うつわのお直し相談会

3/30[日]10:00-18:00
4/30[水]10:00-15:00
5/1[木]10:00-15:00
会場 新潟絵屋・展示室

ナヲシテツカウ

相談役 ナヲシテツカウ(長谷川加奈)

陶磁器の割れ、欠け、ひびなどのお直しをご相談・お見積り・ご注文いただけます。仕上げの方法はうるし、錫粉、銀粉、金粉など。うつわをご持参の上ご来場ください。ご予約は不要です。

長谷川加奈
味処 はせ川(古町9)女将。店で使う器を自分の手で直したいと金継ぎを学ぶ。 2018年5月より金継ぎネットショップ「新潟の金継ぎや ナヲシテツカウ」 を運営。
naoshite-tsukau.com

ナヲシテツカウ


▶ ナヲシテツカウ うつわのお直し相談受注会 2023年
▶ うつわのお直し相談受注会
▶ ナヲシテツカウうつわの お直し相談受注会
▶ ナヲシテツカウ金継ぎ教室 2019年6月〜


喫茶絵屋

EVENT 11/10[日]13:00 ― 18:00

出店:三角フラスコ(珈琲)mountain△grocery(ヴィーガンおやつ)

植木須美子木版画展会期中の一日限定!
珈琲や焼き菓子とともに、ゆっくりと作品をおたのしみいただけます。



11/1[金]― 14[木]

niigata eya exhibition 681
11/2[土]18:30- ギャラリートーク
11/10[土]18:30- 喫茶絵屋
同時開催「なーなの蒐集品1」

 新潟の古町6の一角に今も植木須美子の木版画群が展示されている。 それらを含む新潟シリーズを紹介する。2年前100歳で亡くなった植木宅に残るほぼ全点である。 多くは作者50~60代の作。師の高橋信一から多色刷の技も学んでいたけれど、この連作は基本一色。大正生まれの植木の記憶のなかの新潟も描かれた。過去といまを同じ地平に表現する色が白と黒だったのかもしれない。 激動の「昭和」が、雲や空のように変わりつつ変わらぬものとして見つめられている。(企画者:大倉 宏)

植木須美子(うえき すみこ)
1921年新潟市生まれ。39年東京府立第五高等女学校卒業。62年新潟女流版画協会創立。高橋信一氏に師事。64年より日本版画協会、国画会展に出品。70、71年新潟県美術展県展賞受賞。81年日本版画協会会員推挙。84年より無所属。85年日本版画文化友好代表団で中国訪問。個展は「越のうた散歩原画展」「なつかしい昭和のはじめの子供達」「北欧 英吉利風景」(新潟伊勢丹)、「新古町版画通り原画展」(新潟大和)、「瞽女さ」(新潟マスターズギャラリー)等。96年にはリトアニアで蔵書票、フランスで木版画を発表。2022年逝去。

関連イベント

ギャラリートーク
11/2[土]18:30-

お話:有山敬子(植木須美子の子)・yoyo.(孫)/聞き手:大倉宏

対面参加費:500円(軽食とドリンク付)/対面の定員20名/新潟絵屋へお申し込みください。
info@niigata-eya.jp
*当日はインターネットでライブ配信し、終了後も引き続き公開します。開催が近づきましたら、こちらのページにURLをご案内いたします。

砂丘館情報 2024年8月〜10月

「砂丘館」は、新潟砂丘の上にある新潟市の芸術文化施設です。2005年7月から、新潟絵屋が株式会社新潟ビルサービスと共同で指定管理をしています。独自の視角による「自主企画展」を柱に、音楽、舞踊、芸能などの「芸術文化の催し」、季節のしつらいや日本の伝統に親しむ「生活文化の催し」などの自主事業をおこなうほか、伝統ある空間は一般の方も借りて利用することができます。
 9月には、砂丘館をゆったりのんびりお愉しみいただけるマルシェ「砂愉日(すなあそび)」や、新潟絵屋の企画展と連動した「栗田宏展」、連続セミナー「新潟はどこにあったのか?」があります。この機会にぜひお立ち寄りください。

+++++

砂丘館会場

栗田宏展
9/25[水]―11/4[振替休日]
9:00-21:00

月曜休館(祝日の場合翌日)

栗田宏(1952-2022)が抽象画の製作を始めた1980年代から、最晩年の2010年代の作品までを紹介する、没後初の回顧展。親族の方々によるギャラリートークも開催します。新潟絵屋(10/17-30)と2会場でぜひおたのしみください。

ギャラリートーク
10/6[日]14:00-15:30
参加費500円

+++++

砂丘館でマルシェ!

