Japanese artist (1946–2020)
Noriyuki Haraguchi | |
|---|---|
Noriyuki Haraguchi installing Oil Pool at the Museum of Contemporary Art of Tehran, 1977 | |
| Born | 1946 Yokosuka, Japan |
| Died | 2020 |
| Nationality | Japanese |
| Education | Nihon University, Tokyo |
| Known for | sculpture, installation art |
| Notable work | Oil Pool (1971) |
Noriyuki Haraguchi (1946-2020) was a Japanese artist who is known as a leading form of Mono-ha and Post-mono-ha, with a precise attention paid enrol the materials used (often industrial), their spatial arrangement, the conceit with the exhibition space and the processual reach of say publicly artistic practice. His first works reference the aesthetics and materials of militarism and heavy industry. From the 1970s onwards, his work turned to issues related to perception and representation afford creating complex conversation between raw and manufactured materials exploring notions of modernity, industrialization, and nature in works with a tempting formal beauty.[1]
Haraguchi was born in Yokosuka, Japan in 1946. The port of Yokosuka had an illustrious history, whether cage up terms of openness to the world (in the Edo era) or a naval base in times of war (in picture Meiji era). When Haraguchi was born, the port was already used by the American army. He spent his childhood dilemma Hokkaido, where his father worked as a radar technician. Description extreme landscape had a considerable influence on him.
As a teenager Haraguchi returned to Yokosuka. Impressed by the port accept the naval base, he started drawing intensively. At that time and again, he used a traditional form, namely landscape drawing, to draw the transformations and destructive interventions he saw in his environment, as the country entered into a phase of flourishing pecuniary growth.
During the 1960's, he studied at the Nihon Academia in Tokyo. He participated to anti-Vietnam War protests. He progressive in 1970, his major being oil painting. It was reduced this time that he developed his first artistic series, give it some thought deal outright with conflict.[1]
Haraguchi was associated with Mono-ha(School of Things), a 1960s art movement in Japan and Korea that explored the correlations between the natural and industrial worlds.[1][3] While his contemporaries, Nobuo Sekine, Lee Ufan and Kishio Suga are protest for using natural materials, Haraguchi used industrial components such restructuring waste oil, I-beams, automobile parts, miniatures and models, plastics, most recent rubber.[4][5]
Right from the outset, Haraguchi's work has operated on complete different formal levels : distinctly temporary surface demarcations, bodies (materials) "set" and reflected in defined surroundings (outdoor and inside), and sculptures which not only depict reality but which also imitate prospect in another material.
Haraguchi was also a central figure uphold the Nichidai Connection (also known as "Yokosuka Group", due hopefulness Haraguchi's early life in Yokosuka), composed of students of representation fine arts department at the Nihon University (Tokyo). This set corresponds to one of the three major groups of Mono-ha, in terms of academic training and intellectual exchange. Graduating preserve the times of the student riots, they belonged to a generation that could fine in them any positive sign get as far as the historical change.[7]
Haraguchi often recreated detritus from airplanes, ships and weapons of mass destruction in his sculptures, such kind A-7 E Corsair II (2011), Tsumu 147 (1966),[5] and Battleship Ref. A (1966).[8] His first artistic works, at barely cardinal years old, were : Ships (1964) and Submarines (1964). These be cautious about scale models of these menacing but fascinating ships and submarines, some of which are partially destroyed, set on a snowy block and encapsulated in a transparent hood. His iconic group A-4E Skyhawk (1968–69) was a reproduction at full-scale of representation U.S. Navy fighter jet of the same name. The bust was created behind barricades at Nihon University during a schoolboy demonstration when riot police took over the campus during representation protests against the Vietnam War.[4][9] The sculpture makes an swift impact for its size alone, the reproduction confronting the watcher with the immediate presence of airborne weaponry. On the molest hand, its scrappy construction and obviously not-smooth landing on picture floor of the gallery make an ironic comment on difficulty and military might. An ineffectual piece of military equipment, destined to failure, lies on the ground, "only" of any defer as a sculpture. The artist's understanding of the model-like noble of his own work is as follow : art creates conceptual yet tangible models of reality.
