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Design | casabrutus.com | photo_Shin-ichi Yokoyama text_Jun Ishida editor_Keiko Kusano","subtitle":"〈東京都庭園美術館〉で開催中の『奇想のモード装うことへの狂気、またはシュルレアリスム』。過去から現在にいたるエキセントリックな作品群が、アートとファッションの新たな可能性を見出させる。\r\n","tableOfContents":null,"tableOfContentsTitle":null,"page":[{"pageTitle":"","section":[{"imageTitle":"","exam_id":"","exam_image":null,"exam_image_credit":"","movie":"","movieStart":"","movieCaption":"","subBody":"アートとファッションのコラボレーションはもはや一般的なものになったが、いま以上にこの2つが距離を縮めた時代があった。\r\n\r\n1930年代、『ヴォーグ』の表紙をサルヴァドール・ダリやジョルジョ・デ・キリコが飾り、店のショーウィンドウにはシュルレアリスム風のディスプレイが登場した。そして当時ココ・シャネルのライバルであったエルザ・スキャパレリは、ダリとのコラボレーションを始め、シュルレアリスムにヒントを得た作品を多く発表した。\r\n\r\nこうしたアートとファッションのコラボレーションの原点へと思いを馳せる展覧会『奇想のモード装うことへの狂気、またはシュルレアリスム』が、〈東京都庭園美術館〉で行われている。","image_set":[{"image":{"id":220839,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":736,"file":"2023/02/0203MODESURREAL_0001_1104.jpg","sizes":{}},"post":220649,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2023/02/0203MODESURREAL_0001_1104.jpg"},"caption":"展覧会の幕開けを飾る本館ロビーには、サルヴァドール・ダリの《炎の女》（1980年）、《抽き出しのあるミロのヴィーナス》（1956-64年）とともに、ヤン・ファーブルの《甲冑（カラー）》（1996-2002年）が展示。\r\n","disable_captipn":0}]},{"imageTitle":"","exam_id":"","exam_image":null,"exam_image_credit":"","movie":"","movieStart":"","movieCaption":"","subBody":"奇想という言葉からまず思い出すのは、美術史家の辻惟雄による著作『奇想の系譜』だ。辻は「＜奇想＞という言葉は、エキセントリックの度合いの多少にかかわらず、困難の殻を打ち破る、自由で斬新な発想のすべてを包括できる」（辻惟雄『奇想の系譜』あとがきより）と述べ、伊藤若冲ら6名の画家を日本近世絵画史の中に位置付けた。そして、この「奇想のモード」展で担当学芸員の神保京子が試みるのは、奇想の系譜をモードの歴史の中に見出すことである。\r\n\r\n展覧会の最初の部屋に登場するのは、『ファーブル昆虫記』のアンリ・ファーブルを曾祖父に持つヤン・ファーブルによる玉虫の羽を用いたアート作品《甲冑》だ。展示では、他にも昆虫や動物の身体の一部を用いたアクセサリーや靴が登場する。神保学芸員は、近年ではタブーになりつつある生物を身にまとう行為について次のように述べる。\r\n\r\n「有機的な生物を身にまとうというのは、現代の私たちから見れば奇想天外に見えるかもしれませんが、植物を編んだものや毛皮を着用するという行為は自然な営みでした。狩猟文化では、雷鳥の足の先をお守りやアクセサリーとして身につけました。身近にある生き物の一部を即物的に身につけるというのは、初源的な行為だったのです」\r\n","image_set":[{"image":{"id":220840,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":1380,"file":"2023/02/0203MODESURREAL_0008_1104.jpg","sizes":{}},"post":220649,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2023/02/0203MODESURREAL_0008_1104.jpg"},"caption":" センターにあるのは現代美術家の小谷元彦による人毛を三つ編みし作ったドレス《ダブル・エッジド・オブ・ソウト（ドレス02）》（1997年｜毛髪｜金沢21世紀美術館蔵）。","disable_captipn":0},{"image":{"id":220687,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":1380,"file":"2023/02/0203MODESURREAL_0007_1104.jpg","sizes":{}},"post":220649,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2023/02/0203MODESURREAL_0007_1104.jpg"},"caption":"トロンプ＝ルイユ（騙し絵）は、シュルレアリストたちが好んだ手法の一つ。右／身体を覆う髪の毛のように見えるマルタン・マルジェラのプリントドレス（2004年秋冬）。左／人工毛で作られた永澤陽一の《ボディ・アクセサリー》（2004年春夏）\r\n","disable_captipn":0},{"image":{"id":220690,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":1380,"file":"2023/02/0203MODESURREAL_0031_1104.jpg","sizes":{}},"post":220649,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2023/02/0203MODESURREAL_0031_1104.jpg"},"caption":"1930年代にはシュルレアリスムの影響を受けたイラストが『ハーパース・バザー』や『ヴォーグ』の表紙を飾った。