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The 10th Contemporary Japanese Sculpture Exhibition

Of the new stage to challenge

Noriaki Kawakita

  The “10th Contemporary Japanese Sculpture Exhibition” has been opened this time, but 10 times is one big break. This exhibition is in a biennale format, so 10 times means 20 years. If you calculate carefully, there were two opener sculpture exhibitions that were 10 times before, so counting from 1961 when the first event was held, it has already been 22 years this year. .. In a nutshell, this sculpture exhibition, which has passed two years ago, sprout in the meantime, past the boyhood, passed the middle of the middle age, and matured, and it is time to expect the next new shoot Can be considered a natural transition. All the trends since the postwar era are now facing pressure on total financial reflection, and it seems that such a perspective may well be present in this field. In particular, it cannot be foreseen secretly that the Ube Sculpture Competition, which has played a brilliant and pioneering role in the field of outdoor sculpture, is approaching autumn with new courage to open up the next outlook. I can’t. The various conditions up to now are actually gradually changing, and it can be said that the present situation is that the next search is needed also in this aspect.

  By the way, the 9th exhibition of the year before last had virtually 20 years in total, so the theme of “green town and sculpture” was taken into account, and this year also coincided with the 60th anniversary of Ube municipal organization, For the first time in Japan, a big project called “National Symposium on Urban Design for the 21st Century-Open space and greenery and sculpture” was carried out. Indeed, this was a milestone in this area. The content of the event is irritating in the report “Hiroba, Greenery and Sculpture” published this spring. It is clear from the public’s eye that the many new fetal movements that accompanied it were interesting and enormous.

  This symposium was co-sponsored by Ube City and the Mainichi Shimbun, but it was also sponsored by the Ministry of Construction, the Ministry of Home Affairs, the Agency for Cultural Affairs, Yamaguchi Prefecture, and with the cooperation of Ube Industries KK. Since we were just discussing an attractive subject, we saw about 500 people from Hokkaido to Okinawa, including the autonomous body and the private sector. It was also a valuable opportunity to have first-class human resources from various fields such as urban engineering, architecture, design, art, sculpture, etc. It emerged and provided a good reference for future movements. It can be said that a comprehensive summary of the open-air sculpture movement that has been expanded since the end of the war was presented here. It can be said that the outdoor sculpture in Japan has entered one fiscal year, centered on the valuable indicators shown there. And now, on the basis of that reflection, a new stage where the next step should begin is approaching. We must be aware that we have reached the point where we should challenge the next problem without being impressed by the track record of leaving.

  Accurate records of the past 12 exhibitions, which will serve as materials for that reflection, will be added to the catalog this time by Mr. Narita. It will give you history and perspective. The changes that occurred during that time in terms of people, things, and tendencies were more than I had expected, and there was an unexpected excitement and excitement. Also, the swelling of passion, motivation, hope, sorrow, etc. of the authors and related people flowing through it is backed up by the swelling. It is exaggerated. The fact that it has established its position as an obvious cultural trend of must be a spectacular sight that cannot be overlooked. The foresight, passion and hard work of the early founders, including the late Sadakazu Hijikata, should be praised. For that reason, we are standing in a position that is incompatible with the fact that we stand up to the job and simply fall into poverty.

  That said, the current situation has entered one accounting period as mentioned above, and the departure period to the next stage is overlapping. Looking at some outlook here, the trend from the 3rd time when we decided to set a specific theme for production is an interesting transition from the point that we set the theme at that time as the theme Is shown. The 3rd ’69 was “Modern sculpture with three materials-stainless steel, aluminum, and plastics”, and the next ’71 was “with reinforced plastics”. The goal was to introduce materials and open up new possibilities for contemporary expression. In other words, the rapid development and breakthrough of industrial branching at this time was the background, which prompted a new development in sculpture. This is not just a matter of material. It is even more important to change the content of ideas that accompany changes in materials. If it was conceptualized, the thoughts and sensations of the industrial age shook the background of modern sculpture, and it can be seen from this area that new materials and abstract sculpture suitable for thought have become the mainstream of outdoor sculpture. Since the year ’70 was the year of the World Expo in Osaka, the state of abstract outdoor sculpture has become even more widespread during the period of high economic growth.

  If the above is the first stage of outdoor sculpture, the next ten years will be the period when various ideas were added based on the trends of the first stage. Themes such as “shape and color” in 1973, “monumentality of sculpture” in 1975, and “abstract and figuration of contemporary sculpture” in 1977 have emerged from the germination stage. It can be said that the viewpoint of trying to revisit the essence of sculpture was hidden after passing through the material age. It can be said that there is a sign that something is lacking in the flood of outdoor abstract sculptures. ‘

  If we consider the above as the second term, the last time in ’81, “Green Town and Sculpture,” the contents and goals were not just mere requirements for modeling, but also personal taste and poetry. Not only that, but it is a theme that we look forward to reconsidering the intention of sculpture in more realistic living spaces and social places where people are connected. The above-mentioned “National Symposium on Urban Design in the 21st Century” was opened with the subtitle “Open space, greenery and sculpture” similar to this theme, and the problems of outdoor sculpture have been narrowed down to this extent. It can be said to be a proof of things. If taken in such a flow, the theme of “human hymns” can not be said to be a coincidence. It can be said that there is a big demand for traditional outdoor sculptures, a kind of craving for things that have never been realized, and a longing for psychology. In that sense, it can be said that the movements of the open-air sculpture settlement period began around the time of the symposium and have reached the important point where the next fetal movement should occur from this time. Of course, I don’t know if anything will happen visibly. But all that is happening and growing in an invisible movement. I think that the era of the 3rd period, which follows the 1st and 2nd periods, is probably starting to move somewhere now.

  Recently, I saw a fine catalog of “World Squares and Sculptures” that was recently published, and the examples of the world’s finest outdoor sculptures have the meaning to answer to a great human desire in some way. I was impressed with this, but in one of the articles in this book, I was interested in a passage in which Pierre Schneider states:

  ”The conditions for accepting works of art in everyday life are fundamentally different than the conditions for storing works in museums…….Museums are for “consumers of art” In the city, on the other hand, there are various relationships between works and passers-by that are partial, momentary, or repeated over and over without being conscious. To understand, we need our conscious gaze, but in order to accept, we need an unconscious, enjoyable eye…”

  In short, what he meant Once the art of being intimately with the masses began to pursue their own aesthetic purpose, away from the needs of life, it became for certain people and professionals. And it seems to be a historical fact that a special place called a museum has finally been created. It seems that there is a true position of art in the city that changes this situation. This is a very important point of view, and it can be said as a needle for the sharp gate to us who are looking to the sculptures in the open air and in the city.

  We have been carrying out the outdoor sculpture movement to bring sculpture back into the social arena from the artist’s atelier and exhibition, but at the root of this task is the way old art existed with the lives of the masses. There must be a place to return to and to make a new device on it. Even with the theme and goal of “human hymns,” which is called “sculpture in the green,” if one scrutinizes the meaning and aspiration of the theme, the problems that Mr. Schneider says will naturally come into play. Seem. Things are very difficult and not easy challenges. However, the challenges we have to tackle in the third term are directly related to this difficulty. One who has wisdom will make wisdom, one who has skill will wield his arm, one who has money will make money, and one who has strength will make effort. Don’t you think so?

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