ブックデザインやエディトリアルデザイン、タイポグラフィなどの領域で画期的な試みを展開し、斬新な手法で開拓してきた作家の多彩な仕事の中でも特異な位置を占める雑誌デザインに焦点をしぼり、この半世紀近くに取り組んだ2,000余点の中から『銀花』『SD』『都市住宅』『エピステーメー』『遊』『噂の真相』『自然と文化』など、約500点を選び、独創あふれる仕事の精華を一堂に紹介。

Through five decades he has been a revolutionary innovator in all aspects of graphic design, with a core focus on book design, editorial work and typography. For this exhibition, the spotlight was being trained on his accomplishments in magazine design, a field that has always has special importance within his broad palette of endeavors. It focused on roughly 500 of the more than 2,000 works he has produced in magazine design, including "Ginka"(Silver Flower), "SD" (Space Design), "Toshi-Jutaku" (Urban Housing), "Episteme," "objet magazine Yu," "Uwasa no Shinso" (The Truth of the Rumor), "Shizen to Bunka" (Nature and Culture).

グラフィックデザイナー

Graphic Designer

ギャラリートーク

Gallery Talk

東京生まれ。意識領域をイメージ化する独自の技法によって、多くのクリエイターに影響を与え続けている。アジアの図像研究の第一人者としても知られ、アジア文化を紹介する展覧会の企画・構成や造本を数多く手がける。日宣美賞、文化庁芸術選奨新人賞、毎日芸術賞など受賞多数。1997年紫綬褒章受章。主な著書に『ヴィジュアル・コミュニケーション』『アジアの宇宙観』『文字の宇宙』『文字の祝祭』『日本のかたち・アジアのカタチ』『かたち誕生』『宇宙を呑む』『生命の樹・花宇宙』など。神戸芸術工科大学名誉教授。

東京生まれ。神戸芸術工科大学名誉教授。1955年、東京藝術大学建築学科卒業。1964～67年、ドイツのウルム造形大学客員教授。1989～2002年、神戸芸術工科大学教授。2010年4月より神戸芸術工科大学アジアンデザイン研究所所長。

Born in Tokyo. Through his unique ways of creating images of the conscious realm, he continues to have a profound influence on many creative artist. Hi is also known as a leading expert in Asian iconography and has been involved in the planning and organization of numerous exhibitions and books introducing Asian cultures. Major awards include the Japan Advertising Artist Club (JAAC) Award, the Arts Encouragement Prize for New Artists of the Agency for cultural Affairs, and the Mainichi Arts Award. In 1997, he received the Medal with the purple Ribbon given by the Japanese Government for distinguished contributions to the arts and academia. He has also planned a long list of publications in his native language. Professor Emeritus at Kobe Design University.

Born in Tokyo in 1932, he graduated in 1955 from Tokyo University of the Arts with a degree in architecture. He was a guest professor at Design College of Ulm, West Germany between 1964 and 1967, and a professor of visual information and design at Kobe Design University from 1989 to 2002. Since April 2010 he has served as Director of the Research Institute of Asian Design, Kobe Design University. He is a professor Emeritus of Kobe Design University. 

グラフィックデザインの展覧会は、基本的に成果展であり、それら以外に展示できるものといえばスケッチや指示書が限界です。これだと展覧会として発展性がないので、鳥海展では書体となって流通するまでのプロセスをいかに作品化し、構成できるのか、ということを考えました。私は現代美術のキュレーターですが、鳥海展ではむしろ、デザイナーのように取り組んだ展示だと思います。「わかりやすく、取りつきやすい空間」というテーマに設定し、「一般性」をすごく意識しました。 また、京都dddギャラリーは主にデザイン業界に向けた施設だと思いますが、「非西洋諸国の近代性」という点に着目して眺めています。たとえば日本語活字は、表音文字と表意文字が混ざった言語を無理やり正方形の中に収めて書体化し、なんとか西洋のアルファベットのように成立させた均一な連続体ですが、そもそもなぜ均質にする必要があるのか。鳥海さんは無意識的に「水のような米のような文字（＝すんなり入ってくる文字）」ということを仰っていますが、逆に言うと、実はわれわれは知らず知らずのうちに、鳥海さんのような書体設計士が想像する身体に標準化されている=制度化されているのではないか。グリッドシステムが奨励されたときもありますが、そもそもそんなに整然とさせる必要があるのか。見やすいデザイン、あるいは読みやすい本文組みとは、そもそも誰の身体に向けたことなのか。グラフィックデザイン領域において、そういった西洋近代への批判性はほとんど議論されることはないように思います。これらを扱う展覧会に期待しています。

Graphic design exhibitions usually showcase accomplishments; beyond that all that can be displayed are sketches and notes surrounding visuals. There’s no room to expand exhibitions this way though; for Torinoumi’s exhibition I came up with the notion that we could turn the process of creating a typeface itself into the exhibited work. I’m a contemporary art curator, but for Torinoumi’s exhibition I worked on it more like a designer, I feel. I established a theme of making it easy-to-understand with an easy-to-follow space design, while being constantly aware of a universalness. In addition, though Kyoto ddd Gallery was established primarily for the design world, they’re focused on the “modernity of the non-Western sphere,” I believe. For example, Japanese type takes the Japanese language with its mix of phonograms and ideograms, and creates typefaces by forcing them into squares in uniform succession that is somehow similar to the Latin alphabet; but what is all the homogeneity for in the first place? Torinoumi himself speaks of characters being “like water, like rice,” (i.e. we absorb them without resistance), but on the contrary, isn’t it the forms created by typeface designers like Torinoumi that we are all made to believe is standardized, or we are all institutionalized by? Grid systems do help induce them, but is all the systemisation necessary in the first place? Pleasant visuals and easy to read body typesetting are for whom exactly? In the field of graphic design, there is practically no discussion, or criticism of the West. I hope for more exhibitions dealing with this.

Wind and Lightning: A Half-Century of Magazine Design by Kohei Sugiura Exhibition

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