The other day, I’m relieved to know that you have successfully completed the “Urban Town of Sculptures: Gifts from Cere, Italy” exhibition. Since it is not possible to bring outdoor sculptures as is for the exhibition, anyway, I tried to use models, photos and videos to restore the site and reproduce the image of the site as much as possible (viewer’s understanding It was a somewhat anomalous exhibition, so I had a lot of trouble with you.
This exhibition has toured three museums (Kamakura, Tsu, and Sapporo), but I have not yet been informed what kind of numbers were actually pushed out. But I think it was probably not a big number of visitors. It’s always hard to do sculpture exhibitions. However, I heard that there was an inquiry from the person in the Ikudomokan. Mostly it is about obtaining catalogs and schedules of patrol destinations, but it seems that there were active inquiries such as wanting to visit the site so that I could tell me how to go and procedures. I heard that you were a friend of the Mie Prefectural Museum of Art, and you visited the site before or after the exhibition. It was a small number of people who were interested in the relationship between the cityscape and architecture at our venue, the possibility (or publicness) of sculptures in the plazas and parks, but it was a good exhibition. I posted a word that I could both thank you and thank you for, and it made me a little happy.
At first, a little jokingly, I would say that one or two of the Japanese golf courses might be transformed into an open-air sculpture park (garden), triggered by this exhibition. See you. You will remember. We’re not hopeful yet, but it’s also quite pessimistic.
Giuliano Goli, who created the sculpture garden in the village of Cere near Florence, called his sculpture garden “Utopia” and introduced it in advance with the intention of knowing the visitors in advance. It was impressive that you asked for a letter. As you know, he goes around in a vast garden with visitors and carefully explains each piece of work. If you don’t have such an enthusiasm, you may not be able to go all that far. I thought it was impressive to see him carefully observing even the smallest of things that occur in the sculptured garden. However, if this is managed by the city or state, there will be a lot of Ursae orders and it will look quite different. This is a hypothetical story…
At the venue in Sapporo, Dani Karavan, one of the sculptors who happened to trust Gori, was working on the “Hidden Path to the Hidden Garden,” which was being produced as a third stage work at the Art Museum of the Open Air. It may be good to see that the receptions before and after each other were adjusted by coordinating the opportunity to come to Japan, which had a synergistic effect and emphasized the relationship with the forest of art. According to the work, Mr. Karavan’s new work “The Road to the Hidden Garden” and the “Line 1-2-3” introduced in the “Urban Town of Sculpture” (300 meters long) ( 1982-89), this is exactly what I think… and I thought it was a combination unique to Sapporo Art Park, which was enough to make visitors growl. I got the illusion that the white concrete paths that cross the sculpture garden of Chere along the gently sloping terrain endlessly lead to the Sapporo Art Park.
Anyway, Mr. Gori and Mr. Karavan were impressed by the enthusiasm of Sapporo City and the museum. I was secretly pleased to introduce Mr. Gori’s sculpture garden to Japan, and I think that you too feel the same. However, when you think about it, even though the exhibition is over, the business of the sculpture garden is still continuing. Mr. Gori is facing the “present” that is never complete. I don’t know how to describe that figure, but he is lovingly raising a kind of “sensitive seedling” that grows with age, with this feeling. I think that it will provide something that resonates with the heart of a person. Visitors can enjoy the sculpture gardens of Chere to their heart’s content because they are carefully cared for with soul.
In a sense, my interest in and involvement with these sculpture gardens stems from my personal “sculpture itinerary”, but as long as the task of raising this is at the root of my business, I can’t go back. There’s a feeling somewhere in my mind. I think that thinking about outdoor sculpture is also a question of the meaning of a phenomenon that is constantly changing and what kind of relationship it has and how to make it.
It may be said that it is the time to go around, but the forest of Satsuma Art has finally arrived at the third term in the first five years. It took a lot of work, but it’s also true that many things were told. However, the real point is that it is yet to come. If you don’t have the nerve to worry about the appearance of tomorrow in the change of “now”, you simply put a work under the name “permanent thing” and that is Oshimai. In the case of a sculpture garden or a plaza, in a sense, it starts when it is installed.
