Kenichiro Ishiguro 石黒 賢一郎

1967  Born in Shizuoka
1992  Graduated from Tama Art University, Faculty of Art, Oil Painting
1994  Master degree from Graduate School of Tama Art University
1999  Nichido Fine Award at 34th Showakai Exhibition (Galerie Nichido)
2001  Went to Spain, nominated by Agency of Cultural Affairs
2002  Studied at Universidad Complutense
2005  Applied for 24th Sompo Japan Museum of Art encouragement exhibition
          (Seiji Togo Memorial, Sompo Japan Museum of Art)
          2nd Beauty of Existence exhibition (Each store at Takashimaya)
2007  DOMANI: The Art of Tomorrow 2007
          (Seiji Togo Memorial, Sompo Japan Museum of Art)
          1st prize at 7th Kanji Maeda Special Prize
          (Takashimaya Nihonbashi, Kurayoshi Museum)
2010  HOKI Museum Opening Exhibition (HOKI Museum)
         +PLUS Tokyo Contemporary Art Fair (Gallery Suchi Booth)
          21th Beauty of Existence Exhibition, Member of Date City Institute of Funkawan Culture
          (Each store at Takashimaya, 2012)
2011  +PLUS The Art Fair (Gallery Suchi Booth, ~2012)
          Kenichiro Ishiguro×Yoshihiro Suda×Jon Ander del Arco (Gallery Suchi)

Solo Exhibition

1994  Gallery Koichi (Tokyo)
1998  Galerie Shimon (Tokyo)
2004  Galerie Nichido (Tokyo)
2007  Matsuzakaya Nagoya (Aichi)
2009  Art Fair Tokyo 2009 (Gallery Kogure Booth)

Official Web Site: http://www005.upp.so-net.ne.jp/ishiguro/

01.
我喜歡那種用行程和event把自己的生活一格格填起來的感覺。
本身像是俱有光明且帶來前進的移動體 (進行的, 活躍的, 有生命力的)
但在心態上卻要保持著閒來無事, 逛花園的情調
邊慵懶的走著, 邊索性地再向前方撒著麵包屑
今天的自己為明天的自己帶領著方向


02.
有意識地抗拒, 去回想任何的字字句句 從陌生人的口中
好多的疑惑從他們權威的座椅無知的腦袋散發出來
反正活到這把年紀, 我已開始練習不需活在需要別人理解與認同的階段。


03.
像是接觸進入知識那般純粹的喜悅...完全的
不帶有任何人的情緒
整個世界只上下知識與我, 好簡單又寧靜。


04.
他厭倦我了。刻意不理會我的留言
即使相隔地如此遠
我就知道沒有一個人會如此地有耐心地讓我折磨。當我的忠實觀眾
那不計付出的善意, 被包裝在自我價值被滿足的虛榮
那自戀性內部投射的以為是愛情, 往往通不過現實的一擊  


05.
copy & paste from facebook. 

“ 透明玻璃的廚房可以看到蛋糕放在一根長長得桿子上，然後ㄧ層ㄧ層烤熟均勻受熱，最後外面再反覆上幾層的糖霜，然後盒子包裝得很講究又重得要命。結果昨天回來後拆開吃ㄧ口!!太!!驚!!人!!了!!!好綿好有層次，外面的糖霜好脆好香 ”

這就是所謂的風格或語法。一看or一聽就知道不是同一人寫的。
直接, 不咬文嚼字, 不細膩, 也不做作。


06.
假如妳徹底的瞭解我, 你會完全地愛我, 也會完全地恨我

我不相信在圓融世界往來上的互動
那包含著太多的對於醜陋的隱藏及披著善意的糖衣
在人脈以及利益系統下的運作。 
但那沒有對錯, 整個真實你所看到的世界是這樣被建立起來的
 要能夠包容兩種體系的共存性。


07.
不要害怕衝突, 那是將你導向真相及自由的唯一途徑

如果可以, 請不要活在 寧願待在美好和平的霧裡
畫地自限為 認命且懦弱的傻瓜。

 (但可以活比較久倒是真的啦..哈)



08. 
想回香港了

你, 蹲得下來嘛

Teach Children Piano: Tips and Techniques

Rachmaninoff- Utyos/ The Rock (or The Crag)

From Wikipedia, the free encyclopedia 

The Rock, Op. 7 (or The Crag) (Russian: Утёс) (Utyos) is a fantasia or symphonic poem for orchestra written by Sergei Rachmaninoff in the summer of 1893. It is dedicated to Nikolai Rimsky-Korsakov.


