コンテンツ種別写真動画複数枚｢#PR｣つき投稿 関連投稿国 指定なしアメリカ合衆国 日本 関連都道府県 指定なし 並び替え投稿日順 ライク数順 コメント数順 エンゲージメント率順 ×アカウント未登録では最新の動画100件のみ閲覧可能です。 I'm leaving Japan for LA on Feb 3rd. In Japan, this day is called SETSUBUN, a famous ritual where Oni apears. This trip is for the physical presentation of my new work, 陸奥の 安達原の黒塚に 鬼籠もれりと言うはまことか (UN)KEEPALL (1.0: 1.0, 1.0, 1.0, 1.0) 1.0. Various actions for this work have coincided with the days when there are ancient anecdotes about Oni. I really feel that this work is being led in an unseen direction in an unusual situation by an invisible hand. #keepall #unkeepall #PostOnThePlaneJustBeforeTakeoff 2022/02/03に公開Haneda Airport 日本 東京都https://www.instagram.com/explore/tags/keepall#keepallhttps://www.instagram.com/explore/tags/unkeepall#unkeepallhttps://www.instagram.com/explore/tags/PostOnThePlaneJustBeforeTakeoff#PostOnThePlaneJustBeforeTakeoff1.38%59923 陸奥の 安達原の黒塚に 鬼籠もれりと言うはまことか (UN)KEEPALL (1.0: 1.0, 1.0, 1.0, 1.0) 1.0 VHS, bleach bypass-effected 16mm film, bleach bypass-effected 35mm film, 35mm film and digital video 1920 x 1080 px YAMAN 2022 #FriezeandQ #keepall #unkeepall 2022/01/26に公開- 指定なしhttps://www.instagram.com/explore/tags/FriezeandQ#FriezeandQhttps://www.instagram.com/explore/tags/keepall#keepallhttps://www.instagram.com/explore/tags/unkeepall#unkeepall0.63%2842 陸奥の 安達原の黒塚に 鬼籠もれりと言うはまことか (UN)KEEPALL (1.0: 1.0, 1.0, 1.0, 1.0) 1.0 VHS, bleach bypass-effected 16mm film, bleach bypass-effected 35mm film, 35mm film and digital video 1920 x 1080 px YAMAN 2022 #FriezeandQ 2022/01/26に公開- 指定なしhttps://www.instagram.com/explore/tags/FriezeandQ#FriezeandQ0.62%2762Repost @nkymn A cERtAin PoINt On aN inFinItE LoOP #descriptum2022/01/26に公開- 指定なしhttps://www.instagram.com/explore/tags/descriptum#descriptum0.76%3385 This is the most fleetingly beautiful timeline moment, following Instagram Hashtag 49 post rule. With a few more posts, this arrangement I've spent a year creating, will turn into disarray based on an algorithm. Information is distorted in transmission. Check the Hashtag timeline before the end of its life. #unkeepall 2022/01/26に公開- 指定なしhttps://www.instagram.com/explore/tags/unkeepall#unkeepall1.33%58517ㅤ ㅤ This is the full version 12’56” film "陸奥の 安達原の黒塚に 鬼籠もれりと言うはまことか (UN)KEEP ALL (1.0: 1.0, 1.0, 1.0, 1.0) 1.0" that I launched on January 20, 2022. ㅤ ㅤ 陸奥の 安達原の黒塚に 鬼籠もれりと言うはまことか (UN)KEEPALL (1.0: 1.0, 1.0, 1.0, 1.0) 1.0 ㅤ VHS, bleach bypass-effected 16mm film, bleach bypass-effected 35mm film, 35mm film and digital video 1920 x 1080 px © YAMAN 2022 ㅤ ㅤ 2022年1月20日にローンチした12分56秒の新作『陸奥の安達原の黒塚に鬼もれりと言うはまことか (UN)KEEPALL (1.0: 1.0, 1.0, 1.0, 1.0) 1.0 』のフルバージョンです。 ㅤ2022/01/26に公開- 指定なし1.15%5098Repost @nkymn A cERtAin PoINt On aN inFinItE LoOP #descriptum2022/01/20に公開- 指定なしhttps://www.instagram.com/explore/tags/descriptum#descriptum0.78%3447 In this exhibit, YAMAN asked me to put susuki (Japanese silver grass) in the tokonoma in the room where Oni is holding up a huge rock. Susuki dries out but still stands erect even in winter. Japanese people equate this grass with the “wabi sabi” concept. The muscular statue of Oni in this exhibit also seems to have a vulnerability, similar to susuki in a withered field. Oni are a symbol of an "inhuman" being. Since various images have been given to them by humans, it can be said that they are a result of information transmission through the ages. In this advanced information network society, I thought that the statue in this exhibit would be viewed by many kinds of people. I placed susuki in the tokonoma with the desire to trace and support the feelings of Oni. Today, we can explain most of the reasons for the weird things that happen in our daily lives through science. Will there be a place for Oni in the future? I would like to see how this exhibition will turn out. REIJIRO IZUMI Chado Research Center Galleries Deputy Director #keepallcritique 本展ではご縁があり、巨岩を掲げた鬼の彫像が居る座敷の床に花を入れさせていただきました。 