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チェックと日本の現代美術界についての感想

Yukinori Yanagi

2013年12月9日

SUBMARINE (sculpture), 2013

I recently published a review of Yukinori Yanagi's New Works about his extraordinary Art Base Momoshima project online in Art Forum:

http://artforum.com/archive/id=44224

As usual here I publish the text along with a few additional images from the island, as well as the show, courtesy of Miyake Fine Art, Tokyo

Yukinori Yanagi, New Works
Miyake Fine Art
Tokyo, 26 Oct - 21 Dec

Japanese "neo-Pop" pioneer Yukinori Yanagi has had relatively low international visibility in recent years. After returning definitively to Japan from New York in 2000, his work took on an altogether different scale, both temporally and spatially, involving the artistic transformation of industrially despoiled, semi-abandoned volcanic islands in Japan's inland sea. The pieces in this exhibition are windows to a vastly ambitious new endeavour: the Art Base Momoshima project, commenced in November 2012 in a former junior high school on a small island near Hiroshima.


ART BASE IN OLD SCHOOL


YANAGI'S JEEP


ART BASE FLAG BY RAUL WALCH


YANAGI'S MANIFESTO

Using oil, graphite, and emulsion on twenty-one photographic prints of views looking out to sea, Yanagi sketches pieces of ships floating on barges; a surreal still life of the region's decaying industrial base.


MOMOSHIMA PROJECT NO.10 (collage, graphite and emulsion on paper), 32x50cm

These works are accompanied by a small rough-hewn sculpture Submarine, 2013, made from pieces of metal found on the island; and images of the battered 1950s movie theater in the village, re-imagined as a temple of failed modernity. Pictured on stage, a projection of Yanagi's signature neon hinomaru (Japanese flag) articulates his critique of crumbling nationalism, alongside a wry nostalgia for the post-war boom years.


MOMOSHIMA TOEI RECONSTRUCT PROJECT NO.2 (collage, oil paint, graphite, colored pencil and emulsion on paper), 50x65cm

Momoshima was once a thriving community based on orange farming, teeming with family life.


THE OLD TOEI CINEMA

It is now a certifiable genkai shūraku, a settlement doomed to die out. Today the population is around 550 and falling, 70 percent of the residents are over sixty years old, and desperately few children are living on the island.


HEAD COUNT OF POPULATION IN VILLAGE HALL

From the survivalist-style Art Base, Yanagi and a few young associates are plotting a temporary revitalization of the island, nursing it towards an inevitable future through a kind of slow art. A recent group show curated by the Berlin-based artist Taro Furukata (“100 Ideas on Tomorrow’s Island – What Art Can Do for a Better Society”), inspired German and Japanese artists in residency to clear several abandoned homes and convert them into repositories of memory and change.

See the website:
http://artbasemomoshima.jp/exhibition_e/index.html


MINKA HOUSE CONTENTS WRAPPED UP BY JUN MASUDA


HOUSE ART CONVERSION BY MOUHITORI

The resultant trail of discovery transformed the whole village into an eerie gesamtkunstwerk.


COKE IS IT


SHARP WAS IT

Amid empty shacks, rusting Toyotas, and villagers outnumbered by crows, cats, and spiders, the Momoshima project quietly explores post-industrial collapse and social decline—a possible future for any society in which development is based only on illusions of endless economic growth.


CROWS ON A WIRE


END OF THE BUBBLE YEARS

ADRIAN FAVELL
http://www.adrianfavell.com

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