Silent Echoes: Collection Exhibition I

2011.4.29 (Fri.) -
2011.7.18 (Mon.)

Information

Period :
2011.4.29 (Fri.) - 2011.7.18 (Mon.)
10:00 - 18:00 (until 20:00 on Fridays and Saturdays)
Venue :
21st Century Museum of Contemporary Art, Kanazawa
Closed:
Mondays (Open on May 2 and July 18)
Admission:
On the day
General : ¥350
College students : ¥280
Elemen/ JH/ HS : Admisson free
65 and over : ¥280

Group
General : ¥280
College students : ¥220
Elemen/ JH/ HS : Admisson free

*Advance ticket will not be on sale.
For More Information:
21st Century Museum of Contemporary Art, Kanazawa
Phone: +81-76-220-2800
Facsimile: +81-76-220-2802
E-Mail: info@kanazawa21.jp

About the Exhibition

How did it come? For a minute the opening balanced from one side to the other. Like a walk or march.
Like God strutting in the night. The outside of her was suddenly froze and only that first part of the
music was hot inside her heart. She could not even hear what sounded after, but she sat there waiting
and froze, with her fists tight. After a while the music came again, harder and loud. It didn’t have anything to do with God. This was her, Mick Kelly, walking in the daytime and by herself at night. In the hot sun and in the dark with all the plans and feelings. This music was her – the real plain her.

[Carson McCullers, The Heart Is a Lonely Hunter, Mariner Books, p. 118.]

“Silent Echo: Collection Exhibition I” makes a special presentation of L’écho by TSE Su-Mei, an artist
born in Luxembourg whose work resonates deeply with the world of music and human life conveyed by
the above quote from Carson McCullers’s novel, The Heart Is a Lonely Hunter. This exhibition reveals
possibilities of the museum collection that have seldom been discussed before.
Through selected works from the museum collection, we highlight an artistic world created through a
complete fusion of self, technique, and the world, which is exemplified by L’écho, an artwork based on a
process of connecting and blending a wide variety of phenomena related to the body, sound, technique, and the self.

Related Events

Gallery Tour with the Curator
Date: Sunday, May 15/ Saturday, June 11, Saturday, July 9
time: 14:00 – 15:30
Meeting Place: Lecture Hall, 21st Century Museum of Contemporary Art, Kanazawa
Admission: No charge (with same-day ticket to this exhibition)
Language: Japanese

Selected Exhibited Works

Matthew BARNEY,
Drawing Restraint 8: Natal Cleft, 2003
graphite, watercolor and petroleum jelly on paper in rotomolded
polycarbonate frames, with nylon fiber, acrylic and vivac
H91.4×W162.5×D104.1 cm
collection: 21st Century Museum of Contemporary Art, Kanazawa
© Matthew BARNEY
photo: SAIKI Taku

Matthew BARNEY

Born in San Francisco, USA in 1967. Lives in New York, USA.
Matthew Barney has a wide range of experience, having studied medicine at university before majoring in art and physical education and also having worked as a fashion model. Since the 1980s he has worked mainly in sculpture and film. His films often feature himself and his own sculptures. He skillfully uses materials such as silicon and plastic, focusing on biological aspects of the human body while conjuring up a sublime artistic realm through the incorporation of repetitive mythical designs. (MD)

FUJII Kazunori,
Explosion – Reincarnation, 1999
clay, H57×W640×D240 cm
collection: 21st Century Museum of Contemporary Art, Kanazawa
© FUJII Kazunori

FUJII Kazunori

Born in Nanto (former Inokuchi), Toyama, Japan in 1969. Lives there.
While studying ceramics at Kanazawa College of Art, and influenced by KUZE Kenji, a professor of the same university, Fujii Kazunori learned how to produce works focusing on the nature of earth as material for ceramics. Since then he has pursued his own creative style in art. As a college student, he invented his expression style ‘bakutoh’ (‘exploding pottery’) as he called it, and after that, it has become the core of his production. To make ‘bakutoh” ceramics, an explosive is put in shaped clay and after the explosive blows up, the clay is dried and fired in a kiln. Fujii’s artworks return to the root of artistic act as he is closely involved in both the explosion, the ultimate natural phenomenon, and the material of earth that leaves form permanently once baked in fire. (YE)

