Ground and Pattern September 21, 2002
Contemporary art is still difficult to understand
for many people and not approachable. So, we need to ponder what
it means to understand, however, I would like to write
about the things I have realized through repeating the Directors
People become much more interested in the artists works
when I provide a little explanation of the site, the horserace
racehorse field is used for Ban-ei horseracing in
the winter. Other than in that season, it is empty, just like
it is now. However, this is not the ruins of a track. Everything
will be used again. In this stable, in winter, there will be a
horse. More than 700 horses and 4500 people, including the families
of stable men, will come. A town will suddenly appear in this
stable zone spreading to the west of the racehorse track still
has the look of old Obihiro. You can see such a landscape within
one kilometer of Obihiro Station. Regarding the relationship between
people and horses in Tokachi, this is a cultural legacy. This
time, I wanted to use a contemporary art exhibition to reveal
such a site to the local community. I think of ground and
pattern. You can think of curtains or wallpaper. You have
such a wonderful ground, but you take it for granted. So by adding
some unfamiliar patterns, you will rediscover the extraordinary
ground. I see the contemporary artworks in Demeter as such patterns.
I try to convey my feelings in this way.
have been always interested in this idea of ground and pattern.
It became clear to me as I was speaking to the audience. Why did
I give the subtitle, art and environment to P3, the
team I lead?
I try to focus on the interaction between art, which is peoples
work, and the environment, that is, the surroundings. I have received
some critiques about the video works from art critics and journalists
I respect. They have criticized that the video works are not site-specific,
as they can be shown anywhere. They also wrote that some artists
brought works that are unrelated to Obihiro. However, I do not
think that video works are limited to the screens and monitors
that show the works. That way of thinking is similar to the idea
that paintings are in frames and sculptures are on stands. I actually
saw Kim Soojas video work, in the back of a stable, and
Cine Nomads Three Windows, in the restructured Mongolian
ger, with feelings totally different from when the works were
shown on the white wall of a museum.
began thinking about what was produced from Demeter.
by Serizawa Takashi)