Inspiration:

As an epigraph for the composition, Rachmaninoff chose a couplet from a poem by Russian poet Mikhail Lermontov:

The golden cloud slept through the night 
Upon the breast of the giant-rock 

He later admitted, however, to a second musical programme, drawn from a story by Anton Chekhov titled "Along the Way", in which a young girl meets an older man during a stormy, overnight stop at a roadside inn on Christmas Eve. The man shares with her the story of his life, beliefs, and past failures, as a blizzard rages on through the night.



History:

Rachmaninoff highly respected the older and accomplished composer Pyotr Ilyich Tchaikovsky, and in a meeting between the two at the home of Rachmaninoff's former teacher Sergei Taneyev, the younger composer was given the opportunity to perform his just completed piece at the piano. The Rock had a positive effect on Tchaikovsky, who had been discontented with an earlier performance of a four-hand piano arrangement of his latest symphony (the sixth) by another young composer, Lev Conus. The composer Mikhail Ippolitov-Ivanov recounted the event:

“ At the close of the evening [Rachmaninoff] acquainted us with the newly completed symphonic poem, The Crag.The poem pleased all very much, especially Pyotr Ilyich [Tchaikovsky], who was enthusiastic over its colorfulness. The performance of The Crag and our discussion of it must have diverted Pyotr Ilyich, for his former good-hearted mood came back to him. ”

Tchaikovsky asked to be allowed to include The Rock in the program of a forthcoming European concert tour. This was never realized, however, as Tchaikovsky died later that year.

The Symphony No. 11 in G minor, Op103

From Wikipedia, the free encyclopedia 

The Symphony No. 11 in G minor (Opus 103; subtitled The Year 1905) by Dmitri Shostakovich was written in 1957 and premiered by the USSR Symphony Orchestra under Natan Rakhlin on 30 October 1957. The subtitle of the symphony refers to the events of the Russian Revolution of 1905.
The symphony was conceived as a popular piece and proved an instant success in Russia—his largest, in fact, since the Leningrad Symphony just over a decade earlier. The work's popular success, plus Shostakovich's being awarded a Lenin Prize for it in April 1958, marked the composer's formal rehabilitation from the Zhdanov Doctrine of 1948.
A month after the composer had received the Lenin Prize, a Central Committee resolution "correcting the errors" of the 1948 decree restored all those affected by it to official favor, blaming their treatment on "J.V. Stalin's subjective attitude to certain works of art and the very adverse influence exercised on Stalin by Molotov, Malenkov and Beria.

Instrumentation:
The symphony is scored for 3 flutes (3rd doubling piccolo), 3 oboes (3rd doubling cor anglais), 3 clarinets (3rd doubling bass clarinet), 3 bassoons (3rd doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, triangle, snare drum, cymbals, orchestral bass drum, tam-tam, xylophone, tubular bells, 2 harps (preferably doubled), celesta and strings. "


Structure:
1.Adagio (The Palace Square)
2.Allegro (The 9th of January)
3.Adagio (Eternal Memory)
4.Allegro non troppo (Tocsin)


Most Mussorgskian symphony 

Regardless, Shostakovich considered this work his most "Mussorgskian" symphony. Mussorgsky for him symbolized two things—the people and recurrence. Since it was about the people who suffered as a result of the Bloody Sunday, he wrote it in a simple, direct manner. The people would basically be destined to suffer at the hands of indifferent autocrats; they would periodically protest in the name of humanity, only to be betrayed or punished. The composer reportedly told Solomon Volkov, "I wanted to show this recurrence in the Eleventh Symphony.... It's about the people, who have stopped believing because the cup of evil has run over." While this passage may have seemed far-fetched to some critics when Testimony first appeared, especially in the context of linking the symphony to the Hungarian Revolution, the concept of recurrence is reportedly one which has been central to Russian artists in the wake of that event and held tremendous significance among the intelligentsia in Russia.

The revolutionary song quotations in the work itself can support many interpretations: the first movement quotes a song, "Slushay!" ("Listen!") with the text "The autumn night is...black as the tyrant's conscience", while the final movement refers to one including the words "shame on you tyrants." Volkov compares this movement's juxtaposition of revolutionary songs (notably the Varshavianska song) to a cinematic montage, while quoting Anna Akhmatova's description of it as "white birds against a black sky." Some have argued that Shostakovich's inclusion of these songs make more explicit in the symphony the actual chain of consequences as well as events being explicitly portrayed—namely, that had Tsar Nicholas II listened to the people's demands and liberalized the government in 1905 to the point where widespread social change was enacted, there would not have been a recurrence of protest 12 years later to topple him from power.