イラストレーター、アドルフ・ムーロン・カッサンドルによる『ハーパース・バザー』1938年10月号表紙（右）と、シュルレアリストが度々用いた目のモチーフをあしらったハリー・ゴードンによる《ポスタードレス》（1968年頃。左）。","disable_captipn":0}]},{"imageTitle":"","exam_id":"","exam_image":null,"exam_image_credit":"","movie":"","movieStart":"","movieCaption":"","subBody":"","image_set":[{"image":{"id":220686,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":1380,"file":"2023/02/0203MODESURREAL_0003_1104.jpg","sizes":{}},"post":220649,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2023/02/0203MODESURREAL_0003_1104.jpg"},"caption":"シュルレアリスムをモードの世界に取り入れたエルザ・スキャパレッリのコーナー。右のドレス（1935年夏）は、マッチ棒を柄として取り入れ、日常のものが思いもかけぬ場所に現れるというシュルレアリスムの思想にもつながる。\r\n","disable_captipn":0}]}],"button":[],"description":[],"profile":[]},{"pageTitle":"","section":[{"imageTitle":"","exam_id":"","exam_image":null,"exam_image_credit":"","movie":"","movieStart":"","movieCaption":"","subBody":"「奇想」と共に展覧会のキーワードとなっているのは「シュルレアリスム」だ。「シュルレアリスム」は、1924年に詩人のアンドレ・ブルトンが『シュルレアリスム宣言』を発表し、アートの大きな潮流の一つとなるが、神保は「超現実（シュルレアル）に対する人間の感覚は、『シュルレアリスム宣言』以前からもあったと思いますし、それ以降、現在とも地続きである」と述べ、同時代のエルザ・スキャパレッリはもちろんのこと、マルタン・マルジェラやヴィヴィアン・ウエストウッドらファッションデザイナーのコレクションもその系譜に位置付ける。\r\n\r\n「シュルレアリスムが生まれた時代は、戦争の影響が強いと思います。第一次世界大戦の終結と共に、それまで抑圧されていた精神が解放され、今までの価値観や認識が否定されます。そこに世界に対して疑問符を抱き、正しいことを自分で見極めようとする、革新的な精神が生まれました」\r\n\r\n抑圧への反動から生まれる爆発的なエネルギー、既成概念への疑問符。確かにそれらはその後のファッションデザイナーたちを突き動かし、時代を変えるコレクションが生み出された。\r\n","image_set":[{"image":{"id":220692,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":736,"file":"2023/02/0203MODESURREAL_0042_1104.jpg","sizes":{}},"post":220649,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2023/02/0203MODESURREAL_0042_1104.jpg"},"caption":"シュルレアリスムのアーティスト、メレット・オッペンハイムによる《手袋》（1955年）と、彼女を特集した現代美術の雑誌『パルケット』（うらわ美術館蔵）に掲載されたページ。オッペンハイムはスキャパレッリに依頼され装身具のデザインも行っていた。\r\n","disable_captipn":0},{"image":{"id":220693,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":741,"file":"2023/02/0203MODESURREAL_0044_1104.jpg","sizes":{}},"post":220649,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2023/02/0203MODESURREAL_0044_1104.jpg"},"caption":"《贈り物》（1921/72年）と題されたマン・レイによるオブジェと写真作品《イジドール・デュカスの謎》（1920年）。写真の布で覆われたオブジェはミシンで、ロートレアモン（本名はイジドール・デュカス）による『マルドロールの詩』の一節「ミシンと蝙蝠傘が解剖台の上で出会った様に美しい」から着想を得たという。","disable_captipn":0}]},{"imageTitle":"","exam_id":"","exam_image":null,"exam_image_credit":"","movie":"","movieStart":"","movieCaption":"","subBody":"","image_set":[{"image":{"id":220691,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":1380,"file":"2023/02/0203MODESURREAL_0041_1104.jpg","sizes":{}},"post":220649,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2023/02/0203MODESURREAL_0041_1104.jpg"},"caption":"ダリによる《象徴的機能を持つシュルレアリスム的オブジェ》（1933-77年）。オブジェ的要素の強い靴は、シュルレアリストたちにインスピレーションを与えた。