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Solo Show Solo show 'In Their Own Little Cosmos' with Sculptures of Yanaguihara Yoshitatsu (1910-2004), Yanaguihara Yoshitatsu Memorial Galleries in Mie Prefectural Art Museum Japan (2019)

個展 「その小さな宇宙に立つ人」三重県立美術館 柳原義達記念館 


Photo: Hayato Wakabayashi





















2019年7月6日 中谷ミチコ 



In Their Own Little Cosmos

When Yanagihara Yoshitatsu was 37 years of age, the majority of his work was lost to fire. While imagining the artist recoil at finding his work in ashes, one can also sense, in a corner of one’smind, a certain feeling of emancipation.

Ano Yama ni Karasu ga Iru (“There are the crows on that mountain”)((2016)), the starting point for this exhibition, is a work in which transparent resin colored with black pigment was poured into a plaster mold of a female figure. Becoming darker the deeper one looks below the surface, the form disappears, while information about the sculpture concealed within is expressed as shadow. I also call this an absent sculpture.

Upon completing this work, I was captivated by an intense wish to arrange it opposite Yoshitatsu’sDohyo (“Milestone”).
This can be traced to my staunch attachment to the essence of sculpture as an overpowering presence.

Once it was decided that this delusional idea would become a reality, I moved back and forth between the boundaries of “I” and “you.” Here, “I” refers both to “I” and “I as a teenager” when I first began to make sculpture, and to “I” and “Yoshitatsu.”

In addition to the room containing crows, a room has been arranged for this exhibition in which Yoshitatsu’s Inu no Uta (“Song of the dog”) occupies the center and is surrounded by a series ofsculptural works based on images portraying the flow of the everyday, as if possessing a relationto Yoshitatsu’s work. The eyes of the female figure who appears in these works, which were made using transparent resin, follow the viewer from a place filled with emptiness. At the same time,

the figure of Yoshitatsu’s Inu no Uta, which he referred to as himself, stares at the female figure in my work. I conceived a space in which the figures that occupy the room can come and gobetween “I” and “you” as equivalent values.

And Inu no Okāsan (“Mother Dog”) is my Inu no Uta, which faces Yoshitatsu.
I decided to end the exhibition by showing Yoshitatsu’s Koyagi (kid goat), which survived destruction by fire, alongside a selection of small works.

Having begun when I was 17 years of age, it has been 20 years since I was first captured by the spell of the naked female figure in Yoshitatsu’s Inu no Uta, and I have returned to the same place at the age of 37, the same age as Yoshitatsu when his work was lost to fire. I don’t know whether this can be called a solo exhibition, but I continue to move between “I” and “you” while asking a question that can never be answered.

But I think Yoshitatsu would have permitted me to do so.

July 6, 2019 Nakatani Michiko

(From the exhibition leaflet)







・2019 年 8月4日 トークイベント 書き起こし
「異なる地平にあること 彫刻と建築の狭間で」


・2019 年 9月15日 アーティストトーク 書き起こし

・2019年 15 アーティストトーク 書き起こし

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