Failing to listen, the tsar's head is bowed as he inherits the consequences portrayed in the symphony's finale. Thus, in Shostakovich's formal scheme for the symphony, denial of the people merely incites violence and a further cycle of recurrence. Cementing this message is the subtitle for the symphony's final movement, "Nabat" (translated in English as "tocsin" or "alarm" or "the alarm drum"). Nabat was a 19th-century review, edited by Narodnik Petr Tkachev, who was notorious for maintaining that nothing, however immoral, was forbidden from the true revolutionary. Tkachev advocated that revolution should be carried out by a small, motivated Party willing to use whatever means necessary, rather than by the people themselves.

Joselito Sabogal

the surreal magic of an invented world full of symbolisms
By Joan Lluís Montané

Joselito Sabogal expresses the capacity of the symbol to recreate a
world of allegorical appearances, using personages who have an elaborated 
character, emblematic, by the different thing that is, formed from extrapolating
its contents, its souls, trasmutando forms, adopting animals as if they 
were human personages, feminine figures as if they were symbols.

he constructs a symbolic, surreal world, in which the drawing is
fundamental. It outlines details, it emphasizes the outlines that
define faces, looks for to shape an animistic world, of spirits, of yearnings,
feelings and establishments.

The landscape is circumstantial, serves to him as drop curtain of
bottom to recreate in the idea. Its painting is elegant, sensual, elaborated from
the mental universes, of the states of the conscience. It confronts the
symbol from the perspective of the complexity, introducing several concepts
that come together in outlining a work arisen clearly from the world of the
dreams, that is product of the automatism but also of the mind opened
to the most overflowing imagination and the reflection nonfree of irony.

He establishes keys, tracks that help us to unravel the pictorial
narration.

I hear songs, I state musical notes, I contemplate work that seems to
float between scores, while the yearnings and desires follow there,
persistently located in the thematic one. Yearnings that are like sparks that jump
at night in half and which they are product of the accumulated energy by
its personages.

Yearnings, dreams that leave from a subconscious world, which they are
autentifican to themselves, that they develop an own iconography,
symbolic, allegorical, iconic, constructed, founded very well on the parameters
of desire.

In an unreal world, formed by beings who are half men half animals,
with landscapes that do not exist more than in their essential forms, trees
that are geometries, skies that are walls, forms in the space that have
replaced the clouds, earth that are soaked of shade, all it in line with the
sensation to be floating, to be weightlessness in the heat of, to
harness the surreales aspects.

Cultivator of the discipline of the drawing, presents to us his
facility in using the color by zones, here and there, nourishing shades, expressing
details.

He looks for with eagerness the negative pole that, in its case, is in
the positive pole, closely together of him.

There are shades, extrapolations of the light, absence of diaphanous 
luminosity, contrasting with the expressive treatment of the color, but
limiting range, to accentuate the magical symbolisms, that are based in
the onirismo and the acceptance of the subconscious mind like producing
machine of dreams.

The opposite poles are like own science, both necessary for the
reactions physical-chemistries. The dance of opposed is transformed into
establishment of an essential evidence to nourish the base of all trajectory.
He dreams in a magical world, in a succession of images in which the
true essence is the own mitificación.

He presents personages who are authentic, that has a very effective
personality. Always they are accompanied by the color, as foundation
of an evidence that generates freedom.

But he does not interest the chromatic explosividad to him, to
accentuate the personality of its composition, beings and elements that nourish
it.

What it really tries is to show without theatricalities, without using
excessive efectismos nor technical resources, by means of the austere
color,the fundamental elements that they introduce to us in the dynamics of
the surreal magicismo.

Joan Lluis Montane
Of the Association the Critical International



http://www.joselitosabogal.com/ingles.html

my soho/ homeschool's life.

it's kind of wonderful, isn't it?
follow by my own schedule.
do whatever I want.

(I'm free, I'm free, I'm free, I'm free, I'm free ! )


if I can get the stable income and some performance chances,
it will be perfect!

it's about time, move your ass
Let's go practitce!

Just saw friend's status on Facebook, she said: "This is Life."
HaHaHa.

In my viewpoint, 
you can choose which position you wanna be.
or you can choose jump off by yourself !  

but do ever never push other people if they still wanna struggle.
that's not cute. 