\r\n","disable_captipn":0},{"image":{"id":220694,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":1380,"file":"2023/02/0203MODESURREAL_0054_1104.jpg","sizes":{}},"post":220649,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2023/02/0203MODESURREAL_0054_1104.jpg"},"caption":"ザハ・ハディドがユナイテッド・ヌードとコラボレーションした靴《NOVA shoe》（2013年）。ザハ・ハディドもまた奇想のデザイナーに位置付けられる。ユナイテッド・ヌードのデザイナーであるレム・D .コールハースは、建築家レム・コールハースの甥にあたる。","disable_captipn":0}]},{"imageTitle":"","exam_id":"","exam_image":null,"exam_image_credit":"","movie":"","movieStart":"","movieCaption":"","subBody":"「奇想」と「シュルレアリスム」で貫かれた展覧会の最後に登場するのは、この二つの精神を受け継ぐ現代のアーティストやデザイナーたちだ。新館には、ユアサエボシ、舘鼻則孝、串野真也、そして串野と尾崎ヒロミ（スプツニ子！）のアートユニットANOTHER FARMによる作品が登場する。","image_set":[{"image":{"id":220841,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":736,"file":"2023/02/0203MODESURREAL_0055_1104.jpg","sizes":{}},"post":220649,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2023/02/0203MODESURREAL_0055_1104.jpg"},"caption":"新館では奇想の系譜に連なる現代日本の作家を紹介。最初に登場するのはユアサエボシで、シュルレアリスム宣言と同じ1924年に生まれた架空の三流画家としての略歴と絵画３点《着衣のトルソーと燃えている服》、《着衣のトルソーの二匹の魚》、《着衣のトルソーと八つの砲弾》（2021年）を展示。\r\n","disable_captipn":0}]},{"imageTitle":"","exam_id":"","exam_image":null,"exam_image_credit":"","movie":"","movieStart":"","movieCaption":"","subBody":"この4組を選んだ理由について神保は「作品のインパクトで選んだ」と述べる。\r\n\r\n「奇想のモードとシュルレアリスムに共通するのは、傑出した表現です。モードもシュルレアリスムも革命的意識によって時代を切り開き、新たな世界の認識を提示していきました」\r\n\r\n時代を先へと進めるものたちの精神は、今も受け継がれ、クリエイションの可能性を広げてゆく。\r\n","image_set":[{"image":{"id":220842,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":1380,"file":"2023/02/0203MODESURREAL_0059_1104.jpg","sizes":{}},"post":220649,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2023/02/0203MODESURREAL_0059_1104.jpg"},"caption":"舘鼻則孝によるヒールレスシューズのインスタレーション（2021年）。「踵（ヒール）は高い位置に置かれるのにヒールはないという逆説的な作品」（神保学芸員）は、シュルレアリスムの思考に通じる。","disable_captipn":0},{"image":{"id":220843,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":1380,"file":"2023/02/0203MODESURREAL_0066_1104.jpg","sizes":{}},"post":220649,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2023/02/0203MODESURREAL_0066_1104.jpg"},"caption":"伊藤若冲の絵画にインスパイアーされたという、ファッションデザイナー串野真也の《Soukei》（2020年）。串野は異なる動物の部位を組み合わせた靴を作り、最後に人間が履くことで一つの生命の塊になるというコンセプトを掲げている。","disable_captipn":0}]},{"imageTitle":"","exam_id":"","exam_image":null,"exam_image_credit":"","movie":"","movieStart":"","movieCaption":"","subBody":"","image_set":[{"image":{"id":220844,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":736,"file":"2023/02/0203MODESURREAL_0072_1104.jpg","sizes":{}},"post":220649,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2023/02/0203MODESURREAL_0072_1104.jpg"},"caption":"串野と尾崎ヒロミ（スプツニ子!）によるアートユニット、ANOTHER FARMによるドレス《Modified Paradice》（2018年）。クラゲや珊瑚の遺伝子を組み込み発光体となった蚕から生み出されたシルクを用いているため、ドレスが暗闇の中で光を放つ。\r\n","disable_captipn":0},{"image":{"id":220845,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":736,"file":"2023/02/0203MODESURREAL_0091_1104.jpg","sizes":{}},"post":220649,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2023/02/0203MODESURREAL_0091_1104.jpg"},"caption":"《Modified Paradice》（2018年）部分。