「砂愉日」(すなあそび)
9/14[土]・15[日]

たべる・かう
・OldtownDessertCompany
・むすびや百
・農園八兵衛(15日のみ)
・cafe-Pot(15日のみ)
・Pitu(14日のみ)
・テラリウム専門ショップ Terraria
・chou∴ivory
・新潟絵屋
・砂丘館バザー ほか

体験する〈予約不要・一部有料〉
・お抹茶ブース(14日)
・日本茶・バタバタ茶ブース(15日)
・組子ワークショップ
・水引ワークショップ
・箏・尺八 和楽器体験会(15日)

蔵できく〈予約不要・投げ銭制〉
*1ドリンク(500円)ご注文ください
14日 11:00 おうたのかい
14日 14:30 古田春花(うたと弾き語り)
15日 11:00 薫風の音(箏と尺八による日本の古曲)

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連続セミナー

新潟はどこにあったのか?
講師:坂井秀弥(新潟市歴史博物館館長)

1回目 8/30[金]新潟の古代~中世
2回目 9/6[金]「新潟」の登場
3回目 9/13[金]河口への進出(中世後期~近世) 
各日18:30~20:00
料金:各回500円

*10〜11月には、砂丘館で色彩に関する連続セミナーを開催予定です。どうぞおたのしみに。

新潟市中央区西大畑町5218-1
tel.025-222-2676
www.sakyukan.jp


▶ 同時開催 新潟絵屋「栗田宏展」2024.10.17〜30

ワークショップ「きみのおばけをつくろう」

新潟絵屋企画 ワークショップ

10/12[土] 13:30 – 15:00
講師:しんぞう

絵の具でつくった模様をおばけに変身させよう!
広々空間で制作します。
みんなのおばけが集まるとどんな空間になるだろう。

対象:5歳以上の子(小学2年生以下は保護者同伴)
定員:16人(要申込)9/8~先着順
参加費:1,000円
会場:新潟市こども創造センター・光と音のホール(中央区清五郎375-2)
申込方法:新潟市こども創造センターで直接または電話でお申し込みください。
TEL.025‐281‐3715


ダウンロード

しんぞう
1974年神奈川県生まれ、新潟市在住。自分自身の内面を見つめることをテーマに、家族や日常を作品にする。 www.sinzow.com


▶ 2020年 WS「絵の具で遊ぼう」講師:しんぞう
▶ しんぞう展 2023
▶ しんぞう展 2021
▶ しんぞう展 2018
▶ しんぞう展 2016
▶ しんぞう展 2015
▶ しんぞう展 2014
▶ しんぞう展 2013

About Niigata Eya

Niigata Eya Gallery
Niigata Eya is an art gallery independently operated by a group of individuals working in different genres, and was certified as a “non-profit organization (NPO)” in 2005. The Gallery is a place for artists to present their work and for viewers to encounter their expressions. The gallery’s management is dependent on the sale of art works, but in order to maintain diversity, it also relies on membership fee income as another foundation, allowing for greater flexibility in the planning of exhibitions.

What is Exhibition?
The main activities of Niigata Eya are exhibitions held in the gallery room of a renovated Taisho period(1912−1926)traditional Japanese style house. The art show is a place to introduce artworks and artists that the individual “viewer” considers “good” to a wide audience, and the exhibition planner is responsible for all aspects of the event. The offering conceived from the appreciation and evaluation of an individual, is a stage that creates a place for presentation and appreciation of artwork at a distance from the influence of “information” bias originating in the metropolitan area. The art expressions are proposed and discussed at the monthly committee meetings, and Niigata Eya provides full support for the realization of the exhibitions.
From the gallery to the outside community
We are conducting “eto” (“with paintings” in Japanese), a project to promote the creation of spaces with pictures, in the hope that daily life will become more lively by gracing your home or work space with pictures. We also publish a monthly exhibit guide, “Niigata Island and Surrounding Galleries & Museums Map,” to help visitors enjoy art work at galleries and museums.