Paul Fenniak, b.1965

Canadian painter, Paul Fenniak’s paints detailed psychological portraits and figures in settings with implied action. Deep in thought, Fenniak’s subject are contemporary in setting but reminiscent of studied portraits that follow the tradition of the late Raphael Soyer, who is also represented by Forum Gallery.

Paul Fenniak’s paintings have luminous surfaces and compelling images that offer a combination of disquiet, uncertainty, urgency, calm, and spirituality. His painting style contains a contrast of inner light with his attention to detail, texture and atmosphere.  


                                                         - Forum Gallery

http://www.paulfenniak.com/index.html

it's a subtle and interesting feeling that your feeling for people will be changed by the different occasion, timing, or event.

As my mentor Mr. Bhagwan-Shree-Rajneesh whatever said, emotion in Latin means "fluid"
No wonder if someone wanna divorce from theirs spouse, mostly, they still care about theirs offspring but spouse. They may used money and costly gifts to compensate kids for lack of accompanying.
or you can interpret it is an extension of parent's narcissism. It was embedded in human's gene for the past hundred million years, the distinction between human being and animal, so-called Love.

It is the only thing won't be changed by the outside circumstances. The only thing everyone have it when they born without any efforts. The only thing you don't need to rely on the law to be protected.





To be continued........

 

MUSIC REVIEW

Composer Can’t Complain About the Piano Player

Stephen Hough at Carnegie Hall

By ANTHONY TOMMASINI

It is hard for concertgoers today to imagine what it must have been like in the early decades of the 20th century, when towering composers who were also extraordinary pianists, like Rachmaninoff, Prokofiev and Bartok, performed their own works. We have some invaluable recordings, of course. But hearing these composers playing their music when it was new must have been overwhelming.

The audience at Carnegie Hall on Monday was given a taste of what that once common experience was like when the British pianist Stephen Hough played the New York premiere of his Piano Sonata No. 2, “Notturno Luminoso,” composed last year. This demanding program also offered works by Chopin, Brahms and Schumann.

At 51, Mr. Hough has established himself as an extraordinary pianist, a thinking person’s virtuoso. Whether he is a towering composer is another question. Music history usually takes some time to make those calls. And, from this one hearing, I cannot claim that Mr. Hough’s Second Sonata is destined for a slot in the repertory.

But it is an exhilarating and inventive piece, brilliantly conceived for the piano. Mr. Hough, a polymath who also conducts, paints and writes poetry, is a lively writer on music who contributes a blog to The Daily Telegraph in London that is essential reading. Not surprisingly, he wrote a vividly detailed program note for his sonata.

The title “Notturno Luminoso” is meant to suggest the experience of a fantasy on a sleepless night in a brash city setting. As the piece, loosely organized in three parts, opens, we hear steely chords thick with clusters, like Messiaen’s harmonies but with a touch of bracing Copland or early Carter.

The theme, such as it is, emerges like a clangorous chorale. As the music builds in momentum, there are bursts of passagework that hover on a stylistic divide between frenetic jazz and ecstatic Messiaen.

The middle section is a “blizzard,” to use Mr. Hough’s apt description, of swirling, harmonically spiky runs that span the keyboard. Finally a halting theme breaks through — stirring, somber and intentionally Romantic.

The final section takes us back to the ambiguously clangorous/celestial music of the opening episode. By the end, the music settles into mellow chords with lingering, fidgety thoughts. This piece could be Mr. Hough’s answer to a work like Carter’s “Night Fantasies.”

Mr. Hough opened his program with beautifully subdued and ethereal accounts of Chopin’s Two Nocturnes (Op. 27). He then turned to Brahms’s Sonata No. 3 in F minor. In this 35-minute, five-movement work, you hear the 20-year-old Brahms striving to make a monumental statement. The piece may be structurally unshapely. And Brahms expected the piano to summon symphonic cascades of sound. But Mr. Hough conveyed the mix of youthful hubris and visionary daring in the piece, playing with dashing vitality and color.

He ended with a wonderfully impetuous, sometimes wild but captivating account of Schumann’s “Carnaval.” Coming after his own daunting piano sonata, this virtuosic Schumann work seemed almost easy by contrast, at least as played here by the tireless Mr. Hough.

Andres Schiff: the lectures| Classical and Opera|

http://music.guardian.co.uk/classical/page/0,,1943867,00.html

"His relationships are all contingent, contractual, and ephemeral."

"Harrison had turned social awkwardness into a form of power.
The more cryptic he become, the more everyone had to attend to him"

"Ben, I'm pregnant."