. The way the banknotes moved, as if they were living creatures, appeared to me like a landscape that encompassed the activities of modern people and history itself. This marked the birth of “Automatic Wave.”
Quoting ukiyo-e in the modern era is a historical collage and layering that overlaps the Edo period with the present. Mixing banknotes from 100 countries around the world represents the global economic sphere itself.
The Ryukyu depicted by Hokusai, inspired by the “Eight Views of Kyuyo,” feels so real that it is hard to believe it was drawn from imagination; the fantastical atmosphere certainly breathes with the spirit of Edo-period Ryukyu, and when banknotes are layered, modern Okinawa emerges.
It is deeply moving to be able to share these ukiyo-e banknote paintings—born from Okinawa’s dense yet unhurried passage of time—with the people of Okinawa.
ーーー
−Reflections on the Exhibition−
This solo exhibition allowed me to reaffirm the background behind the creation of the banknote paintings in Okinawa, as well as the relationship between myself, Okinawa, and Hokusai. The various dualities that Okinawa faces—between Japan and Ryukyu, Japan and the United States, nature and development—are even more starkly exposed here than on the mainland (the “inner country”). While Okinawa grapples with numerous issues, over the past decade I have witnessed how the local climate and the hearts of the people embrace these challenges, transforming them through a process of acceptance and confrontation. These past ten years, during which I, as a “naicha” (mainlander), have gradually sought to understand and connect with Okinawa, have been directly reflected in my ukiyo-e banknote paintings. This is because Hokusai’s magnificent observations of nature and his perspective on humanity have provided the very foundation that encompasses Okinawa, Japan, and the world. With gratitude, I wish to paint the blessings of the next world.
TARTAROS / Kei Hinotani
Upcoming Exhibition Preview
"TARTAROS: Ukiyo-e Banknote Painting Exhibition—Upon the Golden Waves—"
Dates: June 30 (Tue) – July 6 (Mon), 10:00 AM – 8:30 PM
*Closes at 5:00 PM on the final day
Venue: Palette Kumoji 2F, ryubo art gallery
@ryubo_official
Artist in attendance: June 30 (Tue), July 3 (Fri), July 4 (Sat), July 5 (Sun)
I will be holding a solo exhibition featuring a curated selection of works from “Eight Views of Ryukyu in the Floating World,” along with new pieces. I hope you will come and see it.
#TARTAROS #KeiHinoya #KatsushikaHokusai #EightViewsofRyukyu #ContemporaryArt
#TARTAROS #日乃谷啓 #葛飾北斎 #琉球八景 #現代アート
タルタロス/Tartaros
tartarosart@gmail.com
http://tartarosjapan.com/
編集するにはここをクリック.
浦添市美術館 2026年5月27日(水)〜6月7日(日)
ご来場頂いた皆様、SNS応援頂いた皆様有難う御座いました。無事に11日の会期を終え、648名の方にご来場頂きました。個展初の有料展示でしたが沢山の方々に楽しんで頂けました。浦添市美術館、後援頂いた浦添市教育委員会、共催頂いたWithArtうらそえを考える会の皆様、GalleryATOSに感謝申し上げます。
浦添市美術館 @ura.art.museum
With Art うらそえ @wau202341
GalleryATOS @yutakanagamine555
TARTAROS/日乃谷啓 @tartarosjapan
会場展示Text『紙幣絵画と沖縄』
北斎の絵を見た時、そこに自分が居る感覚 。
造形的な箱庭風景は、世界を俯瞰で捉え、愛でる様に描き込まれ、細部迄生き生きとしている。
北斎に紙幣を重ねて描く発想は、2016年金沢の銀行跡地での巨大な金庫内部の展示依頼から始まった。裁断した1$紙幣を並べて描く技法がこの時生まれた。展示の反響と紙幣作品の手応えから実験作品作っていた頃、北斎の『神奈川沖浪裏』を眺めている時、ふと波と紙幣が重なるイメージが湧いた。紙幣が生き物の如く動く様は現代人の営みや歴史を包含した風景の様に視えた。『AutomaticWave』の誕生である。
現代に浮世絵を引用する事は、江戸と現代を重ねる歴史のコラージュ、積層でもある。世界百カ国紙幣を混ぜると世界経済圏そのものである。
北斎が「球陽八景」からイメージし描いた琉球は、想像で描いたとは思えない程リアルに感じられ、幻想的な趣きには確かに江戸の琉球が息づいており、紙幣を重ねると現代の沖縄が現れる。
沖縄の濃密で緩やかな時間が生んだ浮世絵紙幣絵画を、沖縄の皆さんに見て頂けるのは感慨深いものがある。
ーーー
−展示を終えて−
改めて沖縄で紙幣絵画が生まれた背景、自身と沖縄と北斎の関係性を再確認した個展だった。沖縄が抱える様々な二重性、日本と琉球、日本と米国、自然と開発、此等は本土(内地)より一層強く露出し、様々な問題を沖縄は抱えているが、沖縄の風土と人の心が其れ等を包み込み、受容と対峙を経て変容する様をこの十年で観て来た。ナイチャー(本土人)である私なりに少しづつ理解し寄り添って来た十年は、そのまま浮世絵紙幣絵画に現れて来た。北斎の壮大な自然観察と人間への視点が、沖縄、日本、世界を包む土台を提供してくれたからに他ならない。感謝しながら次の世界の祝福を描きたい。
TARTAROS/日乃谷 啓
次回展示予告
『TARTAROS 浮世絵紙幣絵画展−黄金ノ波上−』
会期 6/30(火)〜7/6(月) 10:00〜20:30
※最終日17時閉場
会場 パレットくもじ2F ryubo art gallery
@
作家在廊予定 7/3(金).7/4(土).7/5(日)
『浮世ノ琉球八景』展示作品を厳選し新作を加えた個展を開催します。是非ご覧頂ければ幸いです。
"TARTAROS: Eight Views of Ryukyu in the Floating World" – Hokusai and "Evening Sunlight on Bamboo Cliffs" –
Urasoe City Museum of Art, May 27 (Wed) – June 7 (Sun), 2026
Thank you to everyone who visited the exhibition and to those who supported us on social media. The exhibition successfully concluded its 11-day run, with 648 visitors in attendance. Although this was my first solo exhibition with an admission fee, I was delighted that so many people came to view the works. I would like to express my gratitude to the Urasoe City Art Museum, the Urasoe City Board of Education for their support, everyone at the With Art Urasoe Committee for co-hosting the event, and GalleryATOS.
