MENU
The 16th Contemporary Japanese Sculpture Exhibition

Ube's Outdoor Sculpture Exhibition

Eguchi Week

In 1965, I visited Tokiwa Park in Ube City for the first time at the 1st Contemporary Japanese Sculpture Exhibition. The original “Sunagami turret” exhibited at the 1st exhibition is a big work in my work at this time, and I bought a long cherry tree from a timber store in Higashi Ome, and used the old rice from Fuchu where I lived then. It was made in a corner of a military home. I don’t think I was conscious of the outdoor sculpture, but because I had to make it outside because of its size, I might have unconsciously taken in the surrounding space, which had many open spaces. .. It was the 6th year since I started so-called abstract sculpture, and it was the first stage for me since I had been working as a group with two classmates. Around that time, Mr. Y, who was managing the gallery, and the two of us went around looking at the situation of the installation the day before, and it was the morning newspaper of the day that we learned of the grand prize. Fortunately, after receiving the award, he will be invited five times over the next 10 years, but at the same time, he will also be invited to the Kobe Suma Rikyu Park Contemporary Sculpture Exhibition from 1968. At that time, the selection committee chair Sadaichi Hijikata wrote an introductory paper titled “Sculpture at the Turning Point” in the Mainichi Shimbun dated October 8, 1965. The “sand turret” may have been an illusion of the turret part placed on the sand, implying the beauty of the shape of a Japanese small wooden boat, and it is a folk art with a clean and strong appearance. It has become a Japanese sensation that transcends forms and the lyricism of abstract forms.” I wrote, but in my sculpture I tried to get out of the European mass-brushed sculpture represented by Henry Moore. On the other hand, he accurately shows the spatial expression. And about other prize winners, Morita Shinoda’s “tension and compression” is the engineer who designs the space. Nomizunobu’s “festival” is the psychological form of this artist’s fantasy festival. Takeshi Tsuchiya’s “Works” It was an era when each artist established and announced the concept of abstract sculpture, as described as the sculptural formability of the assembly of abstract shapes. In addition, modern Japanese sculptures have finally begun to have wide layers 20 years after the war. Newcomers are credited with characterizing their contemporary experience as a sculpture, not by anyone’s Epigonen. Sculptors from the late 1920s to the 1930s, who were called new artists at this time, including myself, were inspired by the movement of Ube City including Sadakazu Hijikata. At the outdoor sculpture exhibition that will be called, we will be doing so-called outdoor sculpture activities. Even if there is a difference in the concept of each sculpture, we will grasp one direction. Then, in the self-formation, each writer pursued his own way with his position and methodology. In my case, I would leave the outdoor sculpture exhibition in 1975. The cause was the question of the outdoor durability of the material called wood, and my aim was to return to a more centripetal direction, one wood carving, from the reflection on my sculpture during that time, but at this time my outdoor Most of the big works for the exhibition were mostly warped, and many of them were made of wood in the form of bending.Although I was not aware of it, the challenge to the outdoor space made me choose such a form. In some cases, it depends on the feeling of emptiness that occurred around this time. I think that the question of my figurative sculpture, which started from the denial of the so-called mass block, became one of the elements of the transformation. From this point onward, he will mainly present his works at solo exhibitions. I will continue to work. Even if there is a difference in the concept of each sculpture, we will grasp one direction. Then, in the self-formation, each writer pursued his own way with his position and methodology. In my case, I would leave the outdoor sculpture exhibition in 1975. The cause was the question of the outdoor durability of the material called wood, and my aim was to return to a more centripetal direction, one wood carving, from the reflection on my sculpture during that time, but at this time my outdoor Most of the big works for the exhibition were mostly warped, and many of them were made of wood in the form of bending.Although I was not aware of it, the challenge to the outdoor space made me choose such a form. In some cases, it depends on the feeling of emptiness that occurred around this time. I think that the question of my figurative sculpture, which started from the denial of the so-called mass block, became one of the elements of the transformation. From this point onward, he will mainly present his works at solo exhibitions. I will continue to work. Even if there is a difference in the concept of each sculpture, we will grasp one direction. Then, in the self-formation, each writer pursued his own way with his position and methodology. In my case, I would leave the outdoor sculpture exhibition in 1975. The cause was the question of the outdoor durability of the material called wood, and my aim was to return to a more centripetal direction, one wood carving, from the reflection on my sculpture during that time, but at this time my outdoor Most of the big works for the exhibition were mostly warped, and many of them were made of wood in the form of bending.Although I was not aware of it, the challenge to the outdoor space made me choose such a form. In some cases, it depends on the feeling of emptiness that occurred around this time. I think that the question of my figurative sculpture, which started from the denial of the so-called mass block, became one of the elements of the transformation. From this point onward, he will mainly present his works at solo exhibitions.

