Mario Tauchi is a Japanese artist living & working in Tokyo

mario mandala

NEWS

“mario mandala” at HACO NYC in Brooklyn (31 Grand Street)
is EXTENDED — until April 7th.

MM_HACO_NYC_2019pic

Mario Mandala exhibition
@ HACO NYC (March 2nd – 31st, 2019)
31 Grand Street, Brooklyn, NY 11249, U.S.A.
917-582-0803
https://haconyc.com

Opening Reception:
March 2, 6:00 – 9:00pm
Live Painting + Music performance @ 7:00pm

A Literary Evening
by Evergreen Review
Dale Peck (editor-in-chief of the Evergreen)
w/ Minerva Martínez, Lisa Dierbeck and Joyce Johnson
http://www.evergreenreview.com
March 8 2019
6:30-8:30

 

 

text about Mario Mandala by Azusa Okamoto (Curator for Itami City Museum of Art)
LOVE POP! Keith Haring Exhibition ( Itami City Museum of Art /2012) A Mural Painting Peoject
伊丹市立美術館学芸員の岡本梓氏によるマリオ曼陀羅に関するテキスト
LOVE POP! キース・へリング展(伊丹市立美術館/2012) 壁画プロジェクト「キースの願った平和の実現を願って」

In 2012, the Itami City Museum of Art presented “LOVE POP! Keith Haring Exhibition,” and organized a mural painting project in conjunction with the exhibition. The project was inspired by Keith’s unique approach, especially the way he transformed the city into his personal canvas. I asked Mario Tauchi to create a new work for the project, as Mario seemed to be the perfect contemporary artist for the job. While Mario’s compelling performances incorporate various tell-tale elements of graffiti art – the speed of the work, the inspiration, the use of black line drawings – his creations, such as his mandalas, should not be categorized as mere graffiti art. His work is more complicated and profound. Simply put, modern, western graffiti art imparts a strong sense of individuality and secularity, whereas mandalas are part of an Asian art tradition that takes a non-secular approach to the representation of deindividuation. The fusion of these two contradictory approaches makes for a completely new art that breaks down the very concept of the mandala. Mandalas were traditionally drawn to better appreciate the Buddhist conception of the universe, and illustrate the depersonalized characters and otherworldly elements which watch over the world we inhabit. Mario’s mandalas, however, represent a microcosm of not only his inner world, and his sensitivity to commonplace conditions like the daily weather, but also his interactions with people of various backgrounds, and the ways in which confrontation, harmony and antagonism all expand, propagate and transform. Strangely, when Mario expresses this personal tapestry of emotions via his mandala art, his philosophy enters the heart of the viewer and melds with that person’s inner world. This has led to a transformative experience for some, and this potential for profound transformation is at the heart of the mandala’s appeal, and why it resonates beyond any boundaries of race, sex or religion.

OKAMOTO Azusa, Curator for Itami City Museum of Art

 

 

当館で2012年に開催した「LOVE POP! Keith Haring Exhibition」にあわせて行った壁画プロジェクトは、街中をアートの現場にしたキースの活動と想いから生まれたものだが、このプロジェクトを実現するために最もふさわしいアーティストとして、私は田内万里夫に制作を依頼した。その理由は、黒の線描だけで強い存在感を放つ彼の創作に、インスピレーションとスピード、そしてパフォーマンスから生まれるグラフィティ・アートの要素があるからだが、彼の作品は単純に「グラフィティ・アート」とカテゴライズされるものではなく、もっと複雑で深い。端的に言うと、個性と世俗性が強い現代の西洋美術「グラフィティ・アート」と没個性と非世俗な古来の東洋美術「曼荼羅」、この相反する二つの美術を融合させたものであり、さらに「曼荼羅」の概念そのものを打ち破る全く新しいものなのだ。そもそも仏教の宇宙観を感得するために描かれた「曼荼羅」は、没個性・非世俗を徹した者が、我々人間を取り囲むこの世界を俯瞰して表したもの。しかし田内の「曼荼羅」は、その日の心境や天気、様々な背景を持つ人々との交流など、世俗の影響を受ける田内自身の内面に広がる小宇宙を表したもので、田内の内外界にある共存と対立、調和と拮抗の全てを飲み込みながら増殖し、一つの形に留まらず変容していく。そして不思議なことに、その個人的な「曼荼羅」が田内の元から離れて面に留められると、次は観る者(他者)の心に入り込んでその人にとっての小宇宙へと変容し、時に普遍的な宇宙観へと昇華していくのだ。その可変性が、人種も性別も宗教も越えた全ての人々に響く理由でもある。

岡本 梓(伊丹市立美術館 学芸員)
OKAMOTO Azusa, Curator for Itami City Museum of Art

 

 

 

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