\r\n","disable_captipn":0}]}],"button":[{"url":"https://www.teien-art-museum.ne.jp/","text":"公式サイト","color":"","image":{"id":0,"alt_text":false,"caption":"〈東京都庭園美術館〉で開催中の『奇想のモード装うことへの狂気、またはシュルレアリスム』。過去から現在にいたるエキセントリックな作…","description":"","media_type":"file","media_details":{"sizes":{}},"post":null,"source_url":false},"eventcategory":""}],"description":[{"descriptionImage":{"id":0,"alt_text":false,"caption":"〈東京都庭園美術館〉で開催中の『奇想のモード装うことへの狂気、またはシュルレアリスム』。過去から現在にいたるエキセントリックな作…","description":"","media_type":"file","media_details":{"sizes":{}},"post":null,"source_url":false},"title":"奇想のモード装うことへの狂気、またはシュルレアリスム","body":"〈東京都庭園美術館〉東京都港区白金台5-21-9。～2022年4月10日。10時〜18時。月曜休（ただし3月21日は開館、3月22日は休館）。","descriptionMapLink":"https://goo.gl/maps/yzvqwJrX7mKD3V916"}],"profile":[]}],"promotion":0,"hideAD":0,"iconSpecial":0,"hideFromFeed":0,"ogimage":{"id":221069,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1200,"height":628,"file":"2023/02/0203MODESURREAL_1200.jpg","sizes":{}},"post":220649,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2023/02/0203MODESURREAL_1200.jpg"}},"_links":{"self":[{"href":"https://wp2022.casabrutus.com/wp-json/wp/v2/posts/220649"}],"collection":[{"href":"https://wp2022.casabrutus.com/wp-json/wp/v2/posts"}],"about":[{"href":"https://wp2022.casabrutus.com/wp-json/wp/v2/types/post"}],"author":[{"embeddable":true,"href":"https://wp2022.casabrutus.com/wp-json/wp/v2/users/34"}],"replies":[{"embeddable":true,"href":"https://wp2022.casabrutus.com/wp-json/wp/v2/comments?post=220649"}],"version-history":[{"count":76,"href":"https://wp2022.casabrutus.com/wp-json/wp/v2/posts/220649/revisions"}],"predecessor-version":[{"id":307474,"href":"https://wp2022.casabrutus.com/wp-json/wp/v2/posts/220649/revisions/307474"}],"wp:featuredmedia":[{"embeddable":true,"href":"https://wp2022.casabrutus.com/wp-json/wp/v2/media/221067"}],"wp:attachment":[{"href":"https://wp2022.casabrutus.com/wp-json/wp/v2/media?parent=220649"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https://wp2022.casabrutus.com/wp-json/wp/v2/categories?post=220649"},{"taxonomy":"post_tag","embeddable":true,"href":"https://wp2022.casabrutus.com/wp-json/wp/v2/tags?post=220649"},{"taxonomy":"serial_cat","embeddable":true,"href":"https://wp2022.casabrutus.com/wp-json/wp/v2/serial_cat?post=220649"},{"taxonomy":"cooking_expert_cat","embeddable":true,"href":"https://wp2022.casabrutus.com/wp-json/wp/v2/cooking_expert_cat?post=220649"},{"taxonomy":"cooking_tag","embeddable":true,"href":"https://wp2022.casabrutus.com/wp-json/wp/v2/cooking_tag?post=220649"},{"taxonomy":"cityguide_cat","embeddable":true,"href":"https://wp2022.casabrutus.com/wp-json/wp/v2/cityguide_cat?post=220649"}],"curies":[{"name":"wp","href":"https://api.w.org/{rel}","templated":true}]}},"isGallery":false,"relatedPosts":[{"id":133469,"date":"2020-03-08T19:24:32","link":"https://casabrutus.com/categories/travel/133469","title":{"rendered":"最新号『2020年京都の旅。』