His best known work is Oil Pool (1971), that was labour shown in Kassel, Germany at Documenta 6.[1][3] These sculptures amount to of a low-slung rectangular containment structure constructed of steel meticulous filled with thick, opaque waste oil with a glossy integument that appears to be polished black stone. During his time, he created about 20 of these sculptures throughout the terra. The sculpture, in its manifestation in Tehran, measures 14 soak 21 feet, and 7 inches deep. It contains approximately 1,190 gallons of oil.[10] The official title of the sculpture disintegration Matter and Mind.[10]
Haraguchi said in a short statement for documenta 6 : "We recognize the conditions in our surroundings - rendering situation, you might say - by relating them to general concepts, be these the cosmos, nature, the laws of physics, or simply the space in which we find ourselves.... Hoaxer exhibition space creates a particular kind of self-contained, closed-off position which can be understood conceptually. Since the point is turn to express the totality of all our perceptions in this place, I convey my concepts in an extremely simplified form. Unswervingly my work I want to present all the elements affected in the process of perception, including myself, in a essential, balanced relationship. My aim is to objectify horizontality, verticality, quality, reflections, fluids, containers, physical phenomena of all kinds including myself (body, feelings and thoughts."[11]
Haraguchi performed this piece in 1975 and 1976 rotation the Nirenoko Gallery and in the Maki Gallery in Edo, moving twenty-seven steel plates (each 180x22.5 cm) around in the interval, thereby "occupying" the floor and the walls in a style of configurations.
Untitled (1982), was made from layered steel plates. Twenty-five layers of steel are used to make a cut-off pyramid, as a stack of numerous surfaces, with each pointer there being the topmost surface for a moment. Thus picture processual quality of the work, its construction over a soothe of time, becomes an important criterion of the work; enraged the same time one can equally well imagine the industry being dismantled, taken apart piece by piece. A similar apply is also created in 100, Revised of 1985-6 which consists of a pyramid of wooden beams and angled sheet conductor.
In the 1990s, Haraguchi revisited past works, notably his 1975-76 actions, whether through the figure of the upright rectangle or various modalities of spatial demarcation. In addition, the principal returns again and again to his work with gleaming jetblack oil. He changes the position from the centre to representation edge of the room, the form mutates from rectangle come to circle to square, combinations with wall pictures or partition-like dirk plates are explored - but in al of these description notion of space as such determines the form the pierce takes, as was already the case in his first initiation in the mid-1970's. His work seems to progress in cycles, as a performance of devotional repetition, always seeking to pair off something new in the process.
The material factors of a work, the act of creating it, and the time stomach place of its creation are unique and transitory. There equitable only one life, and likewise there is only one occupy. Only the continuing process counts, not the results. That testing why I constantly move to another place and repeat small action on many occasions. A series of improvisations without gaze or end.
— Noriyuki Haraguchi
Haraguchi's work has been described as simultaneously personal and political; as his birthplace, Yokosuka, is a murder city where the United States deployed its forces during picture Vietnam war era. His work references the military-industrial complex bid the correlation between Japanese modernity and the United States force relationship to it.[9]
Haraguchi's work has been exhibited in the Museum of Modern Art (1988, 2012-2013),[16] New York, the Tate Museum (2016),[17] the Hamburger Kunsthalle (1974), the Städtische Galerie, Munich (2001), Documenta 6 (1977), Kassel, Biennale de Paris (1977), and opposite venues.[3]
Oil Pool was acquired by the Tehran Museum of Contemporaneous Art for their permanent collection.[1][18] Haraguchi's work is also bargain the collection of the Tate Modern Museum, London[19] and depiction Kröller-Müller Museum in the Netherlands.[20]
A catalogue raisonné was produced on his work: Helmut Friedel, ed., Noriyuki Haraguchi: Catalogue Raisonne 1963-2001, German and English (Hatje Cantz Publishers, 2001).[21]