Anish KAPOOR

Born in Bombay, India in 1954. Lives in London, UK.
After spending his childhood in India, Anish Kapoor went to England at the age of 17. In the 1970s, he began to create artworks, and at the beginning, he produced many three-dimensional works covered
with pigments on the surface. Later, he began to make objects, which look like a cave entrance or a crack in the earth, covering the inside of a crevice or hole made in the bedrock-like floor with pigments.
His works constructed with varied materials always urge us to reconsider our vision and usual perceptions. In the unknown world generated beyond dimensions, Kapoor’s own views on human existence and life are reflected. (MD)

Vik MUNIZ
Picture of Chocolate, Diver (After Siskind), 1997, cibachrome print
H150×W119.8 cm
collection: 21st Century Museum of Contemporary Art, Kanazawa
© Vik MUNIZ

Vik MUNIZ

Born in São Paulo, Brazil in 1961. Lives in New York, USA.
Inspired by photographing for recording purposes objects he had created, Vik Muniz began creating work in the form of series of photographs. He recreates famous news photographs or masterpieces from art history using materials such as sugar, tomato sauce, or chocolate, and then photographs the results. As seen in the mode of expression whereby viewers are able to experience simultaneously multiple perspectives, i.e. the recognition of the depicted image and the perception as they approach the work that the image is in fact an aggregate made up of unexpected substances, Muniz expresses in an inimitable style the relationship between perception and the awareness of reality. (KC)

NAKAGAWA Yukio
Untitled (Karaku), 1984
flower liquid, seeds on Japanese paper
H135×W135 cm
collection: 21st Century Museum of Contemporary Art, Kanazawa
© NAKAGAWA Yukio
photo: SAIKI Taku

NAKAGAWA Yukio

Born in Marugame, Kagawa, Japan in 1918. Lives there.
As his aunt belonged to the Ikenobo School of Ikebana (flower arrangement), Nakagawa was familiar with the art. A collection of works that Nakagawa sent to ‘Ikebana Geijutsu’ magazine in 1949 was commended by landscape architect SHIGEMORI Mirei, and Nakagawa subsequently joined Shigemori’s ikebana research group ‘Hakutosha.’ Nakagawa left Ikenobo School in 1951. After he moved to Tokyo in 1956, he did not belong to any organization or school, and pursued ikebana on his own without taking any disciple. His solo exhibition entitled ‘Karaku’ held in Ginza in 1984 was well received. Along with his
avant-garde and revolutionary approach to flowers, the artist created glassworks and calligraphy. Under photographer DOMON Ken’s tutelage, he also took photographs. (YE)

Giuseppe PENONE
Propagation, 1995-1997
paraffin, glass, paper, ink, acrylic, water
H22×W100×D1200 cm
collection: 21st Century Museum of Contemporary Art, Kanazawa
© Giuseppe PENONE
photo: NAKAMICHI Atsushi / Nacása & Partners

Giuseppe PENONE

Born in Garessio, Italy in 1947. Lives in Torino, Italy.
Penone has been active as one of the artists leading the Arte Povera art movement, which has swept across Italy in the late 1960s and on. He is known for his style of using original materials of the natural world as they are in his works, gracefully revealing concealed nature of the material and its relationship with humans, especially human body. In Japan, his work was first introduced at “Human and Materials” exhibition (Tokyo Metropolitan Art Museum, 1970). His large-scale exhibitions were held at Pompidou Center in 2004, and at Venice Biennale in 2007, which were highly evaluated. (TY)

Martin SMITH
Tectonic Drift (detail), 2002 earthenware
H25.4×φ14.2 cm, H9.7×φ25.2 cm each, 5 pairs
collection: 21st Century Museum of Contemporary Art,
Kanazawa
© Martin SMITH
photo: SAIKI Taku

Martin SMITH

Born in Braintree, Essex, UK in 1950. Lives in London, UK.
Smith started as a ceramic artist in the mid 1970s making pottery using the technique of Raku ware. From the 1980s, he created works that looked as if they were reconstructed with what he had taken apart. Later the artist started applying gold or platinum leaf on the inner surface of the ceramic, and produced pieces that were characterized by the contrasting roughness of unglazed pottery. The distinguished trait is that there is a minimal approach noticeable in slight differences in the form and inner space expressed simply by eliminating unnecessary elements. (YE)