▶︎Reference
SUPERMARKET – Stockholm Independent Art Fair 2022

Presentation about Niigata Eya Gallery by Azumi Okabe


Photo:Zeynep Okyay

 “Art Shots,” which introduced each activity, was presented in a “pecha-kucha” style, in which 10 images were presented in less than one minute each. No questions were raised on this day, perhaps because the presentation ended with a brief overview of each activity. In particular, Niigata Eya is a gallery run by “viewers” rather than an artist-run gallery, and I explained that the historical background of the introduction of the term “art” was a translation of the word “Bijutsu.” However, I also thought that they might not have known what questions to ask because of the very different backgrounds. (Niigata Eya’s presentation is following)


1 Niigata Eya Gallery’s building
Niigata Eya Gallery is not an artist-run gallery, it is a viewer-oriented gallery.
Niigata city is located in the northeastern part of Honshu Island, Japan, lying along with the Sea of Japan.As you see, the gallery’s building is a traditional Japanese style house, but the interior had been renovated in the western style. We restored the interior back to its original design. Our intent was to have a place to exhibit paintings and various other genres of art expressions, as well as, to offer them for sale, in this traditional Japanese style setting.
“Eya” means a shop that sells paintings in old Japanese language. Niigata Eya Gallery was established in 2000 by 9 members.


2 Niigata Eya’s members and Hisako Horikawa(Niigata-based dancer)
The members consist of a carpenter, a furniture craftsman, a Haiku poet, a graphic designer, a photographer, an art critic, and others in various fields; every single member takes charge of managing the activities, not as an artist, but as an individual viewer.
At monthly meetings, we introduce artists respectively, that we think are good, and curate exhibitions.
We have held more than 600 exhibitions with over 300 artists over 22 years.
The standard of curation is to present the art works that a Niigata Eya member appreciated and desired to feature as an individual viewer.


3 An Oil painting in the Meiji(1868-1912)Era_ “Urashima_zu” by Hosui Yamamoto(1895)
Art or plastic art in the Japanese language is “Bijutsu.” “Bi” means “beauty,” and “Jutsu” means “way”, ”method,” or “meaning.” Japan’s Meiji Era ran from 1868 to 1912, and “Bijutsu” was created by translation in its early years.
This new word, “Bijutsu,” produced the new social system, such as in art schools, museums and exhibitions.
This change occurred first in Tokyo, the capital city of Japan; thus, Tokyo is considered the source of everything new as it is the mega introduction place of Western culture.


4 A Painting in the Taisyo (1912-26)Era_”Nude Beauty” by Tetsugoro Yorozu(1912)
Soon after the word “Bijutsu” was coined, the drastically changing era, the 20th century started, and revolutionary art works showed up one after another; they appeared in Tokyo rapidly. Especially Van Gogh was introduced to art-lover youths by a literature group named the “Sirakaba group;” this dramatically spread the concept that Bijutsu to not only mean the creation of beauty but also it is about self-expression.
This thought had a huge impact on art expression in Japanese people and it extended the range of “beauty;” but also it confused viewers who look for “beauty” in art pieces.
As a result, it was believed that “only art specialists could appreciate and understand the art.” This mind- set prevailed among ordinary people.


5 Tokyo scenery
Then, people aiming toward art expression went to Tokyo, created in Tokyo, and exhibited in Tokyo.
In the late Maiji era, the exhibitions started to be presented by the national government, which was mimicking the Salon in France.
Private competitions also began, and these became a hierarchical system.
Climbing up the pyramid of hierarchy became equivalent to gaining social prestige.
In this era, the people left behind the most were the viewers who appreciate the arts but lived in other areas than Tokyo.
They judged art expressions under the mind-set of following what others said. Appreciating art meant going to the museum to see so-called famous artists’ works. This practice became the norm.


6 Interior of an old temple
Before the word, “Bijutsu”, paintings, sculptures and crafts existed close to Japanese people’s daily lives.
For instance, there might have been a rich person’s house, that had a place called “Tokonoma,” where art pieces were displayed and viewed.
Painted Fusuma and painted Shoji functioned as partitioning walls defining rooms and spaces within a building.
However, westernizing house styles removed Tokonoma, and got rid of paintings from doors. Paintings that were once intimately entwined with daily lives became special entities, cut-off from our lives, and were only being appreciated through the cognitive bias of the hierarchy system on unusual occasions at an exhibition venue.


