Where Monday is on Sunday
11-18 November 2011
Kishio Suga, who has been exhibiting works since 1968, was a key member of the Mono-ha group, which came to prominence in the late 1960s and early 1970sand became, along with Gutai, one of the most important movements of the postwar period in Japan. Formally, Mono-ha paralleled the American Minimalism and Italian Arte Povera movements in its use of industrially produced or found materials, which it presented with little indication of the artist’s hand in order to bring their material qualities and object-hood to the fore. For Suga, however, object-hood exists beyond the realm of the visible. The artist, whom critic Toshiaki Minemura has credited with being one of only two members of the group who actually succeeded in actualizing the autonomy and potential of the Mono-ha movement, has continuously explored his concern with juxtaposing objects in a given space to create events and situations and articulating the complex presence of objects, which he understands as exceeding their phenomenological existence. In his recent works, he has focused the externalization of objects’ multifaceted interiors. In enter (2007–8), the surface of two stumps are covered with cuts and subsequently filled with white putty. In their strong contrast against the wooden grain, the resulting white patterns betray the permeability of the boundary between the inside and outside of the stumps. Works such as gathered and buried-0, and latent plurality-2 (both 2007) comprise wooden panels with geometrical shapes carved out to create convex surfaces that reveal the wood’s growth rings, which in turn metaphorically represent the complex structure of objects.
Kishio Suga (b. 1944), lives and works in Shizuoka
Tomio Koyama Gallery
1-3-2-7F Kiyosumi, Koto-ku,