About "Future of Creation"
As of September 2014, we are presenting a new series of exhibitions, "Future of Creation," each of which takes a distinctive theme and embodies a trend now in the making. We are guided in this endeavor by four creators from the forefront of Japanese art and architecture who join us as supervisors--Toshio Shimizu (artistic director), Ryohei Miyata (metal artist), Toyo Ito (architect), and Kengo Kuma (architect). Each undertakes a three-month long exhibition, for a total four exhibitions each year.
Walking Through Sound
(Toshio Shimizu, Artistic director)
Some time ago I chanced upon the exhibition, Writings Through the Essay: On the Duty of Civil Disobedience by John Cage at the Ohio State University Wexner Center for the Arts. The only sound installation ever created by the composer, the work involved John Cage reading out mesostics based on text by Henry David Thoreau.
The installation was displayed in a gallery with irregular, oblique walls, which were part of the unconventional space created by Peter Eisenman, the architect of the Wexner Center for the Arts. The uniquely-shaped space was inundated with the dense sound of John Cage's voice in a variety of pitches, emanating from multiple directions. Light illuminated the space in a random manner. I immersed myself in the shower of sound and light. Chairs were the only tangible objects in the room filled solely with sound and light.
This experience is tied to another experience I had.
I visited an exhibition of contemporary Korean art held in Ginza. It was in 1977, more than 40 years ago. Artist Quac Insik was exhibiting a work where several large rocks were placed on the floor. Viewers appreciated the work by walking among the rocks, laid out like a rock garden. The space was filled, not with anything material such as the sense of presence exerted by the masses of rocks, but with something invisible and more electromagnetic so to speak--something that affected the whole space in which the rocks were placed.
The experiences I had at these two exhibitions have remained in the depths of my mind ever since. If experiencing a moment that transcends the present visible world is the ultimate purpose humans seek in artistic expression, then it is only natural that artistic approaches are many and varied. Luckily, humans are blessed with five senses. In my view, the appellation "visual arts" unnecessarily restricts art, which I believe can be appreciated with sight, hearing, smell, touch and taste. Of these, vision and sound seem to have in common the capacity to fill a space.
For this LIXIL Gallery exhibition, we invited Karesansui Surrounding, a group of artists who consistently create sound installations. I felt the need to revisit the very roots of artistic expression in an age glutted with overwhelming visual experiences brought by digital images. Exhibits therefore needed to be as devoid of materiality as possible. When John Cage proposed listening to the silent pause in his composition 4'33" (Four minutes, thirty-three seconds), was he not showing how to listen to the sound of the wind, away from the overpowering and substantial piano and orchestral sounds nurtured by Western civilizations?
I was involved in bringing a work by Karesansui Surrounding once in the past to an art project held along the Tokyu Tamagawa railway line. The dramatic installation involved recording river sounds at various points along the Tamagawa (Tama River) from its source to its estuary, combined with sounds recorded at local urban locations. The sound of a mountain stream culminated into the sound of waves gushing into Tokyo Bay. Speakers were installed near train station ticket barriers, mixing real urban noise with recorded sounds. The work was composed of sound only, though the ticket barrier provided a visual element.
The present exhibition aims to fill the space with sound only, minimizing visual elements by using a white cube. Sound will include both processed sound and real, live sound occurring at the venue. Although sound is generated by material substances, sound eventually leaves its material source to become an invisible entity drifting through space. I hope the experience of walking through minimal sound provides a moment for contemplating what is at the core of artistic expression in an age flooded with information.
|Date||Part 1: September 29 - October 28, 2018|
|Part 2: Novermber 1 - January 27, 2019|
|＊The exhibition is extended|
|Closed||Wednesdays, 25 November, 2018|
|Planned and organized by||LIXIL Corporation|
|Cooperation (Part 1)||Uchida Design Inc., K11 Art Foundation|
|Sponsor (Part 2)||Taguchi Craftec Inc., Gas As Inetergace Co., Ltd.|
Supervisor of the 17th Future of Creation
Toshio Shimizu holds the positions of president of TOSHIO SHIMIZU ART OFFICE and professor at the Graduate School of International Cultural Relations, Gakushuin Women’s College, as well as being a curator and art critic.
Born in Tokyo in 1953, Anciens Élèves del’ École du Louvre. Having worked as a curator at the Tokyo Metropolitan Teien Art Museum and director of the Contemporary Art Center, Art Tower Mito, he now engages mainly in organizing
exhibitions and art events, as well as producing public art.
