During his first trip to Japan, Gabriel Orozco
travelled through the agricultural landscape. Much of the farm land is
protected by semi-transparent, blue plastic netting which envelops and
parcels it, creating in the artist's words 'artificial blue farms'.
Orozco's project is to hang a sheet of this blue-grid
netting between the garden and the main room. The material will be installed
at the outside level of the veranda in the form of blinds. In the summer,
bamboo blinds are often hung from the veranda's of traditional Japanese
houses to provide shade inside.
'Blue Memory' operates as a screen
between garden and room, inviting reflection on the garden as an image.
In traditional houses when the shoji screens are withdrawn, the garden
is contemplated in a seated position from inside the room as a tableau
or 'living picture'.
Through Orozco's intervention the image of the garden
will be framed and divided into segments by the grids of the blue blinds.
The de-construction of the garden image into grid sections recalls the
rational process of structuring the image found within Western painting
and also within modern technology, for instance digitized photography.
By placing the blue screen between garden and room, Orozco
superimposes another layer of representation over the framed image of the
garden, capturing nature as a distant memory.
Like many of his other sculptures, interventions and photographs,
Orozco's screen mediates complex spatial and conceptual relationships with
a poetic deftness and subtle precision. In doing so, it
engenders reflection upon relationships that are implicit within the constellation
of garden and house, including relationships between inside and outside
space, garden and architecture, frame and framlessness.
At the same time by deploying an artificial material that
is used to control nature, Orozco's intervention draws upon wider relationships
found within the world at large: the dialectic between culture and nature,
landscape and technology, city and countryside.
lecturers : Philippe Nys (philosopher)
Daniel McClean (independent curator)
moderator: Mitsuaki Shigemori (artist, shima co-curator)
17th September 2000 2 pm - 5 pm
17-22 Ebisudanicho Hinooka Yamashinaku Kyoto
Tel. +81 (0)75 752 7171
The intention of the seminar is to consider some of the
many implications raised by the Japanese landscape garden as architecture
and microcosmos. The seminar considers 'Shima' as a series of parallel
investigations, focusing particularly on the contribution of Gabriel Orozco.
Potential subjects for discussion include: artificial nature (the garden
as artifice and model), in-betweeness (between garden and architecture,
inside and outside space), micro/macro (the garden as microcosmos), framelessness
(order and contingency within the garden) and life/locus in Art (wholeness
and the implicate order).
Mirei Shigemori Residence
34 Kamiojicho, Yoshida Sakyoku, Kyoto 606-8312, Japan
Fax +81 (0)75 761
8776 E-mail email@example.com
Due to limited access by appointment only
with the kind support of Marian Goodman Gallery, Institut
Franco-Japonais du Kansai,
Japan Arts Fund, The 23rd Japan Inter-Design Forum 2000
Kyoto and Shiseido
English | Japanese
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