花は、枯れ芒です。かつて生命力にあふれる姿をみせていた芒も、冬を迎えて立ち枯れます。朝方、川沿いに芒を採りにいくと枯野の芒は冷えた風に吹かれながら、すっくと立っていました。兵どもが夢の跡―ではありませんが、勢い衰えたものを慈しむこころをたたえているようにみえました。 本展の隆々たる鬼の彫像も、一面として枯野の芒に似た哀愁が漂っているように思われます。鬼は「人ならぬもの」の象徴的存在。人間によって、様々なイメージが与えられてきたわけですから、一寸先が未知の世界であった時代より構築されてきた情報のかたちともいえましょうか。 高度な情報ネットワーク社会の中で、本展の彫像は様々な視点にさらされます。今回は、その存在に寄り添うような心持ちで芒を入れたつもりです。 日常生活の中に起きる不審なことどもは、科学の発展によってその理由を大方説明できるようになった現代。今後、鬼の居場所はあるのでしょうか。本展の行く末を見届けたいと考えております。 茶道資料館 副館長 伊住禮次朗 2022/01/20に公開- 指定なしhttps://www.instagram.com/explore/tags/keepallcritique#keepallcritique0.8%3558 My first stay in room 59 in 2014, and after that. #keepall #unkeepall #feb14 2022/01/20に公開- 指定なしhttps://www.instagram.com/explore/tags/keepall#keepallhttps://www.instagram.com/explore/tags/unkeepall#unkeepallhttps://www.instagram.com/explore/tags/feb14#feb141.07%4786 The exhibition at Hiyunkaku gave me a sense of the unspeakable terror I experienced at Adachigahara, like looking into an abyss between fiction and truth, a story created by humankind. In fact, as I stepped into the exhibit I thought I had met the Oni of Adachihara again. The Oni may have returned to Kyoto, the place where the story was originally created, after more than a thousand years. In this way, I think the mysterious horror I felt at that time in Adachigahara may have finally been solved for me. The susuki (Japanese silver grass) in the tokonoma corresponds with the spinning wheel in the kamiza (elevated platform), symbolic items in the legend of Adachigahara. It throws the viewer - unwittingly - into the midst of the desolate moonlit night of Adachigahara. Susuki represents the present but also the past. The spinning wheel too is an iconic tool in Noh, as the Oni spins it around and around, winding the thread and remembering their time in Kyoto. It is a device used to rewind time and place, so to speak. It is also the time when the old woman who became an oni returns to being the young woman in love she used to be. Michinoku and Kyoto. Men and women. Hidden things and visible things. The past and the present. Things that change and things that don't. These are contrasted so all boundaries melt away. In addition to this there are oni and rocks. The Oni, which appears in the folklore of Adachigahara, through word association relativizes the folklore. Osamu Tezuka's movie, a direct reference to the folklore, is projected onto the Oni itself, and echoes eternally, shifting in a play on words. When we consider it we are reminded that waka is fiction, not a depiction of reality. Firstly, it is necessary to thoroughly understand that words are vessels and a kind of fiction. I think Japanese is an extremely honest and straightforward language. In particular it is ambiguous, illogical, and often full of multiplicity, exactly like the world. So, the waka, which is also the title of the exhibition, may be the trick, and the key to reading the world. KANAKO HAMASAKI Chief Director of Yuushisai Koudoukan Foundation #keepallcritique 2022/01/19に公開- 指定なしhttps://www.instagram.com/explore/tags/keepallcritique#keepallcritique0.69%30310 