In the recently published “Ube and Sculpture”, photos of the venue scenery of the “Ube City Outdoor Sculpture Exhibition” (1961), which is the predecessor of the “Contemporary Japanese Sculpture Exhibition”, are posted. It is a place where sculpture exhibitions are still held today, but it seems that it was opened up quickly. On the desolate plateau with exposed soil, concrete blocks are piled up to form a pedestal for sculpture, and 59 works are displayed. The sculptures released to the outdoors show a confusing expression when exposed to the rugged natural environment, but “the first step for new experiments and advances in contemporary sculpture has begun here.” Mr. Sadakazu Hojo) is giving off new energy and free energy toward the future. However, in view of the current situation of sculpture exhibitions, the feeling of a distant world is inevitable.
The “Contemporary Japanese Sculpture Exhibition” started in 1965 and has just reached its 15th time. It has been 32 years since the “Ube City Outdoor Sculpture Exhibition” was held in 1961 prior to that. And this outdoor sculpture exhibition is a sculpture exhibition that takes a new step as the Ube City Open-Air Sculpture Museum, with a new refurbishment of the Tokiwa Park open-air sculpture open space that has produced many works as its stage.
The above-mentioned venue 32 years ago was centered on the late proponent of this sculpture exhibition, Mr. Sadakazu Kamikami, Mr. Toshio Hoshide, Mr. Jiro Iwaki Municipal Library, and Mr. Yoshie Ueda, then Director of the Women’s Problem Countermeasures Council. The sculptor Mr. Yoshitatsu Yanagihara, Mr. Yoshikichi Mukai, and Mr. Masato Otaka, architect, became Ube City Sculpture Steering Committee members, and the Tokiwa Park was run by a bulldozer and the ground was cut open. is there.
After that, it was constructed as a sculpture garden in 1964, and has been used as a venue for sculpture exhibition since the “1st Contemporary Japanese Sculpture Exhibition” held the following year, but due to the deterioration of the facility and the damage caused by recent typhoons, There was a need for maintenance. And above all, the exhibited works became large, the expression formats and materials diversified, the subject expanded to the environment, the criticism of civilization, the climate, and the quality improvement as an exhibition space was demanded from the side of the sculpture itself. is there. This redevelopment was carried out under the concept and guidance of architect Masato Otaka, a member of the sculpture exhibition from the beginning.
Originally, sculpture requires space and tries to control the surrounding space as its own. In outdoor sculpture, this tendency is even more pronounced, and a close relationship with the environment in which it is installed is sought. And when the sculpture and the environment resonate with each other, the desired result is obtained, and when the cacophony is emitted, the unpretentious appearance is exposed. Contemporary culture is established in a disorganized and discontinuous situation, without a common sense of consensus. Sculpture is also the same. And the difficulty of the sculpture exhibition is right here. It is easy to show only the situation by arranging works that are discontinuous and highly individualized. However, it is necessary to keep multiple works within the area of exhibition space without compromising the space area where each work tries to dominate. It is desirable that the exhibition space for such a sculpture exhibition be a neutral and continuous space. The non-coordinated exhibition space, which has a high degree of location, only creates unnecessary confusion for exhibiting individual works.
The maintenance of the sculpture garden at the Museum of Outdoor Sculpture is divided into two areas: a special exhibition hall and a permanent exhibition hall. Artificial elements are concisely constructed as necessary only so that the sculpture can take full advantage of the natural environment of water, sun, greenery and terrain. By simplifying the landscape, such as curb-free garden roads and lawn housing, and planting mainly black pine, a visual continuity and a sense of oneness from the sculpture garden to the pond is created, and the natural landscape and sculpture are contemporaneous. By doing so, it is intended to create a relationship that complements each other.