Hirofumi Isoya


近年の展覧会に「動詞を見つける」(2022 小海町高原美術館、長野)、「Constellations: Photographs in Dialogue」(2021 サンフランシスコ近代美術館、サンフランシスコ)、「L’image et son double」(2021 ポンピドゥー・センター、パリ)、「『さあ、もう行きなさい』鳥は言う『真実も度を越すと人間には耐えられないから』」(2021 SCAI PIRAMIDE、東京)、「シンコペーション: 世紀の巨匠たちと現代アート」(2019 ポーラ美術館、神奈川)、「六本木クロッシング2019 : つないでみる」(2019 森美術館、東京)、「アルル国際写真フェスティバル – Le spectre du surréalisme」(2017 Les Forges、アルル)など。 主な作品の収蔵先に、ポンピドゥー・センター(パリ)、サンフランシスコ近代美術館(サンフランシスコ)などがある。

Born in Tokyo, Japan in 1978, he majored in architecture at Tokyo University of the Arts before furthering his studies in fine art at its graduate school and Goldsmiths College, University of London. Through the mediums of photography, sculpture, and drawing, his works re-evaluate the plurality of perception and the manifold nature of time. Recent notable exhibitions include: Constellations: Photographs in Dialogue, SFMOMA, San Francisco, 2021; L’image et son double, Centre Pompidou, Paris, 2021; Go, go, go, said the bird: humankind cannot bear very much reality, SCAI PIRAMIDE, Tokyo, 2021; Syncopation: Contemporary encounters with the Modern Masters, Pola Museum of Art, Kanagawa, 2019; Roppongi Crossing 2019: Connexions, Mori Art Museum, Tokyo, 2019; and Les Rencontres d’Arles – Le spectre du surréalisme, Les Forges, Arles, 2017. His works are included in the permanent collections of institutions such as Centre Pompidou, Paris, and SFMOMA, San Francisco.



Flowers and Bees, Translucent Archive



A pair of glowing glass bottles installed in a museum display case that has been in use for many years. The glass bottles filled with honey contain glowing fishing lamps. Seeping out into the surroundings, the light passes through the honey, in the process taking on a deep orange hue. Crystallization of prodigious apian labor, honey has also been viewed as a sacred substance by figures such as Rudolf Steiner and Joseph Beuys. Here it is as if the vast span of time and the events surrounding the relationship between flowers, bees, and humans are dissolved together in the bottles, and that history illuminated. Moved at a speed indiscernible to the eye by the subtle warmth of the fishing lamps, the honey makes its own viscous progress, spurning human notions of time in the space of the museum, which displays history.


《花と蜂、透過する履歴》2018年、蜂蜜、集魚灯、ガラスのボトル、各67×46×46 cm

《Flowers and Bees, Translucent Archive》2018, honey, fish collection lamps, glass bottles, 67×46×46 cm (2 works)