First Screening, Tokyo, Japan March 02, 2021 Under the second state of emergency Jan 07, 2021, Prime Minister Yoshihide Suga declared a second state of emergency in Tokyo and three other prefectures until Feb 07. But with an acknowledgment that he failed to deliver on his promise to bring the COVID-19 crisis under control, it was extended to March 07, and then again until March 21, 2021. As a work that randomly plots various points during the 2000 years Oni experienced, I also wanted a place to symbolize the modern age, the exact opposite of the Kyoto exhibition. Using technological displays instead of projection screening, I recreated an ancient ritual in a modern environment. I reproduced the two contradictory roles of Oni: the epidemic itself and what kills it, in a striking situation of paradox and chaos, so I used Shibuya Crossing, known as the most heavily trafficked intersection in the world. Seeing this crossing without people under the state of emergency, who wouldn't feel anxious and doubt the things they believe are normal? "陸奥の 安達原の黒塚に 鬼籠もれりと言うはまことか (UN)KEEPALL" official photos by @jungraphy_ 2022/01/19に公開- 指定なし1.17%51910 In the shadows of the national treasure, Hiunkaku,there was Oni holding the world on his back, surrounded by multiple mirrored images. Oni, the mirrored image; and beyond that, a living, breathing Oni: all the different expressions existing in one moment but showing one mind. I was fascinated by something dense that emerged from the interplay of the reflected and the tangible. On seeing this artwork, the first image that came to mind was that of Atlas. He was defeated by Zeus and condemned to bear the weight of "the earth" on his shoulders for the rest of his life. I felt that the eyes of Oni, who shoulders the world here, were filled with light, and seemed to be staring firmly ahead. Historically, Oni have been considered evil and something that didn’t belong. However, were they really evil? Wasn't it only because they were the oppressed in society that they were considered evil? Diversity is actually imperative, and an integral part of the world. Most people may even have been mistakenly going against this. MAKI KUBOCH NHK Director #keepallcritique 国宝・飛雲閣の陰影のなかに、幾重にも重なる鏡像に囲まれて、世界を背負ったオニがいた。映し出されたイメージの中のオニ。そして、その向こうに存在する、生きているかのオニ。同時に存在する、すべて異なる表情は、ひとつの魂を示してもいるのです。鏡像と実像が交錯するなかで立ち上る濃密な何かに、蠱惑されました。 最初に浮かんだイメージは、アトラス。ゼウスに負け、「地球」を背負うという苦行を生涯義務づけられた…。一方、ここで世界を支えるオニの目には光が宿り、しっかと前を見つめているように感じるのです。 古から、悪とされ、排除すべきものだったオニ。それは、本当に悪だったのか。社会にとって異物であったがゆえに、オニとされてしまった存在ではなかったか。私たちの世界は、実は異端を必要としており、異端に支えられてもいるのだ たとえ、ほとんどの人が、そのことを知らなくても。そんな思いに包まれました。 NHK制作局ディレクター 久保地真紀 2022/01/18に公開- 指定なしhttps://www.instagram.com/explore/tags/keepallcritique#keepallcritique0.75%3354 Both good and bad things come from an outer world. This was the perspective of Japanese culture in ancient times and the basis of their perception of events. Historically, Japanese religion is polytheist. The phrase, "Yao yorozu no kami (eight million gods)" is an example of Japanese fear and reverence for the outer. Japanese people have treated the outer, nature's will, as gods. They also used it as a mirror to view themselves objectively. Oni, which has existed for over two thousand years is such an example. "陸奥の 安達原の黒塚に 鬼籠もれりと言うはまことか (UN)KEEPALL" official photos by @jungraphy_ #keepall #unkeepall 2022/01/17に公開- 指定なしhttps://www.instagram.com/explore/tags/keepall#keepallhttps://www.instagram.com/explore/tags/unkeepall#unkeepall1.25%55111 