{"id":8470,"date":"2019-05-15T14:07:40","date_gmt":"2019-05-15T12:07:40","guid":{"rendered":"https:\/\/www.apartamentomagazine.com\/?p=8470"},"modified":"2021-11-10T12:01:22","modified_gmt":"2021-11-10T11:01:22","slug":"radical-things","status":"publish","type":"post","link":"https:\/\/www.apartamentomagazine.com\/stories\/radical-things\/","title":{"rendered":"Radical things"},"content":{"rendered":" \t\t
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\n\t\t\t\tTo access this post, you must purchase Apartamento Membership<\/a><\/span>.\t\t <\/div>\n\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"\n
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\n\t\t\t\tTo access this post, you must purchase Apartamento Membership<\/a><\/span>.\t\t <\/div>\n<\/p><\/div>\n","protected":false},"author":7,"featured_media":9190,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[49],"tags":[75],"class_list":["post-8470","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-essay","tag-art","authors-stuart-munro","membership-content","access-restricted"],"acf":{"link_archive":false,"archive_story":null,"archive_bg":"#F5F4EE","archive_title_color":"#000000","cover_bg":"#F5F4EE","cover_title_color":"#000000","body_bg":"#F5F4EE","body_text_color":"#000000","body_captions_color":"#666666","related_bg":"#db1e50","related_text_color":"#000000","stories_bg":"#EDECEC","alternative_image":"","hover_image":9193,"credits":"Text by Stuart Munro","title_format":"center","font_size":"medium","image_format":"cover","hero_image_mobile":null,"video":"","video_excerpt":"","video_format":"regular","content":[{"acf_fc_layout":"credits"},{"acf_fc_layout":"text","text":"To say that the world was restless between 1968 and 1969 would be something of an understatement. Cultural change and radical self-awareness played no small part in the contemporary history of postwar Japan. Technology existed at the heart of pitting the human body against the hostility of space. The US Apollo program was desperate for the 1969 moon landing to defeat the efforts of its Soviet counterparts. As the desire to escape the earth continued, a small group of Japanese artists made their temporal approach to object-making and painting even more extreme, with the view of making no ethical distinction between the man-made and natural, sending their own radical nature out into the world. Science and technology seemed to force things in one direction, while the quiet theory-led group known simply as Mono-ha pushed things the other way, deliberately transforming the avant-garde with a school of its own making.<\/strong>"},{"acf_fc_layout":"image","image_size":"regular","gallery":[9187]},{"acf_fc_layout":"text","text":"Mono-ha, thought to centre around Nobuo Sekine, Katsuro Yoshida, Susumu Koshimizu, Koji Enokura, Noboru Takayama, Katsuhiko Narita, Lee Ufan, Noriyuki Haraguchi, and Kishio Suga, was not the only group in Japan but it did constitute one of the most unique and widely represented movements. Groups like Hi-Red Center, Gutai Bijutsu Kyokai (Gutai Art Association), The Play, and Provoke were clear in their own reaction to events locally and globally. Kansai-based The Play sailed a styrofoam arrow up and down rivers during the Apollo moon landing (Current of Contemporary Art,<\/em> 1969) in reaction to the conscious remapping meant by landing on the moon and claiming territory in the name of all mankind\u2014a subtle dig perhaps at the land disputes Japan also experienced following the Second World War. Mono-ha represented something very different. On the surface, it seemed less interested in issues their militant cousins were preoccupied by. The group\u2019s core membership was nebulous by nature and never explicitly defined. The idea of them existing as a \u2018group\u2019 only became more apparent with every exhibition, yet they avoided producing a manifesto as Gutai did before them, declaring in 1956 that \u2018the human spirit and matter, opposed as they are, shake hands\u2019. Like the group photograph taken in readiness for \u2018Art in Japan since 1969: Mono-ha and Post-Mono-ha\u2019 at Tokyo\u2019s Seibu Museum of Art in 1987, they were much more enigmatic and seemed too distant to warrant a handshake."},{"acf_fc_layout":"image","image_size":"regular","gallery":[9186]},{"acf_fc_layout":"text","text":"\u2018OOX\u2019 at Tokyo\u2019s Muramatsu Gallery in January 1968 brought together 25 artists from Tama Art University (otherwise known as Tamabi), in Tokyo, including Sekine, Suga, and Yoshida. Nine months later, Sekine\u2019s seminal land art sculpture Phase Mother\u2014Earth<\/em> (1968) made its debut at the first Suma Rikyu Park Contemporary Sculpture Biennale in Kobe. A study in both absence and presence, Sekine\u2019s \u2018Earth\u2019 work was a cylindrical core of excavated earth, 2.2m in diameter and 2.7m tall, placed beside the hole it created. Seeing the sheer scale and simplicity of Phase Mother\u2014Earth<\/em> inspired both Lee Ufan, a Korean-born painter in Tokyo with a degree in philosophy from Nihon University (or Nichidai), and Suga, under the name of Ao Katsuragawa, to submit their reactions in written form to a critical writing contest organised by the art periodical Bijutsu Techo<\/em>. Yet it wasn\u2019t until 1970, with the roundtable discussion \u2018Voices of Emerging Artists: Mono<\/em> Opens a New World\u2019, that the group became more aware of each other.