発売中！"},"featured_media":{"id":133480,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":380,"height":380,"file":"2021/03/casabrutus202004_380.jpg","sizes":{}},"post":133469,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2021/03/casabrutus202004_380.jpg"},"primary_category":{"term_id":9,"name":"Travel","slug":"travel","term_group":0,"term_taxonomy_id":9,"taxonomy":"category","description":"","parent":0,"count":1269,"filter":"raw","term_order":"7","cat_ID":9,"category_count":1269,"category_description":"","cat_name":"Travel","category_nicename":"travel","category_parent":0,"disable_ads":false},"custom_fields_light":{"promotion":0,"free_labels":[]}},{"id":180850,"date":"2021-04-07T11:55:15","link":"https://casabrutus.com/categories/design/180850","title":{"rendered":"ヴァーチャルで巡る。名作靴を生み出した〈サルヴァトーレフェラガモ〉のシルクの歴史。"},"featured_media":{"id":180874,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":310,"height":310,"file":"2022/04/0402_Ferragamo_310_01.jpg","sizes":{}},"post":180850,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2022/04/0402_Ferragamo_310_01.jpg"},"primary_category":{"term_id":4,"name":"Design","slug":"design","term_group":0,"term_taxonomy_id":4,"taxonomy":"category","description":"","parent":0,"count":5729,"filter":"raw","term_order":"1","cat_ID":4,"category_count":5729,"category_description":"","cat_name":"Design","category_nicename":"design","category_parent":0,"disable_ads":false},"custom_fields_light":{"promotion":0,"free_labels":[]}},{"id":192638,"date":"2021-07-14T16:55:52","link":"https://casabrutus.com/categories/art/192638","title":{"rendered":"【まとめ】藤森照信、草間彌生、会田誠ら9組のアーティストによるパビリオン。その全貌をレポート！"},"featured_media":{"id":193054,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":750,"height":750,"file":"2022/07/0714FUJIMOTO__BFU7302_750.jpg","sizes":{}},"post":192638,"source_url":"https://wp2022.casabru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"}}],["$","$L42",null,{"page":[{"pageTitle":"","section":[{"imageTitle":"","exam_id":"","exam_image":null,"exam_image_credit":"","movie":"","movieStart":"","movieCaption":"","subBody":"アートとファッションのコラボレーションはもはや一般的なものになったが、いま以上にこの2つが距離を縮めた時代があった。\r\n\r\n1930年代、『ヴォーグ』の表紙をサルヴァドール・ダリやジョルジョ・デ・キリコが飾り、店のショーウィンドウにはシュルレアリスム風のディスプレイが登場した。そして当時ココ・シャネルのライバルであったエルザ・スキャパレリは、ダリとのコラボレーションを始め、シュルレアリスムにヒントを得た作品を多く発表した。\r\n\r\nこうしたアートとファッションのコラボレーションの原点へと思いを馳せる展覧会『奇想のモード装うことへの狂気、またはシュルレアリスム』が、〈東京都庭園美術館〉で行われている。","image_set":[{"image":{"id":220839,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":736,"file":"2023/02/0203MODESURREAL_0001_1104.jpg","sizes":{}},"post":220649,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2023/02/0203MODESURREAL_0001_1104.jpg"},"caption":"展覧会の幕開けを飾る本館ロビーには、サルヴァドール・ダリの《炎の女》（1980年）、《抽き出しのあるミロのヴィーナス》（1956-64年）とともに、ヤン・ファーブルの《甲冑（カラー）》（1996-2002年）が展示。