Even though I live in Kyoto, it was my first time to visit the venue, Hiunkaku of Nishi Honganji Temple. The three-storey building, with its white shoji screens reflected in the pond in front of it, looked as if it were sitting on a cloud as its name suggests. When I entered I was met by an Oni created by Myokei Matsumoto in the center. Images of the Oni taken from several angles were projected onto a screen inside the exhibition space, each with a different expression, giving a different impression. One of the etymologies of the word "oni" is "[onu]" (hidden), which is said to refer to something invisible or beyond human comprehension: evil, good, or divine; in this space I realized that. Even in this day and age, when the reality of everything has been elucidated and a vast amount of information is flying around instantaneously, the invisible "oni" will continue to exist as an unchanging fact, changing in a thousand ways in the future. I was reminded once again that a single thing can have many different expressions and interpretations. TOKUTARO YAMAUCHI Gallery Shibunkaku #keepallcritique 京都に住んでいながらも、会場となった西本願寺の飛雲閣へ伺うのは初めてだった。 三層からなる楼閣は、前面に広がる池の水面に白い障子を映し、その名の由来どおり、雲の上に鎮座しているように見える。 中に入ると、中央で松本明慶氏が手掛けた鬼が出迎える。 その鬼を複数の角度から撮影した画像が、場内のスクリーンに映し出され、それぞれ異なった表情が、異なった印象を与える。「おに」の語源の一つに「おぬ（隠）」があり、姿の見えないもの、人知を超えた存在を指すと言われるが、この空間に身を置くと、日本の鬼が「悪」でも「善」でも「神」でもあり、特定のイメージでは語れない存在であることが実感できる。 あらゆる物の実態が解明され、膨大な情報が瞬時に飛び交う現代においても、目に見えない「おに」は変わらぬ事実として、未来においても千変万化しながら存在し続けてゆくであろう。そして、一つの物事には幾通りもの表情があり、また解釈もあるということを改めて感じさせてもらった。 思文閣 山内徳太郎 2022/01/14に公開- 指定なしhttps://www.instagram.com/explore/tags/keepallcritique#keepallcritique0.76%33013 Just received a handwritten manga manuscript by Osamu Tezuka that I bought at an auction in the U.S. It’s a page from “Majin Garon”, which was published from 1959 to 1962. Garon is one of Tezuka Osamu's favorite characters, and also appears in Astro Boy. Garon is sometimes a friend of justice, and sometimes a pawn of the devil. It was created by aliens, to judge the good and evil of the people of Earth by checking how they use Garon. This title expresses the indivisibility of good and evil, an important theme in Tezuka's manga.It is also interesting to show a fate where one's own good or bad is defined by others, and of existence with a super high perspective to observe it. I bid on this lot because I felt that the setting, story, and design all had a destined link to my own work, "陸奥の 安達原の黒塚に 鬼籠もれりと言うはまことか (UN)KEEPALL”. Furthermore, the fact that this title was published in the middle of the book by a substitute writer, and then the sequel was written by a famous Japanese manga artist, Go Nagai, also links to another theme of mine. I hope that one day this manuscript and my work will be exhibited together. #keepall #unkeepall RELATUM TRIPTYQUE (DESCRIPTUM POLYPTYQUE) DESCRIPT(OR:Ⅱ)UM アメリカのオークションで購入した手塚治虫直筆の漫画の原稿が届いた。1959年から1962年に連載された『魔神ガロン』の１ページ。魔神ガロンは手塚治虫のお気に入りのキャラクターと言われており『鉄腕アトム』にも登場する。 ガロンはある時は正義の味方であり、ある時は悪魔の手先である。ガロンをどう使うかで地球人の善悪を判断する為に宇宙人に作られたという設定だ。 手塚漫画の重要なテーマである善悪の不可分を担うと共に、自身の善悪を他人に委ねる運命、それを観察する更なる上位視点が設定されていることも興味深い。 設定、ストーリー、デザイン、全てに自身の作品「陸奥の 安達原の黒塚に 鬼籠もれりと言うはまことか (UN)KEEPALL」との運命的なリンクを感じて落札した。 更には、本作が途中から代筆によって作品が出版されていた過去、かの永井豪によって続編が連載されたことなども、自身の作品で扱うもう一つのテーマと繋がる。 いつかこの原稿と自身の作品を共に展示する日を望む。 