7 Exhibition scenery in Niigata Eya _ Antje E. Gummels’s exhibition 
Despite Japanese people starting to live in the western style rooms having many walls, Japanese didn’t hang any paintings on those walls.
Niigata Eya Gallery was born in Niigata city, which is one of the cities in this situation.
We turned Niigata Eya’s space that had been renovated in the western style back to the original interior.
This way of creating the space had meaning.


8 “Chieko”by Sinzow hung on Tokonoma in Sakyukan,another exhibition space curated by Niigata Eya
During the last 20 years the trending idea was that artists, including those who recognized themselves as contemporary artists, must move to Tokyo has changed; instead, they held exhibitions in other regions of Japan to increasing extents.
We believe art expression is an action that is created in the inner-depth of an individual’s mind, that is deeper than one’s need for approval; and its meaning is appreciated most clearly only when people view them with their own eyes as an individual.


9 Hiroshi Kurita’s exhibition in Sakyukan
Through 22 years of activities, Niigata Eya has met many of those artists.
No need to say, there were lots of Niigata-based artists among them. Last autumn, due to the entry ban, we couldn’t bring those artists’ works here; but thanks to Masoud, Studio44’s amazing support, although these were copies, we were able to exhibit the Niigata-based artists’; Hiroshi Kurita, Sinzow and Momo Hasuike’s paintings at Niigata Eya’s booth in the SUPERMARKET ART FAIR 2021.


10 Momo Hasuike’s exhibition in Niigata Eya
The goal of Niigata Eya Gallery was to transform an exhibition space which had been previously monopolized by the artists group in the hierarchy system into the place where artist meets viewer individually. This was an adventure to meet the “creator” through thoroughly ensuring the individuality of “appreciation.” In Japan’s history, a gallery was born and grew up as a part of hierarchy. Niigata Eya was a movement to redefine the meaning of a gallery, focusing on the individual’s point of view.
We also publish a gallery map monthly to deliver information about exhibitions held in various galleries in Niigata city. In Japan, actually our information tool is still very much paper-oriented, not digital.
Apart from selling paintings to the local homeowners, to recreate intimate relationships between contemporary art expression and daily lives, we run a program named “eto,” which means “with paintings” in Japanese. We bring paintings to offices and hospitals for display and replace them regularly.Unfortunately, we haven’t established a concrete system that produced proper profit for the artists and us, but this activity is one of the ways to realize Niigata Eya’s purpose.

We gratitude to IASPIS and Scandinavian Japan Sasakawa Foundation for giving us the opportunity to meet many good people in Stockholm.

English translation was polished by Ron Takata


SUPERMARKET 2024
▶ SUPERMARKET 2022 Report(日本語版)(English edition)
▶ SUPERMARKET 2021(Japanese)
▶ SUPERMARKET 2020(Japanese)

見えないカタチ 見えるカタチ

新潟絵屋企画ワークショップ

3/20[水・祝]
13:30~15:00 講師:星野貴代

 描きたいものはなくていい。線や点、色をのせているうちにきっと何かが生まれてくる…。絵の具やワックスを使い、重ね絵づくりを楽しみます。

会場:新潟市こども創造センター(新潟市中央区清五郎375-2)
対象:小学生~18歳までの子(小学2年生以下は保護者同伴)
定員16名(要申込)/参加費1,000円
*作品は当日持ち帰り/アイロンを使用する内容です
お申し込み先
新潟市こども創造センター tel.025-281-3715(9:00-17:00)
企画:新潟絵屋

星野貴代(ほしの たかよ)
1974年新潟市生まれ。99年佐藤公平氏に師事。 2001年新潟市西蒲区(旧中之口村)に開窯。02年以降毎年個展で発表しており、近年は陶芸のほか絵の制作も行う。

お申し込み受付窓口:こども創造センター

定員状況はこども創造センターへ直接お問い合わせください。

星野貴代

星野貴代
星野貴代
星野貴代
星野貴代

〜講師からの言葉〜
好きに理由はない。私は空が好き。雲が好き。星が好き。ずっと空を見上げている。
写真にうつるのは苦手。スマホで記録するのも苦手。現実(実物)とは違っても心に残ったものを思い返して表現したい。それが土であれ、紙に描いた線であれ。(星野貴代)


▶ 星野貴代展 砂に描いた線(2023)
▶ 星野貴代展「あしたの気配」(2020)
▶ SHOP 星野貴代 陶器