\r\n","disable_captipn":0}]},{"imageTitle":"","exam_id":"","exam_image":null,"exam_image_credit":"","movie":"","movieStart":"","movieCaption":"","subBody":"奇想という言葉からまず思い出すのは、美術史家の辻惟雄による著作『奇想の系譜』だ。辻は「＜奇想＞という言葉は、エキセントリックの度合いの多少にかかわらず、困難の殻を打ち破る、自由で斬新な発想のすべてを包括できる」（辻惟雄『奇想の系譜』あとがきより）と述べ、伊藤若冲ら6名の画家を日本近世絵画史の中に位置付けた。そして、この「奇想のモード」展で担当学芸員の神保京子が試みるのは、奇想の系譜をモードの歴史の中に見出すことである。\r\n\r\n展覧会の最初の部屋に登場するのは、『ファーブル昆虫記』のアンリ・ファーブルを曾祖父に持つヤン・ファーブルによる玉虫の羽を用いたアート作品《甲冑》だ。展示では、他にも昆虫や動物の身体の一部を用いたアクセサリーや靴が登場する。神保学芸員は、近年ではタブーになりつつある生物を身にまとう行為について次のように述べる。\r\n\r\n「有機的な生物を身にまとうというのは、現代の私たちから見れば奇想天外に見えるかもしれませんが、植物を編んだものや毛皮を着用するという行為は自然な営みでした。狩猟文化では、雷鳥の足の先をお守りやアクセサリーとして身につけました。身近にある生き物の一部を即物的に身につけるというのは、初源的な行為だったのです」\r\n","image_set":[{"image":{"id":220840,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":1380,"file":"2023/02/0203MODESURREAL_0008_1104.jpg","sizes":{}},"post":220649,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2023/02/0203MODESURREAL_0008_1104.jpg"},"caption":" センターにあるのは現代美術家の小谷元彦による人毛を三つ編みし作ったドレス《ダブル・エッジド・オブ・ソウト（ドレス02）》（1997年｜毛髪｜金沢21世紀美術館蔵）。","disable_captipn":0},{"image":{"id":220687,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":1380,"file":"2023/02/0203MODESURREAL_0007_1104.jpg","sizes":{}},"post":220649,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2023/02/0203MODESURREAL_0007_1104.jpg"},"caption":"トロンプ＝ルイユ（騙し絵）は、シュルレアリストたちが好んだ手法の一つ。右／身体を覆う髪の毛のように見えるマルタン・マルジェラのプリントドレス（2004年秋冬）。左／人工毛で作られた永澤陽一の《ボディ・アクセサリー》（2004年春夏）\r\n","disable_captipn":0},{"image":{"id":220690,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":1380,"file":"2023/02/0203MODESURREAL_0031_1104.jpg","sizes":{}},"post":220649,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2023/02/0203MODESURREAL_0031_1104.jpg"},"caption":"1930年代にはシュルレアリスムの影響を受けたイラストが『ハーパース・バザー』や『ヴォーグ』の表紙を飾った。イラストレーター、アドルフ・ムーロン・カッサンドルによる『ハーパース・バザー』1938年10月号表紙（右）と、シュルレアリストが度々用いた目のモチーフをあしらったハリー・ゴードンによる《ポスタードレス》（1968年頃。左）。","disable_captipn":0}]},{"imageTitle":"","exam_id":"","exam_image":null,"exam_image_credit":"","movie":"","movieStart":"","movieCaption":"","subBody":"","image_set":[{"image":{"id":220686,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":1380,"file":"2023/02/0203MODESURREAL_0003_1104.jpg","sizes":{}},"post":220649,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2023/02/0203MODESURREAL_0003_1104.jpg"},"caption":"シュルレアリスムをモードの世界に取り入れたエルザ・スキャパレッリのコーナー。右のドレス（1935年夏）は、マッチ棒を柄として取り入れ、日常のものが思いもかけぬ場所に現れるというシュルレアリスムの思想にもつながる。\r\n","disable_captipn":0}]}],"button":[],"description":[],"profile":[]},{"pageTitle":"","section":[{"imageTitle":"","exam_id":"","exam_image":null,"exam_image_credit":"","movie":"","movieStart":"","movieCaption":"","subBody":"「奇想」と共に展覧会のキーワードとなっているのは「シュルレアリスム」だ。