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.
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
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
Something that stands?
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
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”
ISHIHARA, Selected Poems Modern poetry anthology 26, Shichosha)
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.