His recent achievements in art direction include: the Tostem booth at the Japan Industry Pavilion, Expo 2010 Shanghai;ar tworks at Tokyo Midtown; ar tworks at Toyosu Front; artworks at Nagoya Lucent Tower; artworks at Iwate refecture Citizens’ Cultural Exchange Center – Aiina; artworks at Muza Kawasaki Symphony Hall; Yoko Ono Bell of Peace (exhibition) at Gakushuin Women’s College; THE MIRROR (exhibition); and the Otemachi Financial City.
photo: Herbie Yamaguchi
Part 1: Adrian Cheng × Shigeru Uchida Wander From Within
Adrian Cheng (b.1979-)
Adrian Cheng is an entrepreneur and designer based in Hong Kong and Europe. After graduating from Harvard University (Cum Laude) he furthered his education at Stanford Kyoto Center for Japanese Studies, where he developed a deep appreciation for Japanese culture and design. In 2008, he founded K11 Group, a global cultural brand that combines art and commerce in a rapidly-expanding portfolio of shopping malls, offices and serviced apartments across Greater China; he is also the founder of K11 Art Foundation which supports and incubates emerging artists and curators in Greater China. Cheng received an insignia of Officer in the Order of Arts and Letters from the French government in 2017, and is now a Board Member of MoMA PS1, and Trustee of the Royal Academy of Arts.
Shigeru Uchida (b.1943-2016)
As a leading Japanese designer, Uchida engaged in diverse design projects worldwide from architectural interior, furniture and industrial design to urban planning. His major works include series of boutiques for Yohji Yamamoto, Kobe Fashion Museum, the Tea Rooms ‘Ji-An, So-An, Gyo-An’. He was also involved in the overall concept design for hotels including Hotel Il Palazzo, Oriental Hotel Hiroshima, The Gate Hotel Kaminarimon and Sapporo Grand Hotel. His works are held in permanent collections at the Metropolitan Museum of Art, Denver Art Museum, the Conran Foundation, M+ Museums and others. He was a recipient of numerous prestigious awards including the Mainichi Design Award and Education Minister’s Art Encouragement Award, and was honoured with Medal of Purple Ribbon and the Order of the Rising Sun, Gold Rays with Rossette.
Part 2: Kare San Sui Surronding "I'mpermanent"
Kare San Sui Surronding
Formed in 2007 by musicians, engineers, programmers, designers and other artists working in various media, Karesansui Surrounding is a project that aims to bring fresh perspectives to the relationship between people and sound. Karesansui Surrounding creates gardens of sound in public spaces, harnessing state-of-the-art multimedia and original sound-processing technology to manipulate sound, taking its cue from the creators of karesansui (dry landscape) gardens. Karesansui Surrounding has conducted a wide range of activities involving sound, including participation in numerous art projects, creation of works for public spaces, participation in corporate events, and planning of original events.
Gaku Uchida / Creative Director
After working as a recording assistant for former Yellow Magic Orchestra (YMO) member Haruomi Hosono and others, Gaku Uchida released his first album under the name Why Sheep? in 1996, which received media acclaim. Uchida actively publishes and performs original works in Japan and abroad. He has also created and produced remixes and soundtracks for Kadokawa movies and other cinematic works. Uchida is the creative director of Karesansui Surrounding, a project he launched in 2007.
Member of Kare San Sui Surrounding
Creative Director : Gaku Uchida
Project Manager : Takashi Kojima
Sound Designer : Umeo Saito
Programmer : Kaita Fujii
Garden Planner : Yuichi Tsukada
Artisan : Hiroshi Itagaki
|Kare San Sui Surrounding / Major works|
|2007||Tamagawa Art Line Project Art Line Week 2007 at Tamagawa Station|
|2008||Tamagawa Art Line Project Art Line Week 2008 at Ota City Office|
|KENZO (fashion brand) press party at the Institut français du Japon Villa Kujoyama|
|Design Tide Tokyo 2008 Kenwood Design Booth at GYRE|
|Regular display at Minato Ward Eco Plaza (from 2008 to 2013)|
|2009||No Man’s Land at the former French Embassy in Tokyo|
|2010||Matsudo Art Line Project 2010 at Matsudo Shrine|
|2014||Nikkei Art Project, Time to Time, Place to Place at Nikkei Inc. Tokyo Head Office Space NIO|
|The Mirror at Nagoya Shoko Kaikan Building, Ginza|
|2017||Sound design for the exhibition The Living Treasures of France at the Tokyo NationalMuseum Hyokeikan|
|2018||Sound design for the exhibition Hermès Avec Elle at the National Art Center, Tokyo|
|Ongoing projects include Insect Listening Party, an event inspired by the traditional Japanese custom of listening to the sounds of insects; and Room 311, a talk event discussing society in the wake of the March 2011 Tohoku earthquake and tsunami.|