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hoseobyoon

(2003-08-12 11:09:48 )

Subject

Tanaka Ikko 작품전 강연회 안내

일본의 디자이너중 제가 가장 좋아하는 디자이너
타나카 잇꼬 작품전 안내 메일이 들어와 여기에 올립니다.

디자이너의 조형적 자존심이 대중의 문화적 시각환경구성에
어떤 역할을 하게되는지 통열하게 보여줍니다.

그는 일본뿐만 아니라 동양의 그래픽디자인을 세계화하는데
앞장선 천재적인 디자이너, Graphic Master였습니다.

그의 완성미에 다다른 귀한 작품들을 어떻게 전시했을지
기대와 불안이 앞서기도 합니다.

어떻해서든 시간을 내어 참관하길 권유합니다.

윤호섭.

              *              *              *

전통과 모던디자인-다나카 잇코 포스터전

일본 그래픽·디자인의 거장 다나카 잇코(田中一光)의 개인전이
일본국제교류기금 서울문화센터에서 8월 27일부터 9월 28일까지 열린다.
다나카 잇코는 일본 그래픽·디자인계의 중핵적 인물로 평가될 뿐 아니라,
세계적으로도 인정 받은 일본 디자인계의 대가이다. 포스터에서
그래픽·아트, 칼렌더, 북·디자인, 로고·타입, 토탈·이미지·메이킹에
이르기까지 디자인이 활용되는 모든 장르를
넘나들며, 50여년에 걸쳐 5천 점이 넘는 작품을 완성했다.
「산케이칸제노」시리즈,「Nihon Buyo」,「인간과 문자」시리즈,
그가 개발한 서체인 고쵸체(光朝體) 작품 등 약 50여 점이 소개되는
이번 전시를 통하여 다나카 잇코의 다양한 작품에 일관되게 존재하는
고유의 스타일을 느낄 수 있을 것이다.

전시 기간 중, 9월 5일(금)에는 일본의 대표적인 디자인 평론가
가시와기 히로시 씨의 강연회를 개최한다.
일본 그래픽·디자인의 성장과정과 그 속에서 끊임없이 디자인에
도전해 온 다나카 잇코의 스타일을 영상 자료와 함께 만나볼 수 있는
좋은 기회가 될 것이다.

일 시 : 2003년 8월 27일(수)~ 9월 28일(일)
장 소 : 일본국제교류기금 서울문화센터(지도보기)

강연회 - 전후 일본 그래픽·디자인의 흐름과 다나카 잇코의 디자인
강사 : 가시와기 히로시 (柏木博) / 디자인평론가, 미사시노미술대학 교수
일시 : 2003년 9월 5일(금) 5 pm
장소 : 아트센터 나비 (영풍빌딩 옆 SK본사 4층)
신청 : 전화예약에 의한 무료입장 (신청기간 8월 25일~29일)

전시회 및 강연회 문의 : 02-2122-2820 / 2826

야후에서 본 타나까 잇꼬 관련 글입니다:

Essay for Takenaka Corporation's Approach Magazine 2002, Japan
“ To write about design education.” I accepted this homework from Mr. Ikko Tanaka exactly one month ago. I am no stranger to this area — I have tried to innovate design education in many ways throughout the 1990’s in relation to digital technology. All over the world I have questioned numerous educational institutions’ policies that lean towards the conservative rather than the truly radical approaches required by the new medium. I have sought to construct clear guidelines for design education that can enable the next generation of culture to be a healthy one. Yet especially this month in my travels and conversations, I have only found more questions, not answers. And they are usually questions that I cannot answer. Perhaps it is no coincidence that Mr. Tanaka, one of the greatest design educators in the world I have ever known, would leave me with this question as he parted our physical world on January 10, 2002.

Mr. Tanaka was not affiliated with any academic institution as a design educator professionally neither in Japan nor worldwide. Furthermore, Mr. Tanaka was well known for being a person that did not care for public lectures or guest appearances in academic circles. Those who knew Mr. Tanaka know well as I that to simply watch, just once, how he carried himself in all situations with humility, grace, and natural expertise was the opportunity to learn the pure spirit of design of living. His straightforward and unadorned manner of life was in striking contrast to the usual vanity and glittery lifestyles of the majority of designers. Mr. Tanaka was a regular human being—he showed us the simple fact that to speak to all humans, you have to be a human yourself.

Many people ask me where design education should be heading. What should be the curriculum? How many computers should be bought? What kind? Two years ago I had surprisingly clear answers to these questions. Today I do not. I realize now that these questions are merely the details, but the fundamental question needs to be formalized before anything of significance can happen. How does one build a career of lifetime inventiveness?

It is impossible to realize a new form of design education that is relevant to the ultra-fast pace of technology today. To create a clearly defined curriculum is impossible because the standards continue to shift. For instance, one month Flash may be in vogue, the next month a new streaming media standard could easily arise. To find educators that can maintain the pace with students is also impossible. Even students can barely keep abreast of the latest craze.

Contrary to what many say, I do not believe that this era of computers differs greatly from previous eras that are pre-computer. The young have always been able to stay ahead of the old. We can compare the emergence of the Macintosh computer to the emergence of the handy Rotring pen. However even in the era of the Rotring, within 10 years of its emergence there certainly was no “Rotring Version 6” that could crash the way Photoshop Version 6 can. Tools in the digital era change extremely quickly, often not for the better we are all finding today.

I write this short essay at a wooden desk in a tiny hotel in Köln, Germany. The regular ringing of the solemn bells of the nearby cathedral continually remind me of the sad thought of Mr. Tanaka’s departure. I recognize this feeling from 5 years ago when another dear mentor passed—the American graphic designer Mr. Paul Rand. Tanaka and Rand shared the same quality of honor and dignity that made it seem a noble pursuit to be a designer. I feel fortunate for knowing both Mr. Tanaka and Mr. Rand. The impact of such inspiration transcends good teaching, quality curriculum, or entire schools for that matter because they provide us with the core motivation to seek higher ideals in daily life.

The greatest form of education, whatever field it may be design, education, economics, science or what not, occurs when you have the fortune of meeting great people. Period. You will find great people by being earnest in your work, humble in attitude, and doing your best in all situations. You will find great people by taking the inspiration you have received from others, and unselfishly generating new inspirations to add to the pool of common knowledge. But most importantly, you will find great people by believing that there can be greatness somewhere in the world.