In other words, because of the expression of art, this is a kind of creative “kindness” that must be seen as a “transformation process.” For example, I think it will be clear if you can think of a work called “Hokuto Mandara”, which is a planting using Ezo Akamatsu of environmental modeling Q, but it will not come back to the original image until 25 to 30 years have passed Is. It can be said that the sculpture is “generation” or “creature”. You may hear that even if the work is made of stone, the “taste” does not come out until a certain amount of time has passed. Depending on how you think about this, it can be regarded as “generation”, and in fact, it takes a certain amount of time for the sculpture and the environment to become familiar and compatible with each other.
Industrial products as the material of this place are simply dirty when they get old, so they have nothing to do with the “taste” of time, but in any case, what I want to say is that they are permanent products. It is because of the premise that “Oshimai” is the idea of sculpture installation. It is natural that a temporary work is more experimental, but even if it is permanent, “boldness of trial” is necessary. However, I think that many of them have a tendency to lack the “boldness of trial”. This is because we are constantly required to make adjustments to social issues (as there is an example like Richard Serra), but this problem that tends to occur in so-called “urban” outdoor sculpture is the “public nature” of sculpture. From this point of view, I would say that this is an unavoidable challenge (as in the example of that Rodin’s “Balzac statue”).
In that respect, the nature is a little different, but there are some interesting problems with “natural” outdoor sculptures. Not long ago, David Nash witnessed the wood-carving “Wooden Boulder” left in a mountain valley in North Wales, to transform the sculptural “place” problem and work. I have felt something like anxiety. In other words, it disappears… I wonder. I was able to feel when Biki Sunazawa’s “Four Winds” was installed in the Art Forest. He was calm, saying that this was a “gift” to the heavenly god because he was worried about the disappearance of the tree of material… remember. To be honest, the reality is that birds have made nests and spoiled their cores, and are trying to preserve them. However, another way of thinking may be that there is one aspect of this that is also permanent.
In any case, before the Sapporo Art Park was opened, I cannot forget the Hakone Museum of Sculpture. This is because I am anxious about this because I am looking at the collection of works published in commemoration of the 30th anniversary this summer, so I am reminded of the wide variety of contemporary sculpture. is. In the preface, Mr. Yusuke Nakahara said, “At the end of the 20th century, the sculptures that have appeared in the open air seem to be reaching a turning point,” and made the following point. I will. “Outdoor sculpture becomes a monument called sculpture.” “Permanence and non-permanence, or permanence and temporality of works of art, will become an increasingly closed issue in the new millennium. I think.” I think that’s true.
Considering the “place” of sculpture, there must be spatial conditions suitable for the work. Attempts to maintain the personality and form of the sculpture, or to create a new space created by the pleasant relationship between the sculpture and the “place,” made the sculpture appear outdoors (having a public character). Now, it is common sense, but once a sculpture is installed, it means that, in connection with the “place”, the child will now settle in the memory of people.
One of the things that played a role in cultivating the so-called “public art” in the United States was partly due to the size of the public space, which also made the sculpture enormous, which made it possible to connect with the “place.” I think that it was because the effect of further refining was enhanced and the impression was also strong. A typical example is Isamu Noguchi’s “Red Cube” (1968), which was installed in front of the Marine Midland Bank in New York. It’s the Storm King Art Center in the sculpture garden. It’s a memory that I can’t forget because I visited on a snowy day, but I felt like I wanted to drive in a big car. Land art (earth work), which is at the center of your interest, will have an even greater scale, and there are issues such as “public art” and ecology that you are interested in recently. Perhaps it is a little “earth science” related to the natural ecosystem. However, it seems to be converging for some reason to the “work” as the “device of memory” that the sculpture creates in relation to the “place” when it is brewed.
As a thank-you note for the “Urban Village of Sculpture” exhibition, I wrote about it, but I wrote only unnecessary things. As we are approaching the new century, we wanted to set aside somehow, so it became a little old story. However, I think that what matters is the continuity of the business, not the poor results. I will renew my machine soon.