Urasoe City Art Museum @ura.art.museum
With Art Urasoe @wau202341
GalleryATOS @yutakanagamine555
TARTAROS/Kei Hinotani @tartarosjapan
Exhibition Text: “Banknote Paintings and Okinawa”
When I look at Hokusai’s paintings, I feel as though I am right there.
His sculptural miniature landscapes capture the world from a bird’s-eye view, rendered with such care and admiration that every detail comes alive.
The idea of superimposing banknotes onto Hokusai’s work began with a commission in 2016 to create an installation inside a massive vault at a former bank in Kanazawa. It was then that I developed the technique of arranging cut-up $1 bills to create my artwork. While experimenting with new works, inspired by the positive response to the exhibition and the tangible results of my banknote pieces, I was gazing at Hokusai’s *The Great Wave off Kanagawa* when an image suddenly came to mind: the waves and the banknotes overlapping. The way the banknotes moved, as if they were living creatures, appeared to me like a landscape that encompassed the activities of modern people and history itself. This marked the birth of “Automatic Wave.”
Quoting ukiyo-e in the modern era is a historical collage and layering that overlaps the Edo period with the present. Mixing banknotes from 100 countries around the world represents the global economic sphere itself.
The Ryukyu depicted by Hokusai, inspired by the “Eight Views of Kyuyo,” feels so real that it is hard to believe it was drawn from imagination; the fantastical atmosphere certainly breathes with the spirit of Edo-period Ryukyu, and when banknotes are layered, modern Okinawa emerges.
It is deeply moving to be able to share these ukiyo-e banknote paintings—born from Okinawa’s dense yet unhurried passage of time—with the people of Okinawa.
ーーー
−Reflections on the Exhibition−
This solo exhibition allowed me to reaffirm the background behind the creation of the banknote paintings in Okinawa, as well as the relationship between myself, Okinawa, and Hokusai. The various dualities that Okinawa faces—between Japan and Ryukyu, Japan and the United States, nature and development—are even more starkly exposed here than on the mainland (the “inner country”). While Okinawa grapples with numerous issues, over the past decade I have witnessed how the local climate and the hearts of the people embrace these challenges, transforming them through a process of acceptance and confrontation. These past ten years, during which I, as a “naicha” (mainlander), have gradually sought to understand and connect with Okinawa, have been directly reflected in my ukiyo-e banknote paintings. This is because Hokusai’s magnificent observations of nature and his perspective on humanity have provided the very foundation that encompasses Okinawa, Japan, and the world. With gratitude, I wish to paint the blessings of the next world.
TARTAROS / Kei Hinotani
Upcoming Exhibition Preview
"TARTAROS: Ukiyo-e Banknote Painting Exhibition—Upon the Golden Waves—"
Dates: June 30 (Tue) – July 6 (Mon), 10:00 AM – 8:30 PM
*Closes at 5:00 PM on the final day
Venue: Palette Kumoji 2F, ryubo art gallery
@ryubo_official
Artist in attendance: June 30 (Tue), July 3 (Fri), July 4 (Sat), July 5 (Sun)
I will be holding a solo exhibition featuring a curated selection of works from “Eight Views of Ryukyu in the Floating World,” along with new pieces. I hope you will come and see it.
#TARTAROS #KeiHinoya #KatsushikaHokusai #EightViewsofRyukyu #ContemporaryArt
#TARTAROS #日乃谷啓 #葛飾北斎 #琉球八景 #現代アート
タルタロス/Tartaros
tartarosart@gmail.com
http://tartarosjapan.com/
編集するにはここをクリック.