\r\n\r\nTurning away from the traditional notions of \u2018school\u2019 in Japan, founded in Western-style oil painting (or \u2018yoga\u2019), they neither leaned towards nor pushed away other groups known for confronting late 20th-century modernism: Arte Povera, Supports\/Surfaces, and Anti-Form. Yet Mono-ha strangely found itself informed by neither side. Koshimizu openly stated how uncomfortable they were being labelled Mono-ha\u2014\u2018ha\u2019 describing \u2018the school of\u2019 and \u2018Mono\u2019 defined as \u2018things\u2019. It wasn\u2019t until much later that the name and use of \u2018ha\u2019 was adopted by critics eager to give the nameless group some sense of form, despite their wish to stand apart from the establishment and institutions charged with steering postwar artistic practice.\r\n\r\n "},{"acf_fc_layout":"two_blocks","block_sizes":"half_50_50","content_type_left":"image","image_size_left":"regular","image_left":9189,"video_left_url":"","video_caption_left":"","video_left_type":false,"text_left":"","credit_image":null,"credit_link_left":null,"content_type_right":"image","image_size_right":"regular","image_right":9188,"video_right_url":"","video_caption_right":"","video_right_type":false,"text_right":""},{"acf_fc_layout":"two_blocks","block_sizes":"half_50_50","content_type_left":"image","image_size_left":"regular","image_left":9191,"video_left_url":"","video_caption_left":"","video_left_type":false,"text_left":"","credit_image":null,"credit_link_left":null,"content_type_right":"image","image_size_right":"regular","image_right":9185,"video_right_url":"","video_caption_right":"","video_right_type":false,"text_right":""},{"acf_fc_layout":"text","text":"During a symposium for the 10th Contemporary Art Exhibition of Japan: \u2018Man and Nature\u2019 (1971) the socialist art critic Hariu Ichiro argued that artists should develop new languages through existing means to describe a harmonious form of nature rather than reach for something nameless and less apparent. Ufan, who was taking part in the exhibition, protested, claiming to have never defined what he or the group did as \u2018nature\u2019, or indeed \u2018natural\u2019. \u2018Nature is about overcoming one\u2019s confrontation with artworks. Experiencing art is about our desire to be surrounded by this environment of a shared space with<\/em> artworks. To confront only leads to projecting one\u2019s own image of what one wants to see out the other work by objectifying nature and the world\u2019.1<\/sup><\/a>\r\n\r\nDespite its origins, Mono-ha was never concerned with local geography. Inspiration stemmed as much from an awareness of Carl Andre, Richard Serra, and Jannis Kounellis, while painter and avant-garde pioneer Yoshishige Saito, a tutor at Tamabi, was keen for them to focus on a more personal territory as much as anything else. Saito had brought back exhibition pamphlets from the first Minimalist shows in New York, picked up during an overseas trip, and showed them to his eager students, including Suga. Careful not to overstate this brave new world of expression, he stressed that they focus on thinking closer to home rather than latch onto the rigid formalism of what must have felt like a world apart, of no real consequence to the world they knew most.\r\n\r\nLines of thought were now being thrust through the framework of painting and object-making, focusing on notions of fields, optics, transience, and immateriality. For Suga, the momentary use of liminal materials both hard and soft meant that painting and sculpture looked indistinguishable at times\u2014Infinite Situation II <\/em>(1970)\u2014where preparation and construction were just as important as the work itself. While Suga reworked boundaries of wood, stone, concrete, and wax, Sekine sought experiences that absorbed the surrounding landscape, reimagining an element like granite to be as light as air, bridging a gap both physical and philosophical in nature. Even though it is clear with Phase of Nothingness<\/em> (1969\u20131970), the weight of one material is carried impossibly by another, and his concern for rethinking inert materiality as being agile sparked the interest of others struggling to find a voice of their own; this new materiality carried with it a sense of victory over the cultural upheaval they struggled to attain."},{"acf_fc_layout":"two_blocks","block_sizes":"half_50_50","content_type_left":"image","image_size_left":"regular","image_left":9203,"video_left_url":"","video_caption_left":"","video_left_type":false,"text_left":"","credit_image":null,"credit_link_left":null,"content_type_right":"image","image_size_right":"regular","image_right":9204,"video_right_url":"","video_caption_right":"","video_right_type":false,"text_right":""},{"acf_fc_layout":"text","text":"Susumu Koshimizu\u2019s Paper (formally Paper 2)<\/em> (1969) and Lee Ufan\u2019s Landscape I, II, III<\/em> (1968), and the more recent Relatum\u2014dynamics place<\/em> (2008), are a performance of sculpture and painting. Each carefully placed material and block of colour describe their shared limitations, expressing how one artwork would visually and physically pick up where the other one left off. Katsuro Yoshida\u2019s Cut-off (Hang)<\/em> (1969\/1986) and Koji Enokura\u2019s Place<\/em> (1970) and