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1st Contemporary Japanese Sculpture Exhibition

1st for Contemporary Japanese Sculpture Exhibition

Sadaichi Hijikata

  Contemporary Japanese sculpture is completely new in appearance due to the fresh experimental will of the post-war young generation. At the same time, contemporary Japanese sculpture, which has been limited to portraiture and nude sculpture until now, has begun to target various themes. Moreover, contemporary sculptures try to give psychological symbolic meaning to the free construction of shapes, apart from reproducing the object.

  Two years ago, the first national sculpture contest in Japan was held to inspire new artists, and the 1st Contemporary Japanese Sculpture Exhibition will be held this year at the Ube City Open-air Sculpture Museum (Tokiwa Park, Ube City). This contemporary Japanese sculpture exhibition was intended to showcase the outstanding works of contemporary Japanese sculpture over the past year and to give a perspective of this year’s contemporary Japanese sculpture through rigorous debate by 10 writers and critics. .. As I often say, contemporary sculpture is not limited to Japan, but in Europe and the United States, sculptures placed in the open air from the stage of indoor sculptures and experimental small sculptures, In collaboration with architecture, we are heading toward sculptures that make the living space closer and give a rich and lively atmosphere. Unfortunately, however, contemporary Japan has not yet reached the stage where communities and corporations boldly give sculptures such custom-made products.

  However, in this year’s contemporary Japanese sculpture exhibition, there is also a moving sculpture like an adult chair tower obtained from the pleasant suggestion of a child’s chair tower, like Tsuyoshi Oda’s “one week”, and Yoshitatsu Yanagihara. Like Monuman, which was commissioned by the agricultural cooperative in Ogori, Yamaguchi Prefecture, there are works that were made to order, clearly predicting the outdoors and architecture.

  Also in other works, Take Tsuchiya’s “Saku Akin 65-3”, Eguchi Week’s “Sunagami Turtle”, Kentaro Kimura’s “Talk”, Shin Nomizu’s “At the Festival”, Riki Hiroi’s “Kyoko”, Yoriko Hidaka. “Bird” and many other works made in anticipation of the outdoors and architecture. It goes without saying that the sculptures placed in the room, of course, have an important role to play, but the phenomenon of many sculptures made in anticipation of the outdoors and architecture is a remarkable phenomenon of contemporary Japanese sculpture. I have to.

  I cannot help thinking of the current situation in Japan, where sculptors, like painters, are silently practicing unordered free production at the expense of materials and other human resources.

  Aside from that, the contemporary Japanese sculpture exhibition held in Ube is an interesting exhibition in the sense that it is a comprehensive exhibition of contemporary Japanese sculpture at the transitional stage as described above.

  The outdoor sculpture exhibition in Ube City uses the green space on the slope of Tokiwa Park on the outskirts of the city as a venue for exhibition, and the sculptures exhibited there are completely different from the impression seen in the sculpture room of the Tokyo Metropolitan Museum of Art in the light and dark of the early autumn sun. I was not surprised to hear the different impression. When sculptures are placed outdoors, there are some sculptures that shy away from this Tokiwa Park and scream that they should be placed elsewhere, but many reflect the clear light and shade and the rays of light at that time. At the same time, they are colliding with each other while creating their own unique space by taking advantage of the spatial control of each sculpture.

  Also, when looking at the venue, it is noticeable that there are many stone direct sculptures and metal sculptures. It is surprising that the solid material of the stone has a solid presence in the open air while retaining a sense of object. In the case of metal sculpture, for example, the bronze that reflects light, such as the polished bronze of “B7” by Masakatsu Sakagami, is surprising to have the sharpness and spread characteristic of metal. If it is a nude bronze, it will show the nuances just like a deeply colored screen.

  Looking at the 1st Contemporary Japanese Sculpture Exhibition, what I was keenly aware of was that even 20 years after the war, contemporary Japanese sculpture finally began to have a wide stack. This does not give a superficial impression that the style of sculpture is diversified. Medium-sized writers show their unique works as medium-sized writers, and newcomers write modern experience, not just Epigonen, but also sculpturally.

  For example, you can give the Eguchi week’s “Sanage Turret” that won the grand prize this year. You may also list other award-winning writers. Perhaps in the process of selecting the awards, writers such as Kazuo Kikuchi, Yoshitatsu Yanagihara, and Masakazu Horiuchi have already been highly praised for their important domestic awards such as international exhibitions and contemporary exhibitions sponsored by the Mainichi Shimbun. I imagine that there was a reason why I avoided this kind of artist because I was pursuing the inevitability of modeling. At the same time, I imagine that during the selection process, there was a desire to commend new artists for their fresh experimentation on the concept of “sculpture” that was not found in contemporary Japanese sculpture. And this selection process was the most suitable selection process. I think. For we consider it to be a sculpture, not to say that it has a regular shape.

  As I laughed the other day, in the story of Takamura (Kotaro)’s sculpture, cats become sculptures, dogs do not become sculptures, fish become sculptures, what fish do There are points that assertively say that it is not a sculpture. Looking at Egyptian sculpture and looking at the history of world sculpture, there is almost no animal or fish that has not been sculpted (this is not a story denying Takamura-san’s theory of sculpture).

  Also, sculpture was a tool of magic from the Japanese Jomon period figurines to Buddha statues, so the human desires and instincts entrusted to sculpture vary. The fact that sculptures have come to be praised as if they were just like that is a myth that has led to the legend of Jingoro Sagami in the Edo period, when sculptures declined in Japan.

  Regardless of that, the Eguchi week’s “Sunaue turret” may have been an illusion of the turret placed on the sand, implying the beauty of the shape of the Japanese small wooden boat, and with a clean and strong sense of shape. There is. It has become a lyric of Japanese sensibilities and abstract forms that go beyond folk art forms.

  On the contrary, Morio Shinoda’s “tension and compression” does not have the suggestion from the shape of the Japanese small watercraft, or the idea from the subject, like Eguchi Week. Morio Shinoda is an engineer who designs a space with “tension and compression” in an empty space. Just like the architect’s design of architecture in space, it is a modern sculptural experience of the artist, sometimes with a ruler and a compass, designing his personal psychological space. However, contrary to Eguchi Week, this writer designs his experience like an architect. In this regard, if Shinoda is a writer of the same interest as Masakazu Horiuchi and Katsuhiro Yamaguchi, Oda Tsune will be a writer of the same family of Eguchi.

  Nobunomi Nomizu’s “Celebrations” and Takeshi Tsuchiya’s “works” are good works that make the best use of the material of the stones, but Nomizu’s stone carvings become a psychological form of the festival in this artist’s illusion. ing. On the other hand, it is clear that Tsuchiya’s work is aimed at sculptural and interesting interests in the newly assembled abstract form. Kentaro Kimura’s work, which won the grand prize of the Mainichi Shimbun International Exhibition this year, was a work that could be freely assembled upwards and upwards, but Tsuchiya was a screen that could be freely assembled on the top and side. It is a sculpture.

  I was pleased with the stacking of contemporary sculptures, for example, because of the formation of the series as described above and the wide thickness of the layers by the contemporary sculptural expression of new artists.

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