This material was published in conjunction with the exhibition of the same title, which was held in a building that used to be a part of a power plant, and which still houses generating facilities.
Selected works from 1974 to 2002 are included, followed by the list of works for this exhibition. There is a section called ‘Chronology of Works in the 1970s,’ edited by Noriaki KITAZAWA, followed by a selected list of the artist’s post-1970s activities.
Essay by Sen NAGANAAWA, curator of this exhibition, reviews TOYA’s oeuvre, based on the artist's belief: ‘If a group of oblique lines of vision is shared by considerable number of people, and becomes tightly knit and permeates the space, the space becomes a special place. It becomes a place that a sculpture emerges.’ (Quotation is translated by AAA.)
There are a couple of paragraphs in his essay that touch upon the artist’s approach to this exhibition, which are quoted as follows:
‘However, now in the 21st century, this artist is trying to redefine that he has expressed for 30 years. One of the sources of this urge is the mind-blowing images of the collapsing New York buildings. The gigantic man-made structures collapsed in a blink of an eye. He must have seen it as fragmentation of sculptures that appeared to have stood so solidly on the earth. For TOYA, sculpture has meant “something that stood on the boundary”, or “a function which works as a reconciliatory system that recognizes differences as they are”.
"I do not like to create a sculpture that appeals to people as a humongous mass, after seeing that event.” TOYA’s words during our discussion still remains in my mind. I heard his sincere wishes hidden in his words: “I would like to present something in a small scale, that still makes full use of the space of the museum that used to be a power plant”.’(translation by AAA)
Following NAGANAWA’s essay are descriptions of the works on show in the exhibition.
(Beyond the Tangled Oblique Lines of Vision: A Place from which a Sculpture Emerges)
- Sen NAGANAWA, 長縄宣