Kazuo Kadonaga included in “WITH US IN THE NATURE” at Kröller-Müller Museum, The Netherlands (Feb 16, 2019 - May 9, 2019).
Gilbert & George’s “‘The Paintings’ (With Us in the Nature)” from 1971 is on view at Kröller-Müller Museum, The Netherlands, exhibited with seven sculptures from the collection in which the complex relationship between humans and nature is expressed in different ways. The sculptures are by Kazuo Kadonaga, Giuseppe Penone, Nicholas Pope, Bill Woodrow. “With their attempt to recreate a lost feeling, the G&G simultaneously expose the emptiness of the idea of nature as an unspoilt paradise: the landscape in which they sit, stand or stroll around is just as much made by human hands as the church, the fences and the brick walls that are visible in the landscape.”
Kadonaga’s commercially forested wood works uphold and upend notions of purity through the artist’s interventions with the materials. His “Wood No. 5R”, 1978 was sliced lengthwise into hundreds of veneer-thin layers and reassembled. Kadonaga’s “Wood No. 11M” was scored geometrically on one end and hit with a mallet, resulting in lengthwise expressions of the impact and a transformation of the original geometric scores on the log’s opposite end.
Images: Gilbert & George, "The Paintings" (with Us in the Nature), 1971 - detail; Giuseppe Penone, Sentiero, 1983-1984; Kazuo Kadonaga, Wood No. 5 R, 1978 / Wood No. 11 M, 1981; Nicholas Pope
© Kröller-Müller Museum, photo Marjon Gemmeke
Magnolia, leafy peony, camellia
Nonaka-Hill and PAC•LA was pleased to present a morning discussion with Dr. John Solt on Saturday, November 3rd.
John Solt is a poet, award-winning translator and scholar specialized in Japanese Surrealism and avant-garde poetry. He is associate-in-research at the Edwin O. Reischaur Institute of Japanese Studies at Harvard University and he was poet-in-residence at Vajiravidh College in Bangkok. In 1998, Solt produced the video “Glass Wind: Kansuke, Kit-Kat and Kazuo”, which includes the only remaining 8mm films by Kansuke Yamamoto. Solt was responsible for bringing the photographic work of Kansuke Yamamoto to the attention of the Tokyo Station Gallery, which led to the major exhibition “Surrealist Kansuke Yamamoto” (YouTube), co-curated with Ryuichi Kaneko, and contributed to the accompanying monograph “YAMAMOTO Kansuke: Conveyor of the Impossible”. Solt was a contributor to Getty Museum’s 2013 exhibition and catalogue, “Japan’s Modern Divide: The Photographs of Hiroshi Hamaya and Kansuke Yamamoto”.
John Solt authored “Shredding the Tapestry of Meaning: The Poetry and Poetics of Kitasono Katue” (Harvard University Asia Center, 1999). A frequent collaborator of Yamamoto’s, Katue’s work was subject of the solo exhibition “Kitasono Katue: Surrealist Poet” at LACMA in 2013, to which Solt contributed to significantly. (LACMA video).
At our Photographic Arts Council event, Solt discussed his relationship with Kansuke Yamamoto, described the times in which Yamamoto and his peers worked to advance avant-garde thought in Japan. He read Yamamoto’s poetry, and one of his own:
Yamamoto Kansuke: Conveyor of the Impossible
he saw through the prism
of his one cracked eye
and took us behind a mirror
merging dreams with non-dreams
his collages of positives and negatives
glimpse the world of ghosts
boats float along underwater breasts
the sun eye sets on the horizon
his swirling face with umbrella in hand
in a rain-soaked room in underwear
day by day incrementally
he unraveled illusions
a bed hangs in the sky like a cloud
inviting us to roll over and awaken
⁃poem by John Solt
Special thanks to John Solt, Gloria Katz, Willard Huyck and PAC guests who attended.
Each living thing, plant or animal, has a soul: my art is revealing the soul. – Kazuo Kadonaga
When Kazuo Kadonaga began making art in the early 1970s, he turned to a familiar material: wood. Kadonaga’s family ran a lumber mill, and the material and craft associated with it are certainly familiar to him. Yet, rather than alter the material for commercial use, Kadonaga set out to reveal its essence with minimal artistic intervention. In Wood No. 11 BK, Kadonaga cuts a grid of lines in one end of a cedar log. As the wood responds to Kadonaga’s suggested grid, it splits in ways that reveal the inherent properties of the material, seen in the shifting lines that travel the length of the drying wood. The result is a kind of quiet conversation between Kadonaga and the cedar log. Kadonaga’s work has been exhibited internationally and is in numerous public collections in the US and Japan.
Masaomi Yasunaga & Yoichi Shiraishi’s two artist exhibition in Osaka Japan open on July 16 at Art Salon Yamaki until July 28.
Thank you, Kyoko!