SUGIMOTO Hiroshi
SEA OF JAPAN, REBUN ISLAND, 1996
gelatin silver print
H119.4×W149.2 cm
collection: 21st Century Museum of Contemporary Art, Kanazawa
© Hiroshi Sugimoto
courtesy: Gallery Koyanagi

SUGIMOTO Hiroshi

Born in Tokyo, Japan in 1948. Lives there.
Sugimoto Hiroshi went to the US in 1970, where he studied photography at the Art Center College of Design in Los Angeles. In 1974 he moved to New York, here beginning to focus fully on his photographic practice. Sugimoto's works, leading examples being his 'Theaters' and 'Seascapes' series, are highly regarded for their clarity of concept and outstanding technique. In 2000 he received the Hasselblad Foundation International Award in Photography. Since 2003, he has turned to a history theme, presenting a 'History of History' comprising photographs he has taken plus collected objects.
Since 2005 he has toured a retrospective show first in Japan then the US and Europe, at the same time sustaining a prolific output of new work. (MD)

TANAKA Nobuyuki
Inner side - Outer side, 2005
lacquer, hemp cloth (kanshitsu)
220×158×85 cm
collection: 21st Century Museum of Contemporary Art, Kanazawa
© TANAKA Nobuyuki
photo: SAIKI Taku

TANAKA Nobuyuki

Born in Tokyo, Japan in 1959. Lives in Kanazawa, Ishikawa, Japan.
As undergraduate and graduate student at Tokyo National University of Fine Arts and Music, Tanaka Nobuyuki studied lacquer. In the latter half of the 1980s he created two-dimensional works on which he intentionally left the texture of hemp cloth, and in the 1990s he created 3D works using dry lacquer. Tanaka simultaneously developed works that highlighted the appeal of lacquer by coating shield-shaped solids with background powder and leaving complex irregularities, as well as works that were polished like a mirror. In around 2002 he started to work on pieces based on the concept of ‘place,’ which appealed to the viewer’s physical senses while creating architectural space. (YE)

Tse Su-Mei, L'echo, 2003
video projection, sound
4min. 54sec. Looped
Private collection
© TSE Su-Mei
Courtesy of the Artist and Peter Blum Gallery, New York.

TSE Su-Mei

Born in Luxembourg in 1973. Lives and works in Luxembourg and Paris.
TSE Su-Mei has lived with music since childhood. The diverse world of artwork she has created is based on the connecting and blending of many elements at the core of musical performance such as the body, sound, technique, and self. Musical elements appear directly in works like L’écho, The Well-Tempered Clavier, and Mistletoe Score, and there is an emphasis on worlds or forms created by fusing materials, self, technique, and subject matter in handmade works that take the form of sculpture or installation. In recent years, she has extended this approach to a greater variety of creative activities, including outdoor sculpture in public places. (MD)

Anne WILSON
A Chronicle of Days, 1997-1998
hair, thread, cloth,
H183×W587×D4 cm
collection: 21st Century Museum of Contemporary Art, Kanazawa
© 1997-98 Anne Wilson
photo: SAIKI Taku

Anne WILSON

Born in Detroit, USA in 1949. Lives and works in Chicago, USA.
Using materials such as lace, linen, human hair, and thread, Anne Wilson skillfully employs the techniques of sewing, weaving, and tying in creating works that investigate human perceptions and meaning as a culturally constructed linguistic norm. Her works range from panels, stitched into fabric using thread or hair, to large-scale sculptural pieces 10 meters wide and video and photographic creations. Working with her hands, Wilson creates a dense, eloquent world by interweaving the emotions awakened by her materials—which richly evoke privacy and the body—with our memory of the functions they originally served and the complex, delicate textures produced by her use of pins and bits
of thread. (YE)

KC: KITADE Chieko, MD: MURATA Daisuke, TY: TAKASHIMA Yuichiroh, YE: YOSHIOKA Emiko

Organizers

Organized by:
21st Century Museum of Contemporary Art, Kanazawa (Kanazawa Art Promotion and Development Foundation)