Symptom\u2014Floor, Hand (P.W. No. 51)<\/em> (1974) are as much about the space they were placed within as the actual material that was hung or laid on the floor. In every instance, artworks seem to question the nature of their own presence, expressing tensions between the gallery and viewer, as well as the \u2018radical doubt\u2019 embodied by every brushstroke searching for a language beyond the formal practice of painting. Mono-ha\u2019s reputation as a performative force grew stronger with every mark. Both the 1969 and 1971 Paris Youth Biennale exposed them to a wider audience and brought them in direct contact with many more names they were already familiar with: Sol LeWitt, Bruce Nauman, and Sam Francis, to name but a few. Several years after Mono-ha disbanded, \u2018Seven Italian Artists and Seven Japanese Artists\u2019 at the Italian Cultural Institute Hall in Tokyo (1976) sealed their reputation as major figures in contemporary art of the late 20th century.\r\n\r\nIt is interesting that while the world they came into faded away with little effect, Mono-ha persists, despite not formally existing in the first place. This might be explained by the stoicism of cities like Tokyo in the \u201860s and \u201870s. \u2018Out of this chaos\u2019, explains artist and filmmaker Tadanori Yokoo, \u2018this unknown energy was boiling up. There was Japanese traditional culture which I wanted to protect. Another side of me really wanted to destroy it. Although it wasn\u2019t like my body was splitting in two, these feelings lived together inside me\u2019.2<\/sup><\/a> The collapse of the student movement in the late \u201860s and the profound sense of failure felt in the aftermath of confronting authorities saw many of the period\u2019s cultural figures move away from documenting outside struggles to picturing internal worlds. Experimental filmmaker Toshio Matsumoto famously swapped the industry of vibrant youth culture seen in For the Damaged Right Eye<\/em> (1968) for the spiritual enlightenment and geometry of Everything Visible Is Empty<\/em> (1975), Black Hole<\/em> (1977), and Engram<\/em> (1987)."},{"acf_fc_layout":"image","image_size":"regular","gallery":[9190]},{"acf_fc_layout":"text","text":"The success of Mono-ha could be defined by its insistence that work draws from the inherent nature of material and not the object. As Suga himself suggests, drawing out latent characteristics that seem as if they have been there all along is a way of investigating something unknown, something intangible. The legacy of Mono-ha continues despite its language being heavily berated by critics in subsequent years. By 1972 the group began to make less sense as core members left to focus on their own practice, moving away from Tokyo altogether, as Koshimizu did in late 1973. Exhibitions, such as \u2018Requiem for the Sun: The Art of Mono-ha\u2019 at Blum & Poe Los Angeles (2012) and \u2018Tribute to Mono-ha\u2019, which is currently on show at Cardi Gallery in London (2019), continue to shed new light on how broad the group was in terms of painting, sculpture, performance, and experimental film. Suga\u2019s re-staging of his Law of Situation<\/em> (1971) installation at the 2017 Venice Biennale, as well as \u2018Situations\u2019 at Pirelli HangarBicocca in Milan (2016), revivified a wealth of earlier work by employing newer materials. Restrained at first, the work of Mono-ha continues to be as agile as ever. Works still exert their own state of excitement, and almost all question their own existence: objects filled with the hope of being something very different. \u2018If we do not destroy the concept of the material in objects\u2019, remarks Suga, \u2018we will be unable to make new objects from a new standpoint\u2019.3<\/sup><\/a>\r\n\r\n \r\n\r\n1<\/sup><\/a> Mika Yoshitake, Requiem for the Sun: The Art of Mono-ha<\/em> (Los Angeles: Blum & Poe, 2012), 22.\r\n\r\n2<\/sup><\/a> Under the Skin<\/em> (2011). Documentary, Japan: https:\/\/www.youtube.com\/watch?v=fUi2eGEr3oo<\/a>.\r\n\r\n3<\/sup><\/a> Doryun Chong, Postwar to Postmodern, Art in Japan 1945\u20131989: Primary Documents<\/em> (New York: Museum of Modern Art, 2012), 225."},{"acf_fc_layout":"image","image_size":"regular","gallery":[9258]},{"acf_fc_layout":"text","text":"On May 14, 2019, Sekine passed away. He was 76. Born in Saitama Prefecture, Tokyo, in 1942, he later moved to America, relocating both his artistic and family life to the Palos Verdes hills of Los Angeles. A new interview in issue #23 of <\/span>Apartamento<\/span> magazine features the enduring image of him staring out to sea, surrounded by a bare minimum of clutter and artwork. The distraction of an ocean view, outstretched towards Japan, is all the distraction he needs. But the distraction is not a worthless one. Even the act of looking becomes a way of making something from nothing, responding to what is absence and not there. He will be greatly missed.<\/span><\/em>"},{"acf_fc_layout":"images","container_size":"container-fluid","gallery":[9195]},{"acf_fc_layout":"images","container_size":"container-fluid","gallery":[9197]},{"acf_fc_layout":"images","container_size":"container-fluid","gallery":[9198]},{"acf_fc_layout":"images","container_size":"container-fluid","gallery":[9257]},{"acf_fc_layout":"text","text":"

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