2011.9.17 (Sat.) - 2012.4.8 (Sun.)
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.1
“Silent Echo: Collection Exhibition II” makes a special presentation of L’echo and Mistelpartition 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’echo and Mistelpartition, artworks based on a process of connecting and blending a wide variety of phenomena related to the body, sound, technique, and the self. This show refers to a new vantage point that has emerged in recent years, a concept that might be called “craft-like formation.” It is based on a new way of evaluating artistic expression, appreciating art and artistic acts developed “as a result of intimate dialogue between makers and their materials, nature, the environment and the other, and the complete immersion of the maker in the process through which objects come into being.”2 We reexamine the art and artistic acts derived from a dialogue with self, other, and material in the work of TSE Su-Mei, Anish KAPOOR, AWAZU Kiyoshi, YAMAZAKI Tsuruko, KUZE Kenji, and KADONAGA Kazuo. Their work shows great strength as well as sensitivity in its quiet dialogues and resonances, telling stories of ways that people engage with and live in this world and revealing new possibilities and hope for living through troubled times.
1. Carson McCullers, The Heart Is a Lonely Hunter, Mariner Books, p. 118.
2. FUDO Misato, “In the Process of Becoming”, Alternative Paradise, 21st Century Museum of Contemporary Art, Kanazawa,
2005, pp. 8-11. On the recent development of a theory of craft-like formation, see MURATA Daisuke, “Ron Mueck: Form as Dialogue”, Ron Mueck, Foil, 2008; “Anti-Gravity Structure – The Form as ‘History of History’”, Hiroshi Sugimoto: History of History, Shinsozai Kenkyūjo, 2008; “The Form as ‘Knit Cafe in My Room”, “Knit Cafe in My Room” by Mitsuharu Hirose and Minako Nishiyama, 21st Century Museum of Art, Kanazawa, 2009; “What Would Hiroshi Sugimoto Do? What Would Museums Do? Deified Artist and Museum: Hiroshi Sugimoto’s ‘History of History,’” AAS-ISS Joint Conference, 2011
2011.7.30 (Sat.) - 2011.11.6 (Sun.)
How does everyone acknowledge their identities that are gradually established in the process of finding out their whereabouts in the world? Among artists of contemporary art who are dealing with various
ways of expression while facing contemporary times, women artists indicate explicitly how keen they are on searching for their potential directions while shrugging off restrictions. It is because, when they try to escape from existing values and the old paradigm of reality to create another reality for themselves, it is essential for women to acquire freedom of self-decision---to be free of authority and commonly accepted ideas. Focusing on women artists who were born after the 1960s and rode on the waves of globalization along with the economic growth, this exhibition lends an ear to the Inner Voices of them who see both sides of life---difficulties and possibilities. In order to surmount barriers such as widely accepted images and values of “femininity,” misconceptions and lack of understanding that occur due to differences, they have chosen neither resistance nor confrontation. We are expecting that their works show us the ways they are working will reveal how universally important it is to be free in the expression of art, which is not limited to women only.
*Shilpa Gupta, I Keep Falling At You will be displayed from September 10.
2011.6.11 (Sat.) - 2011.9.25 (Sun.)
This exhibition applies the term “art-ZINE”to ZINEs published as a form of art and examines them as a new stage for creative expression. Unlike individually produced artworks, ZINEs are usually published in plural numbers. They are also distinct from the “art book.” As a medium that directly connects the publisher and readers through a personal distribution route, without going through the established book distribution system, the art-ZINE enables new approaches to communication. From this, new possibilities for art expression are also expected to come.
Throughout the run of the exhibition, ZINEs gathered through public appeal will be displayed on shelves in the venue. Our aim is to put them out for everyone to look at, as we contemplate together the art-ZINE and its appeal.
2011.4.16 (Sat.) - 2012.3.20 (Tue.)
With this edition, the Kanazawa Youth Dream Challenge Art Programme (*1) breaks new ground by setting its sights on an overseas artist. The Program invites the young, internationally recognized, UK-based artist Peter McDonald to develop an art project for the first time in Japan, marking the first international edition of the Program. Through the “act of painting,” McDonald, at the core of the project, rubs shoulders with others, lightly traversing the boundary between genres, genders, countries and the everyday and the extraordinary. As young people (*2) participate in the work, they experience the diversity of and possibilities for communication. Beginning with a painting exhibition and the production of a wall installation at the museum, various extemporaneous programs will be held using the exhibition space as a stage. As McDonald interacts with the city and the people of Kanazawa, his painted world will permeate the city, establishing pliable onnections between one person and another, and between people and places through the fundamental language of expression we know as painting.
Launched in 2007 adopting the methodology of the Zon Moderna outreach program at the Moderna Museet in Stockholm, Sweden, the 21st Century Museum of Contemporary Art, Kanazawa's unique program takes the form of a long-term project-based exhibition involving an artist-in-residence, work-in-progress and workshops. Targeted mainly at young people 18-39 years of age, participants in the Programme work together to rediscover and to grow their view of themselves and of the world. Based on the results of the past four stagings of the Programme, 2011 marks its further development as a case-study compilation of the Museum's key concept of “museum as mediator”.
Wall painting members (active April 20–June 5): 9
Project members (active June 5–end of March, 2012): 12