「シュルレアリスム」は、1924年に詩人のアンドレ・ブルトンが『シュルレアリスム宣言』を発表し、アートの大きな潮流の一つとなるが、神保は「超現実（シュルレアル）に対する人間の感覚は、『シュルレアリスム宣言』以前からもあったと思いますし、それ以降、現在とも地続きである」と述べ、同時代のエルザ・スキャパレッリはもちろんのこと、マルタン・マルジェラやヴィヴィアン・ウエストウッドらファッションデザイナーのコレクションもその系譜に位置付ける。\r\n\r\n「シュルレアリスムが生まれた時代は、戦争の影響が強いと思います。第一次世界大戦の終結と共に、それまで抑圧されていた精神が解放され、今までの価値観や認識が否定されます。そこに世界に対して疑問符を抱き、正しいことを自分で見極めようとする、革新的な精神が生まれました」\r\n\r\n抑圧への反動から生まれる爆発的なエネルギー、既成概念への疑問符。確かにそれらはその後のファッションデザイナーたちを突き動かし、時代を変えるコレクションが生み出された。\r\n","image_set":[{"image":{"id":220692,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":736,"file":"2023/02/0203MODESURREAL_0042_1104.jpg","sizes":{}},"post":220649,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2023/02/0203MODESURREAL_0042_1104.jpg"},"caption":"シュルレアリスムのアーティスト、メレット・オッペンハイムによる《手袋》（1955年）と、彼女を特集した現代美術の雑誌『パルケット』（うらわ美術館蔵）に掲載されたページ。オッペンハイムはスキャパレッリに依頼され装身具のデザインも行っていた。\r\n","disable_captipn":0},{"image":{"id":220693,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":741,"file":"2023/02/0203MODESURREAL_0044_1104.jpg","sizes":{}},"post":220649,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2023/02/0203MODESURREAL_0044_1104.jpg"},"caption":"《贈り物》（1921/72年）と題されたマン・レイによるオブジェと写真作品《イジドール・デュカスの謎》（1920年）。写真の布で覆われたオブジェはミシンで、ロートレアモン（本名はイジドール・デュカス）による『マルドロールの詩』の一節「ミシンと蝙蝠傘が解剖台の上で出会った様に美しい」から着想を得たという。","disable_captipn":0}]},{"imageTitle":"","exam_id":"","exam_image":null,"exam_image_credit":"","movie":"","movieStart":"","movieCaption":"","subBody":"","image_set":[{"image":{"id":220691,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":1380,"file":"2023/02/0203MODESURREAL_0041_1104.jpg","sizes":{}},"post":220649,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2023/02/0203MODESURREAL_0041_1104.jpg"},"caption":"ダリによる《象徴的機能を持つシュルレアリスム的オブジェ》（1933-77年）。オブジェ的要素の強い靴は、シュルレアリストたちにインスピレーションを与えた。\r\n","disable_captipn":0},{"image":{"id":220694,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":1380,"file":"2023/02/0203MODESURREAL_0054_1104.jpg","sizes":{}},"post":220649,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2023/02/0203MODESURREAL_0054_1104.jpg"},"caption":"ザハ・ハディドがユナイテッド・ヌードとコラボレーションした靴《NOVA shoe》（2013年）。ザハ・ハディドもまた奇想のデザイナーに位置付けられる。ユナイテッド・ヌードのデザイナーであるレム・D .コールハースは、建築家レム・コールハースの甥にあたる。","disable_captipn":0}]},{"imageTitle":"","exam_id":"","exam_image":null,"exam_image_credit":"","movie":"","movieStart":"","movieCaption":"","subBody":"「奇想」と「シュルレアリスム」で貫かれた展覧会の最後に登場するのは、この二つの精神を受け継ぐ現代のアーティストやデザイナーたちだ。新館には、ユアサエボシ、舘鼻則孝、串野真也、そして串野と尾崎ヒロミ（スプツニ子！）のアートユニットANOTHER 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FARMによるドレス《Modified Paradice》（2018年）。クラゲや珊瑚の遺伝子を組み込み発光体となった蚕から生み出されたシルクを用いているため、ドレスが暗闇の中で光を放つ。\r\n","disable_captipn":0},{"image":{"id":220845,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":736,"file":"2023/02/0203MODESURREAL_0091_1104.jpg","sizes":{}},"post":220649,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2023/02/0203MODESURREAL_0091_1104.jpg"},"caption":"《Modified 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