Curriculum Vitae

 

Kazunori KITAZAWA
born in JAPAN 1949   

 "Kazunori Kitazawa" <ipak@fa3.so-net.ne.jp>  

 Tel: +00 81 263 83 7211

 

Resent Works

BRIDGE- Bronix River Art Center ( New York, USA )

Transposition  ( Hambrug,GERMANY )

EVENTA-4 (Uppsala , SWEDEN )

TOLLWOOD ( Munchen, GERMANY )

Nine Dragon Heads in Sarajevo ( Sarajevo. Bosnia & Herezegovina )

Down Light Symposium. ( NSW. Gosford, Australia. )

 

 
Concept : I regard my expression as “poetry” which is born out of the relationship of body, spirit, and material in art. This rejects standing on the side of death and protects “life,” and gives courage to those who experience it. Something which turns all wounds toward recovery from illness. It is art that touches the speaking person for whom it is hard to talk. “A magnified theory of sculpture.”
1949 Born in Ina City, Nagano Prefecture, Japan. Active from 1971.

Likening a deserted house and the inner secrets of an old family to “the interior of the heart,” after 1994, presented the series “Going around ‘Hills’” which transforms this into an art space.
From 2003, the series “Landscape of an Assassin” based on a land feud, and the “Serge Pey Ode Series No. 1~18,” as an arrangement of my own internal world. In 2006, a preliminary essay for rebuilding the memory of the land, “A Peculiar Time, A Peculiar Thing,” and “A Historical Folk Tale of China (There You Are and Do It),” relating the vestiges of conflict. In 2007, a new interpretation, “A Braggart’s Tale,” about the local world of art and an opinion on death, “An Urn for the Dead.” In August, “Planting Space,” a reading of the circumstances of agriculture in the post-war suburbs from the arrangement of trees left in a residential area 2008 JUNE "IBARUNA Story" Stones on the roadside　Beneath the　Wheel　(Inakita High School Kaorugaoka Hall Ina,Nagano Prefecture) JULY "Specific time　and Specific events" World in conflict is repetition, repetition appears white walls series No3
MATSUSHIRO CONTENPORARY ART FESTIVAL Vol.7(Remains of an underground bunker Matsushiro Imperial Headquarters. Nagano Prefecture ) JULY SERGE PEY ANTHEM series No18 ~ 20           The Continuous Performance Art Exhibition 13th NIPAF・ASIA・Performance Art Exhibition '08 (gyouda Nagano, Tokyo) OCTOBER "The Salt of the Promised Land" Re-creation Art Exhibition: Homage to Yutaka Matsuzawa (Kensei Hall RokuzanPark Azumino, Nagano Prefecture) )
NOVEMBER Ikegami Akira Case・production notes> Yanase Villa Art Education Project (Villa Yanase Tokyo National Museum Tokorozawa Saitama Prefecture ) DECENBER "A house of gamblers" "The Hill" series> The project from end-1994 (ARIAKE Hotaka Azumino,Nagano Prefecture) 2009 APRIL ["N + N"] ”The　Poetry　Box”　Installation of the inner world (Nerima Ward Museum Tkyo) APRIL Organized by Seizi Shimoda "Current Performance Art　Current NIPAF Vol.7" free, autonomous. Free, automatic -SERGE PEY ANTHEM series No23 "SERGE PEY ANTHEM"- (KID AILACK ART HALL Setagaya Tokyo)
JUNE "IBARUNA Story" Final chapter　(Inakita High School Kaorugaoka Hall Ina ,Nagano Prefecture)

Text
The world in conflict － repetition; white walls － repetition
"Specific Time and Specific Events" Series No. 4
In the silent time for me
Toward the middle of the silence

Something that stands?
In the silent time for me
A silent exit
Someone looks back?
In the silent time for me
How do you defend your silent back?
"The silent enemy" from “Song of the Single Coat”
(Yoshiro ISHIHARA, Selected Poems Modern poetry anthology 26, Shichosha)

 

The world in conflict － repetition; white walls － repetition "Specific Time and Specific Events" Series No.2 2007

 

The remains of the Matsushiro Daihonei (Matsushiro Imperial Headquarters) Zouzan　underground bunker are like the dark recesses of my heart. The area around Exit No. 4 is like my body and my personal situation. In 2006 I worked at this location, repeating the actions of “sweeping”, “purifying”, and “cutting”. After these repetitions, I repeatedly placed building material for walls. I gave it the name “Specific Time and Specific Events” series. Each year I repeat these actions.
This is my attempt to interpret the source of “quarrels”, using space.
I have had long experience with land disputes. People maintain only their innocence without a black or white resolution to a “dispute”. I see such a person in the difficult-to-speak-of, dark side of my mind.
Even now, my feelings are not yet healed. In the landscape of the disputed territory one can see a special space filled with the owner’s way of living and thoughts of life and death, up to the skies above the land.
Here in Matsushiro, the thoughts of the people of Shinshu (an old name for Nagano Prefecture) on ways of looking at and thinking of their lives, thoughts on the world after death, philosophy, memories of the land, history of the region, spiritual spaces, and emotional locations are all brought out and expressed in the reality of this space.
When I stand in front of the remains of the underground war shelter, where Korean laborers had been forcibly brought and where local citizens, too, had been forcibly relocated and made to work, I feel the space is filled with the resonances of systematic state violence. When the this place is recorded in heart-felt Japanese and Hangul, when it is spoken of in the languages of many different people, when a wall is erected in front of our eyes as art through objects and action, then this special place is experienced and felt as part of a special flow of time. This site then becomes a world in opposition to the past, like black or white.
When I read the poem by Yoshiro Ishihara, I became aware that I too, through my experiences, have developed an inexplicable concept of the “silent enemy”. I am also living in a world where confrontational relationships with an “enemy” are part of daily life.
Therefore here, in the grounds of this historic war ruin, I find meaning in the creation of site specific art.