ここ最近行った美術館の中でも特に気に入ったのが、渋谷のUESHIMA MUSEUM。小さな空間に魅力的な作品が詰まっていて、とても楽しゅうございました。すんごく狭い部屋にタレルの小品が展示してあって、貸し切り状態みたいになるのが面白かった。自分が行った日はガラガラだったので、込み具合によっては快適度は変わるかなとは思いますが行って損はないかと。
#UeshimaMuseum
1
0
0
0
Hashtag
#UeshimaMuseum
Advertisement · 728 × 90
A young Japanese woman stands alone at night, turned slightly in three-quarter view but meeting us with a steady, direct gaze. Her skin is light-to-medium in streetlight, with soft shadowing along her cheeks and under the eyes. She has a straight, chin-length dark bob with bangs that frames her face like a quiet curtain. She wears a light-colored oversized cardigan coat painted in warm, mottled strokes that suggest knit or textured fabric. She is the clearest anchor in the scene, yet the edges of her silhouette gently soften, as if the air itself is damp with light. Behind her, the city dissolves into luminous orbs with traffic signals and headlights rendered as floating out-of-focus bokeh in greens, teals, and amber. A roadway and curb line cut diagonally through the lower half, guiding our eyes past her shoulder into an urban night that feels familiar and strangely distant at once. Japanese artist Keita Morimoto (森本啓太) is known for treating light not as a smooth glaze but as something particulate and unstable which he captures through brushwork that can appear deliberately rough up close while holding together as convincing realism from a distance. Here, the lights become a haloing field that both isolates and protects the figure, making her feel suspended between observation and privacy. The Ueshima Museum notes his use of processed photographs as a basis for the image, and that he has referenced “magic realism” as a useful lens for this work’s gentle uncanniness depicting an ordinary street scene, tilted into a psychological space where the night seems to hum. The title is glossed as 独り言 or a “soliloquy,” self-talk that is half-thought, half-breath. It suggests that her silence is not emptiness but interior narration, held in the glow of the city. Born in Osaka, Japan and later moving to Canada as a teenager, Morimoto has consistently used modern urban illumination as a way to picture human presence and how we appear or disappear inside contemporary light.
“Soliloquy” (独り言) by 森本啓太 / Keita Morimoto (Japanese) - Acrylic and oil on linen over panel / 2022 - Ueshima Museum (Tokyo, Japan) #WomenInArt #art #artText #KeitaMorimoto #森本啓太 #Morimoto #BlueskyArt #UeshimaMuseum #ContemporaryArt #PortraitofaWoman #Artwork #JapaneseArt #JapaneseArtist #植島美術館
87
18
0
1
In “Red Veil (Not a Time to Dance),” Nigerian artist John Madu stages a moment of ascent marked by tension and symbolism. A veiled Black woman, her eyes serious, climbs a staircase with yellow treads and a wooden banister inside a vivid pink room. Draped in a striking red veil, she appears purposeful yet solitary. Above her hangs a reproduction of Henri Matisse’s Dance II (1910, Hermitage Museum), tilted to mirror the angle of the stairs. Its joyous circle of dancers, an emblem of freedom and collective harmony, is displaced here, unreachable and silent. Madu, a self-taught Lagos-born artist, blends African histories, global pop culture, and art-historical references in his vivid, layered canvases. Here, he contrasts Matisse’s vision of communal ecstasy with solitude. The subtitle, “Not a Time to Dance,” underscores the disruption: there is no hand extended to invite her into the dance. The painting becomes a metaphor for oppression, restraint, and resilience, reflecting contemporary realities in Nigeria. By inserting “Dance (II)” into his work, Madu creates dialogue across centuries. Matisse’s masterpiece, commissioned for Sergei Shchukin, was once paired with Music; both works celebrated rhythm and human vitality. The museum notes a deeper lineage: the clasped hands in William Blake’s paintings resonate in Matisse, but here, Madu leaves the hands apart, denying unity. The red veil carries layers of meaning like mourning, ritual, concealment while the climb itself suggests determination amid constraint. Painted in 2020, during a year of global upheaval, “Red Veil (Not a Time to Dance)” embodies Madu’s distinctive fusion of symbolism and critique. It offers no easy resolution. Instead, it insists on reflection, asking us to consider isolation, agency, and the unfinished struggle for freedom.
“Red Veil (Not a Time to Dance)” by
John Madu (Nigerian) - Acrylic on canvas / 2020 - Ueshima Museum (Tokyo, Japan) #WomenInArt #art #FigurativeArt #ArtText #JohnMadu #Madu #UeshimaMuseum #Ueshima #AcrylicArt #artwork #BlueskyArt #surrealism #PopSurrealism #NigerianArt #Afrofuturism #NigerianArtist
73
8
2
0
1
0
0
0
1
0
1
0
1
0
1
0
「創造的な出会いのためのテーマ別展示」UESHIMA MUSEUM（渋谷） #ueshimamuseum #植島美術館 #名和晃平
1
0
0
0
1
0
1
0
1
0
1
0
1
0
0
0
1
0
1
0
「創造的な出会いのためのテーマ別展示」UESHIMA MUSEUM（渋谷） #ueshimamuseum #植島美術館 #杉本博司
1
0
0
0
「創造的な出会いのためのテーマ別展示」UESHIMA MUSEUM（渋谷） #ueshimamuseum #植島美術館 #杉本博司
1
0
1
0
「創造的な出会いのためのテーマ別展示」UESHIMA MUSEUM（渋谷） #ueshimamuseum #植島美術館 #杉本博司
0
0
1
0
1
0
1
0
1
0
1
0
「創造的な出会いのためのテーマ別展示」UESHIMA MUSEUM（渋谷） #ueshimamuseum #植島美術館 #jeanmichelothoniel
1
0
0
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
0
0
0
0
1
0
1
0
1
0
UESHIMA MUSEUM ANNEX 今津景展 #ueshimamuseum #ueshimamuseumannex #今津景 #名和晃平 #koheinawa #teamlab #チームラボ #多田圭佑 #keisuketada
1
0
0
0
UESHIMA MUSEUM ANNEX 今津景展 #ueshimamuseum #ueshimamuseumannex #今津景 #名和晃平 #koheinawa #teamlab #チームラボ #多田圭佑 #keisuketada
1
0
1
0
UESHIMA MUSEUM ANNEX 今津景展 #ueshimamuseum #ueshimamuseumannex #今津景 #名和晃平 #koheinawa #teamlab #チームラボ #多田圭佑 #keisuketada
1
0
1
0
UESHIMA MUSEUM ANNEX 今津景展 #ueshimamuseum #ueshimamuseumannex #今津景 #名和晃平 #koheinawa #teamlab #チームラボ #多田圭佑 #keisuketada
1
0
1
0
15
0
1
0
6
0
0
0
2
0
0
0