2012.2.25 (Sat.) - 2012.7.1 (Sun.)
Olive magazine was highly popular with teenage girls in the 1980s and ‘90s. It was a culture magazine as well as a fashion magazine, and its pages abounded with ideas for richly enjoyable living, and perspectives for creatively personalizing fashions. This exhibition will penetrate to the essence of the magazine through analysis of back numbers and the voices of former readers and people involved in the magazine’s publication.
2011.11.23 (Wed.) - 2012.3.20 (Tue.)
The 21st Century Museum of Contemporary Art, Kanazawa will present a major individual exhibition of the work of Monique FRYDMAN, an important French woman artist. Frydman has earned a solid reputation through solo exhibitions at many venues, including the Musée Matisse in France, La Verrière, The Hermès Foundation in Belgium, Passage de Retz in France and group shows like “elles @ centrepompidou” at the Centre Georges Pompidou in France. This is the first time she has appeared in an exhibition of this kind in a museum in Japan or any other Asian country.
Frydman became a practicing artist in the late 1970s. Taking painting as her main form of expression, she has pursued the expression of color and light with a variety of materials, including canvas, pigment, pastels, and paper. The colors and images that emerge from the intimate and interactive dialogue between the artist’s body and the materials she uses penetrate the space in which the work is placed and adroitly transform the site. The artistic realm that she creates expresses complex aspects of human awareness and emotion and forms connections with our own memories and bodies. In recent years, she has made a number of site-specific installations with such materials as glass, Plexiglas, paper and cloth. In this exhibition, we will present 14 of her works, including three new installations resulting from a dialogue with the architectural space of this museum. Frydman unleashes her unique colors and light in the bright, white space of the museum, leaving mysterious reverberations in the space and in our hearts and minds.
The Ossu! Shugeibu and Hideki Toyoshima:
2011.11.23 (Wed.) - 2012.3.20 (Tue.)
In today’s society, with its passion for efficiency and ease of understanding, are we not inclined to seek guidelines—even in our creative activities, which by nature should be spontaneous and free? Are we not inclined to seek reasons and standards of evaluation for what to make and how to make it?
The “gallant club members” of The Ossu! Shugeibu are men having no handicraft skills or experience, assembled by Bucho (Captain) Shoichi ISHIZAWA, a skilled creator. Proclaiming, “The Untrained Hand is
Beautiful!,” they have continuously launched activities that value, above all, the spirit of fun and the individual’s desire to create. Their relaxed, humor-filled Bukatsu workshops, centered on seven core
members, nimbly overturn the conventions we all unconsciously associate with handicrafts.
Working in design, art, music, and event production, artist Hideki TOYOSHIMA has captured attention with activities that freely traverse genres. Discovering creative opportunities in his encounters with people and places, he creates new events out of relationships arising between things, people, and places. A mediator as well as a creator, he conceives his category-defying activities from his unique perspective as such.
In this exhibition, The Ossu! Shugeibu and Hideki Toyoshima will meet for the first time. Toyoshima will interpret the spirit of The Ossu! Shugeibu’s artwork in creating an exhibition space where their activities
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
2011.4.16 (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