CHIKAKU: Perception, Time, and Memory in Japan

Photo of CHIKAKU: Perception, Time, and Memory in Japan

The originality of Japanese aesthetic expression has been the subject of keen international interest in these early years of the twenty-first century. Through an innovative presentation, this extensive exhibition will present a fresh interpretation of the unique evolution of Japanese art in terms of perception, time, and memory.

This exhibition is organized as one of the events in "Japan-EU Year of People-to-People Exchange 2005".

  • Installation image of exhibition: CHIKAKU

    Front: Takuma Nakahira, "For a Language to Come", 1970, book, Collection of Mr. Kotaro Iizawa
    Back: Daido Moriyama, ca. 1968-1972, Gelatin-silver print, Collection of Shadai Gallery

  • Installation image of artworks by Tetsuya Nakamura

    Tetsuya Nakamura
    Premium Unit Series, 2003, Paint on FRP, Private collection

  • Installation image of artworks by Rieko Hidaka

    Rieko Hidaka
    Centre: Distance from the Sky I, 2002, Collection of Hiroshima City Museum of Contemporary Art,
    Left: Distance from the Sky III, 2004, Collection of the Artist,
    Right: From the Space of the Trees VII, 2000, Collection of Mrs.Katsuko Ueda and Mr. Kuniaki Ueda, Sanbi-shosha Collection
    pigment on paper

  • Installation image of artworks by Motohiko Odani

    Motohiko Odani
    Right: Berenice, 2003, FRP etc., Takahashi Collection
    Left: Skeleton, 2003, FRP, Courtesy of Yamamoto Gendai, Tokyo

Term: June 4 - September 11, 2005
Venue: Kunsthaus Graz and Camera Austria (Graz, Austria)
Organizers: The Japan Foundation, Kunsthaus Graz and Camera Austria (Graz), The Japan Foundation and Museo de Arte Contemporanea de Vigo( Vigo)
Curator: Toshiharu Ito
In collaboration with: Adam Budak, Seiichi Furuya, Miki Okabe
Exhibition Architect: Makoto Sei Watanabe
Co- Architect: Niels Jonkhans
Participating Artists: Masaki Fujihata, Rieko Hidaka, Takashi Ito, Emiko Kasahara, Tadashi Kawamata, Yayoi Kusama, Trinh T. Minh-ha, Hiroyuki Moriwaki, Daido Moriyama, Takuma Nakahira, Tetsuya Nakamura, Motohiko Odani, Taro Okamoto, Yutaka Sone, Yoshihiro Suda, Hiroshi Sugimoto, Makoto Sei Watanabe, Masaaki Yamada, Miwa Yanagi
  1. (1)Concern for perception, time, and memory that characterized the shift from modern to postmodern are nowhere more evident than in the realm of art. This exhibition will explicate that shift in terms of the accompanying shifts in artistic expression, and throw new light on themes hitherto largely overlooked in the art world, including people and their environments; the dimension of time; memory and recognition; and life and perception.
  2. (2) The exhibition will identify the distinctive forms of perception, concepts of time, and structures of memory evident in the evolution of Japanese art from the latter half of the twentieth century into the twenty-first, and consider their significance in today's world.
  3. (3) The exhibition will delineate the configurations of Japanese perception, time, and memory by assembling and juxtaposing works by artists of different generations and genres of the modern and postmodern periods.
  4. (4) It has been suggested that the global, postmodern configurations of perception, time, and memory that are currently in the process of sweeping the world have their roots in the evolution of Japanese modes of perception, time, and memory. The exhibition will present this hypothesis and explore its implications.
  5. (5) Japanese art of the modern era emerged under complex influences as Japan underwent rapid modernization and technological advancement. In the course of this development, modern and contemporary Japanese art has displayed an essential concern with the fundamental problems of human beings, technology, and the environment — issues that are now a priority concern the world over. In light of the transformation of Japanese art over the years, the exhibition will reevaluate these issues and suggest how modes of perception, time, and memory will evolve from now on.
  6. (6) The exhibition will rethink the meaning of art in the twenty-first century in terms of perception, time, and memory, delineate new areas of potential for Japanese art in today's complex milieu of dramatic media change and deepening dependence on technology in daily life, and consider the validity of Western aesthetic values.
  7. (7) The exhibition will feature Japanese art works inspired by unique views of nature, the body, and related themes. These will be presented as an organic harmony of spiraling, layered components extending through the peculiarly animated and visceral interior and exterior spaces of the Kunsthaus Graz.
Sponsors: JAL, Toho Tenax Co.,Ltd Stadt Graz, Land Steirmark, A1, Zumtobel Staff
Accompaning Project: The Graz Art Project–Media Competition is being held in conjunction with this exhibition.

This exhibition will also be shown at the Museo de Arte Contemporanea de Vigo, October 7, 2005–January 22, 2006.

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