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Kishio Suga Volume 2 1980-1989 by Andrew Maerkle (Hardback)
£30.00
Available
Product Ref. (e.g. ISBN, SKU)
9788857247854
Published:
30 Jun 2025
Format:
Hardback
Number of pages:
256 pages
Dimensions:
240x165mm
Weight:
0.000kgs
Author:
One of the key figures in Japan's pivotal Mono-ha phenomenon of the late 1960s and early 1970s, artist Kishio Suga has realized a visionary practice of ephemeral, site-specific installations and performative interventions into the everyday environment. Writing is an important mechanism in Suga's artistic process, and his output spans aphoristic statements, fragmentary notes, art criticism, theoretical essays, and detective novels. Published in venues ranging from exhibition pamphlets to Japan's leading culture journals, Suga's texts deploy barbed humor and gruff intellect to prompt readers to rethink their assumptions about art and knowledge. This volume, the second of a three-part anthology, features Suga's writings from the period 1980-1989.
The second volume devoted to one of the key figures of his generation in Japan.
One of the key figures in Japan's pivotal Mono-ha phenomenon of the late 1960s and early 1970s, artist Kishio Suga has realized a visionary practice of ephemeral, sites-pecific installations and performative interventions into the everyday environment. Throughout Suga's career, writing has been an important element in his artistic process, as he uses his texts to interrogate the institution of art and anthropocentric conceptions of the world.
This volume collects Suga's writings from the period 1980-89, when the Japanese art scene was transformed by a museum-building boom triggered by the country's rise to unprecedented economic heights. Having challenged conventional definitions of art through his formulations of the "[thing]" and "being left" a decade prior, Suga shifts his focus in the 1980s toward working with the collective logic of the world. In particular, he embarks on a sustained investigation into the dynamics of "[periphery] surroundings" as the basis for an approach to artmaking in which subject and object are equalized and the marginal or unseen takes on as much significance as that which is centered or seen. Included here are the aphoristic fragments that Suga compiled for his retrospective monograph Kishio Suga, 1988-1968, short statements composed for exhibition catalogues, and long-form essays published in art journals and other magazines during the period, many of which appear in English for the first time.
One of the key figures in Japan's pivotal Mono-ha phenomenon of the late 1960s and early 1970s, artist Kishio Suga has realized a visionary practice of ephemeral, sites-pecific installations and performative interventions into the everyday environment. Throughout Suga's career, writing has been an important element in his artistic process, as he uses his texts to interrogate the institution of art and anthropocentric conceptions of the world.
This volume collects Suga's writings from the period 1980-89, when the Japanese art scene was transformed by a museum-building boom triggered by the country's rise to unprecedented economic heights. Having challenged conventional definitions of art through his formulations of the "[thing]" and "being left" a decade prior, Suga shifts his focus in the 1980s toward working with the collective logic of the world. In particular, he embarks on a sustained investigation into the dynamics of "[periphery] surroundings" as the basis for an approach to artmaking in which subject and object are equalized and the marginal or unseen takes on as much significance as that which is centered or seen. Included here are the aphoristic fragments that Suga compiled for his retrospective monograph Kishio Suga, 1988-1968, short statements composed for exhibition catalogues, and long-form essays published in art journals and other magazines during the period, many of which appear in English for the first time.
About the Author: Andrew Maerkle is a writer, editor, and translator based in Tokyo. Ashley Rawlings is a writer specializing in postwar Japanese and Korean art, in particular the Monoha and Dansaekhwa movements. Sen Uesaki is an archivist and lecturer at Keio University Art Center.
| Number of pages | 256 |
|---|
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