2022/01/14に公開- 指定なしhttps://www.instagram.com/explore/tags/keepall#keepallhttps://www.instagram.com/explore/tags/unkeepall#unkeepall1.44%63712 This wonderful classic venue seemd to be YAMAN's four-dimensional pouch world, originally owned by Doraemon which is one of Japan's most famous longevity Manga. MASATAKA HOSOO The 12th Head of HOSOO, Nishijin textile #keepallcritique 素晴らしいロケーション。ナカヤマンの異次元ポケットの世界。 株式会社細尾 代表取締役社長/細尾十二代目 細尾真孝 2022/01/12に公開- 指定なしhttps://www.instagram.com/explore/tags/keepallcritique#keepallcritique0.66%2897 I saw the '61 TOKUSATSU movie remastered in 4K. The first photo includes a reproduction made from the original blueprint of the miniature used in this film which was in HIDEAKI ANNO EXHIBITION. The movie MOTHRA features one of the largest miniature sets in the history of Toho tokusatsu. The scene of the destruction of Shibuya station and around, which is a reproduction of the streets of the time, is famous for its awesome detail. Tokusatsu was developed as a unique visual technique in Japan from the 1950s through KAIJU movies. One of the topics of my work is YOSEGI-ZUKURI, a technique used in gigantic Buddhist statue sculptures, which has the use of the Shakkan method of measurements in maquette/miniature in common with tokusatsu, but tokusatsu expands them in the virtual and yosegi-zukuri expands them in real, like a mirrored function. 2022/01/12に公開- 指定なし1.37%60313 In Buddhist scripture, oni are depicted as beings with the power to connect humans with the natural world. Nature often attacks humans with terrible force. It sends down heavy rains, dries up the earth, shakes the ground, and diffuses epidemics. Heartless Nature, mercilessly and indiscriminately takes away many lives. Nature is a tremendous force and it is oni who have the power to control it. Therefore, oni have to have monstrous power. Oni sometimes protect the world in which people live. This is because they value the Buddhist Dharma = Buddhist Shinri, or the truth. YAMAN’s Oni is using his all to hold up a huge rock even with his monstrous power. This Oni first appeared at Hiyun-kaku, which is located in the southeast corner of Hongwanji Temple, Rokujo, Kyoto. I don't think it is a coincidence that Oni appeared in Hiyun-kaku where prayers, Buddhist bells and the voice of preaching echo. I have heard that this Oni is going to tour around the world. What kind of values will the Oni that appears in these cities of desire try to protect? The reflection of myself under Oni's feet seems to be telling me. TOMOO FUJIMARU Vice-President of Jodo Shinshu Hongwanji-ha Research Institute #keepallcritique 仏典では、鬼を、人間と自然界とを結び付ける力を持つ存在として描きます。自然は、しばしば、恐ろしい力で人間に襲い掛かります。大雨を降らせ、大地を干上がらせ、地を震わせ、感染症を流行させます。 心を持たない自然は、無慈悲に無分別に多くの命を奪っていきます。途方もない威力を出来させる自然、それを制御する力を持つのが鬼です。それ故、鬼は怪力の持ち主でなくてはなりません。鬼は、人びとの生きる世界を護ることがあります。それは、仏法＝真理を大切にするためです。 ナカヤマン。氏によって世に送り出された鬼は、いま怪力で巨岩を必死に支えています。この鬼が、最初に京都六条、本願寺の南東角にある飛雲閣に出現しました。念仏の声と梵鐘が響き、説法の声が聞こえる飛雲閣に鬼が出現したことが、故無しとは思えません。 さて、この鬼は、これから世界をめぐるとお聞きしています。欲望の都市に現れる鬼は、どのような価値を護ろうとするのでしょうか。鬼の足下に映りこむ私自身が、それを知らせてくれているようではありませんか。 浄土真宗本願寺派 総合研究所 副所長 藤丸智雄 2022/01/11に公開- 指定なしhttps://www.instagram.com/explore/tags/keepallcritique#keepallcritique0.82%3683@kanyewest2021/07/31に公開- 指定なし0.27%1167Used as a distorted definition in a movie with a famous actor who actually is high in its literacy2021/07/29に公開- 指定なし1.39%61610<前へ12345>次へ×インフルエンサーコンテンツCSVダウンロードフォロワー総数、フォロワー増減数、エンゲージメント数、エンゲージメント率ダウンロード※ データには投稿ID, キャプション, LIKE数, コメント数の他、投稿日, 投稿URL, Reel再生数, Reel動画尺, スクリーンネーム, 名前, 自己紹介, フォロワー数, ユーザーURLが含まれます。 コンテンツをCSVでダウンロード
ランキング
人気のタグ
コンテンツ(投稿)一覧
キーワード調査
動画分析(YouTube)
PR案件
アカウント情報
お問い合わせ
Haneda Airport 
日本 東京都