  In November of last year, I visited Ube City to participate in the competition screening of the competition section for about 20 years. Then, in order to write this manuscript, this time, I have sent you the catalogs for the last 10 years from the 11th to the 15th. Three senior sculptors who participated in the outdoor exhibition of Ube contributed to these pictorial records, but the problem of the original artistic and originality of the original sculpture, the city that expanded the field from the outdoor sculpture exhibition to the urban environment The problems of space and sculpture, fragmented sculpture, and roles and existence, including critics, local governments, and corporations, have been raised. Or the contemporary sculpture involved in each place, and the suggestion through each artist’s own trajectory that was born from the question, and there are many places that sympathize. Now, 30 years after the first exhibition, not only this Ube’s outdoor exhibition, but also the outdoor sculpture exhibitions that have spread to various places such as Kobe and Hakone, or competitions and symposiums are various regardless of their merits and demerits. Raises the issue of. Also, with the advent of sculptures in new art museums and urban spaces in each city, contemporary sculptures are becoming more fragmented in the current diversified situation. The way we think of contemporary sculpture, one way of abstract sculpture, from which we started, seems to diverge in all directions and separate from each other. It is the state of existence of art that cannot be grasped by one writer. It is an era when these separate sculptures are in the open air or in the urban space, depending on their various concepts. From the time when Sadakazu Hijikata spread the layers, to the time when sculptures were scattered and separated, it is the current diversifying aspect. In the paper of Sadakazu Hijikata’s first exhibition, he praises the new experiment of contemporary Japanese sculpture and congratulates the establishment of the series. And you can see the sculptures given a new place in the artistic future.

  Last year, I went to Chicago for the first time. When you look at the large sculptures of Pablo Picasso or Alexander Kalder standing in the so-called Chicago group of buildings in Chicago, these sculptures that are no longer historic are standing in the urban space. It was wonderful to be there. I felt the energy of contemporary art at the time of its creation in the way that architecture and sculpture, or sculpture in an urban space, and at the same time, I thought of seeing the original form. And the current development from outdoor sculpture activities in Japan to urban sculpture is considered to be an extension of the sculpture movement of this century leading to these things. And during that time, there is plenty of room for doubt as to how much artisticity this movement has developed. Also this summer, I saw the Anthony Caro exhibition at the newly established Museum of Contemporary Art Tokyo. We have seen a typical trajectory of the year, but from this, by reconsidering the unique trajectory of Japanese sculptors, we can see the history of his thoughts and formations on sculptures in a different way. I would like to confirm in gender and commonality. And I would like to consider the future of contemporary sculpture. Furthermore, I would like to watch the formation while experiencing together with what kind of formation the next-generation modern sculpture will form depending on the choice.

  By the way, looking at recent catalogs, the mainstream exhibitors are those who were born in the 1940s and 1950s. And it is a time when many of these artists established their concept in the urban sculptures that were subsequently developed, or in various outdoor exhibitions, and developed their contemporary sculptures. It is an era in which we are moving away from the concept of sculpture that remains in the depths of ourselves, to look at the material as a material, and to create an object that is objective. This corresponds not only to modern Japan but also to the world torrent. Each sculpture is unspecified, but each one is separate and has too much self-language. And not only the problem of the urban environment, but the world environment that surrounds us stands in the valley of collapse and regeneration. In general society, we are separated and the common denominator is lost. It seems that the task of summarizing and reconstructing these lost common denominations from both a spiritual and plastic perspective is an issue for future sculpture exhibitions, including so-called outdoor exhibitions.

  The sculpture exhibition hall was beautifully arranged, but the scenery of the lawn, pond and greenery of Tokiwa Park has not changed. In the exhibition, it seems that the nature and sculptures that are different from those of urban spaces are desired. In any case, even though it is a biennale method, it seems strange that one sculpture exhibition has been held at this same venue for 30 years, but I would like to pay tribute to its sustainability. think. Moreover, the efforts of the members of the steering committee and the people of Ube, who have been involved in this from the beginning, are invaluable. Looking back now, when I look at the venue of this outdoor sculpture exhibition, I think that Tokiwa Park looks like the original scenery of the outdoor sculpture exhibition, considering the trajectory of my own sculpture and the present me.

(Sculptor)

Top