The 11th Contemporary Japanese Sculpture Exhibition

11th Preface to the Contemporary Japanese Sculpture Exhibition

Noriaki Kawakita

  The contemporary Japanese sculpture exhibition, which has been popular as the Ube Biennale, will be celebrating its 11th this fall, and the addition of its precursor, the Ube City outdoor sculpture exhibition, will count 13 times. The history of the Biennale, which unleashed the sculpture outdoors and infused the field with new life and modern ambition, is now universally recognized.

  In the 10th previous year, we invited works for the theme of “human hymn”, but this time we will focus on the climate that connects people and the basics of life and seek works under the theme of “climate and sculpture”. It was Presenting such a theme does not mean that you want the theme itself to be revealed by sculpture, but that you want to be inspired by this theme and create something from the spiritual orientation within the author who responds. That is. No matter how the theme changes, the works presented by the authors are somewhat similar in the end, but there is a certain fragility in the author’s language, and the work has a certain character. As it emerges, it may be natural to have a consistent closeness in a sense. However, what kind of orientation the programming language operates in is a problem. There is a divergence about whether the theme comes alive or not.

  As an aside, when I went to Paris for some business, I had the opportunity to talk with local art critics and art journalists. At that time, the story extends from the problem of painting and sculpture to the expression of the calligraphy, and the meaning of the ink in the calligraphy is the same whether it is readable or not, and even those who cannot read it can fully understand the fun. It was a story. In response, I said.

  As an appreciator or just a viewer, that’s okay, but there is an important point in writing the U, which means that the artist is a mess. This is because there is a circumstance in which the work of expression is concentrated, united, and pulled in the orientation toward the meaning of the character. In other words, the role of defining the specific ease of unity in molding is naturally included in the meaning of the letters. In addition, Bunyu has traditionally formed the junction between inner unification and how to put together the outer shape, and it is a relationship that is realized using that as a clue.

  In that sense, calligraphy is not simply an abstract form as an artist. It is an abstract form that draws in cultural traditions. The readable and unreadable is a free position to stand on the side of the viewer, but if you stand on the side of the author and poke inside the work, you can’t ignore the meaning of the characters casually.

  When the story came in, it seemed that the French people had a difficult time doing something, but when you think about it, in regard to all the works, the viewer side freely receives what the viewer side freely accepts. It can be seen that the inward-focused focus of the person is hidden as an important axis. Rather, it is possible to think that with such things, the expression becomes an expression, and the viewer gains something for each. Is the theme meaningful in providing clues and cues for such an internal orientation? In this sense, the “climate and sculpture” should also be said to be gratifying if each creator can have a meaningful focus on their feelings.

  By the way, the recent tendency that the theme such as “Future” is being followed by “Human Hymn” has finally entered the field of outdoor sculpture from the initial general era to each theory era, to the so-called materialization era of diversification. Seems like an example of something.

  Last year, I attended a meeting called the Ministry of Construction’s Urban Landscape Conference, where I had the opportunity to come into contact with the current situation of urban landscape issues facing each city. On the one hand, to make various streets and artificial structures beautifully in terms of modeling design, and on the other hand, to systematically promote greening measures in parallel with this, and to participate in civic participation in developing such work. I think that the emphasis was placed on the point of seeking consensus building in the region. Then, even if these measures are put together and the administration implements the plan, it is essential that citizens and residents have a thorough awareness of the scenery. It seems that the summary pointed out that unless it is so, a true good cityscape will not be born. Of course, it should be said that this opinion also applies to the existence of outdoor sculptures that are closely related to the urban landscape.

  If this is further expanded, it goes without saying that the outdoor sculpture is different from the one in the museum, and is properly present in real life and directly in the living space. Therefore, it is more important than how it is beautifully arranged as a modeling structure and how it can be harmonized in the cities, green spaces and streets into which it concretely enters. Don’t

  From this point of view, the world of today’s outdoor sculpture has just passed the stage of taking out sculpture from the museum and bringing it to another world, so how to bring it into a concrete environment such as life and nature, It can be said that we have entered the age of innovation. The work is not displayed in the manner of others in a museum or a special place. Where the natural and historical tastes of the land are alive, whether there are mountains and rivers, historic townscapes and old buildings, or even between modern streets and high-rise buildings, It is important to develop expressions that harmonize with various conditions of such various environments. Embodying lively ideas and sensations in the artificial structures and green nature of the city, the tastes of traditional and modern lifestyles, the human vitality and freedom in them, and the diverse relationships in which such things intersect. It will be a future urban landscape problem, and a living subject of outdoor sculpture in response to it.

  The theme of the previous “Human Hymn” was meant to correspond to the modernization of contemporary outdoor sculpture, but this time “Future and Sculpture” is to respond more carefully to this issue. It can be said that it does. Explore the new focus of harmony by creating fresh creations of the artist’s heart and sensibilities in the diverse facets of natural landscapes, people’s lives and cultural heritage, traditional and urban landscapes, and their diverse facets. That’s why we should aim for this time.

  We cannot help but hope that this 11th exhibition will bring a new vitality to this day’s task, suggesting some solution. Finally, I would like to thank all the parties concerned for their cooperation and pray for the health of the exhibiting brothers.