The annual contemporary Japanese sculpture exhibition has reached its 13th year, and the history of the sculpture exhibition over more than a quarter century seems to add a step further. This time, the story will be even bigger than usual, and it is hoped that it will be even more exciting.
Even so, the Japanese art world has undergone a considerable transformation in the last quarter century. Initially, the appearance of outdoor sculpture was first introduced, and the change from the so-called exhibition sculpture brought about a great change in terms of materials and methods, but in the meantime, the method and style as an outdoor sculpture were roughly laid, It seemed like a certain amount of calm was coming to work. However, as time goes on, it seems that the conditions of the new era, such as sculpture, gradually subtly reflected from it. Due to this, it seems that something different in nature from the past has somehow been backed up by the contents, the expression, and the way the sculpture itself is. Let’s take this opportunity to share some of your thoughts on those points.
Even if it was three years ago, I was invited by Mr. Tadao Umezono and had a talk with Mr. Sakyo Komatsu and Mr. Sakyo Komatsu about “Exhibition of Beauty and Beauty of Exhibition”. The contents of the story at that time are summarized as follows. Up until now, most of the exhibitions in museums have been “beauty exhibitions”, and there has been an eye to exhibiting some wonderful treasures and letting the public see them. It was always the beauty treasures that were the core of the contents, and it was the museums that showed them, and it was that an excellent writer made such treasures. A magnificent museum is like a ruble, where para and mona Lisa are lined up. Is it typical to apply this view to today’s Japan, such as the Yamanashi Prefectural Museum of Art, which has a picture of Millet?
On the other hand, the exhibition exhibition with the theme that started around the Museum of Modern Art in New York around 1930 did not rely on the eyeball work itself even though it sometimes used such eyeball work. It seeks to create and create another new world of beauty by hunting and editing a wide variety of examples. In other words, we are trying to create the “beauty of the exhibition”. In such a way, today, even if there are no eye-catching masterpieces or masterpieces, it is attempted to create a new system of intellect and sensibility by constructing a large number of distinctive examples of each characteristic. That’s how traditional museums are. In particular, the ethnographic museum, etc., which is presided by Mr. Umezano, can be said to be a typical example of such a way of going. Also, in the way of gathering “the beauty of the exhibition”, there is a way of a museum that responds to the modern information society. You can see that is emerging.
An important requirement in the construction of this new “beauty of exhibition” is not to focus on the one-point gorgeous eyeball art. You do not necessarily need a masterpiece or masterpiece that summarizes all the charms with just one point. If there is something that you do not need, or something like that, it is hard to do the editing and composition of the angle with freshness today. Even if there is a masterpiece or masterpiece, it is treated as an example of a piece that is useful for gathering some editor (may be a commentator or a critic) rather than treating it as an independent and completed piece. In other words, the principles and goals of “exhibition beauty” take precedence.
Considering the direction of such exhibitions that are prioritized for editing and critique, when we think about it, it is possible to escalate at an accelerating pace in the situation where the styles are scattered in each of today’s diverse and diverse information. It seems that In the so-called information age, it seems that the classical method of formula, in which the work is completely independent and has all the charms of one body, is being liquidated in a progressive manner. The work was dismantled from the point of perfection. The process of dismantling has been accelerating as we enter the modern era, and after the Impressionist and the three-dimensional faction, we finally became more aware of it, and passed the abstract style era and entered the full-scale dismantling era. Eventually, as a reaction to some extent, there are various ways of trying to reconnect the dismantled state to integration in some way.
In other words, it can be seen that reintegration is being partially realized in various nuances. However, in short, the fact is that the covering water does not return to the tray.
This kind of dismantling phenomenon, from another perspective, is proceeding in contradiction with the industrialization of society and the progress of the industrial civilization that continues one after another. If industrialization is progress, then abstract art is definitely progress. If industrialization is specialization, partization, and discontinuity of continuum, it is safe to say that contemporary art was born as a result of partification and discontinuity. Thus, if this industrialization is actually the pre-stage of so-called information technology, and if the information society is the modern society, it will be easy to compare it with the old, self-contained works of the type that today’s art is full of charm. It can be said that it is one of the non-carrying type and the disjointed parts type, so to speak, without being connected. In that sense, the more original and individual the work, the more socially it can be considered that an editor, commentator, and coordinator in some sense are needed. In this sense, contemporary art is complemented only after waiting for the hands of editors, commentators, critics, and coordinators outside such works as museums, exhibition planners, local governments, companies, and so on. It is supposed to be. From this point of view, contemporary art is spreading as extremely diverse and arbitrary discontinuous sensory information. It may be that they are walking with a deeply admired gaze toward a continuous system that has left a long distance, while becoming increasingly diverse and fragmented. On the other hand, it seems that there is inevitably a longing for creativity and talent that embody the “beauty of exhibition”.
The above is my lasting impression, but if Ube’s contemporary Japanese sculpture exhibition is still developing on this slope, who should play the role of the “beauty of the exhibition”? Is it the city authority with a budget, the sponsored newspaper company, the steering committee, or, more simply, Mr. Otaka, Mr. Sasaki, and Mr. Kawamoto? Of course, it would be safe and appropriate to think of them as an integrated unit. The integrated management organization gathers and organizes the works of contemporary artists who are being developed in a wide variety of ways, borrowing the natural power of Tokiwa Park, which is the stage, and attractive “Beauty of Exhibition”. The goal of this Piennale will come to life if we can create.
This historical exhibition, which has reached its 13th exhibition, seems to be expanding in its history while delicately projecting the trends of Japanese society and art culture. We thank again for the enthusiasm and cooperation of the exhibiting brothers, and we cannot be disappointed with the involvement. We hope that this biennale will be even more meaningful today, with the support of everyone.