Kishio Suga B. 1944, 菅木志雄 Inside and Out of Lattice
Lot 10
Kishio Suga B. 1944
菅木志雄 Inside and Out of Lattice
Sold for HK$ 450,000 (US$ 57,601) inc. premium

Lot Details
Kishio Suga B. 1944, 菅木志雄 Inside and Out of Lattice
Kishio Suga B. 1944, 菅木志雄
Inside and Out of Lattice
1990

signed and dated 1990
oil paint and wood panels

149 x 133 x 8cm (58 11/16 x 52 3/8 x 3 1/8in).

Footnotes

  • Provenance
    Tokyo Gallery, Tokyo
    Acquired directly from above by the present owner in 1990
    Private Collection, Japan

    格子裡與外
    油彩木版
    1990年作

    背面簽名:Kishio Suga 1990

    來源
    東京畫廊
    現藏家於1990年直接購自上述畫廊
    日本私人收藏

    'Mono-ha' describes a group of Japanese artists active from 1968 to 1975 that aimed to challenge the traditional concepts of what an artist created, and what is considered 'art'. The name translates to "School of Things". The movement was born in a tumultuous socio-political post-war climate that spawned many artists' movements in Japan and internationally, such as Arte Povera in Italy and Land Art in United States. Similar to the mainstream avant-garde art movements of the time, they discussed how to transcend Western Modernism. However, contrary to the mainstream anti-art tendencies of avant-garde art, Mono-ha attempted to reconfigure art through the reduction of objects to their primary form. Reeling from the horrors of the atomic bombs dropped on Hiroshima and Nagasaki, these artists naturally rejected man-made forms, feeling that they led inevitably towards conflict and destruction. They shared a goal to accentuate what is intrinsically beautiful and artistic in raw materials by bringing together natural and industrial objects in their unaltered state, allowing dynamic combinations of materials to speak for themselves.

    Mono-ha's leading members included Lee U-fan, Nobuo Sekine, Koji Enokura, Noriyuki Haraguchi, Shingo Honda, Susumu Koshimizu, Katsuhiko Narita, Kishio Suga, Noboru Takayama, Katsuro Yoshida, and Jiro Takamatsu. They began as a circle of friends from Tama Art University, and with regular meetings and passionate debates, they formed the fundamental ideologies of their movement. To them, each object had significance for artistic expression just by the nature of its being. The artists explored the materials' interdependent relationships with each other, the space they occupied, and the negative spaces. Both the physicality and immaterial qualities were remarkable to the Mono-ha artists. As the movement gained international recognition, the artists associated with Mono-ha became some of the most respected artists of the 20th Century.

    The artists were prolific during the late 60s and early 70s, putting together numerous site specific works and happenings. After the Mono-ha period ended, artists remained dedicated to the values while they began to be more receptive to additional elements such as colours, and acknowledging the legitimacy of including painting and sculptural works in their expression. In this auction, we present Post-Mono-ha works by two of the core artists that participated in the movement: Kishio Suga (Lot 10) and Susumu Koshimizu (Lot 11). Both of the works reflect the spirit of Mono-ha artists as they progress and evolve through the decades.

    As a leading member of Mono-ha, Kishio Suga's oeuvre is characterized by his aim to redefine and reflect upon everyday materials, thereby bringing previously unrecognized facet to light. Suga sought to master the qualities inherent to but not visible in an object, expressed by the intangible experience of being in the same space as the 'thing'. Material becomes form in his 1990 masterpiece Inside and Out of Lattice (Lot 10); Suga uses easily commonplace wood panels and assembles them as a frame for space. The assemblage becomes not just the thing itself, but the empty spaces that it displaces and defines. The work is created with 30 auburn wooden panels affixed on a square wooden frame, with black paint appear as if oozing out from the centre, and raw wooden textures left exposed on the exterior edges. This allowed the audience to 'see unseeable things' – a notion Mono-ha artists was a strong proponent of. The experience not only highlights the physical qualities in each medium, but also to guide the audience to contemplate our own situation, and interdependent relationships with materials around us.

    Coming from the sculpture faculty, Susumu Koshimizu is especially celebrated for creating minimal sculptures and installation pieces from basic materials such as iron, wood and paper. The present lot Queen's Chair (Lot 11) is an exploration of wood and marble. The throne has to be assembled for each use, and the configuration can be different each time. Both pieces rely on each other to complete the work, as the wooden part would fall over without the base, and the base does not have a large and stable enough surface for sitting. This work encapsulated the symbiotic relationship that captivated the Mono-ha artists. Beyond the physicality, Koshimizu also contemplates the idea of a chair as a tool for sitting. In nature, we could sit on the ground or on a large rock. The 'chair' was only devised for social decorum, not out of necessity. As chairs became popularized, the 'throne' was then conceived out of a need to satisfy political iconography for monarchs. Queen's Chair is an impractical chair, as the heavy materials pose mobility issues. This echoes the inflexibility of a monarchic system, an imposed and unnatural social hierarchy disconnected from human nature and human needs.

    「物派」是一個自1968年至1975年間,由一群日本藝術家所發起的藝術運動。此派系所追尋的是針對傳統理念中「藝術家創作什麼」及「何為藝術」的問題來提出挑戰。「物派」的意思為物體的學派,起源於社會政治動蕩不安的戰後時代。這個時期不僅在日本甚至在國際上, 例如意大利和美國都在戰後時期掀起「貧窮藝術」、「大地藝術」等各種藝術浪潮。和其他主流的前衛藝術運動一樣,如何超越西方現代藝術是共同討論的議題。但「物派」和其他主流派系的區格是在於關注物體本身的性質、除去傳統創作形式下所產出的主體。特別是在廣島和長崎原子彈轟炸事件後,藝術家們的對戰爭麻木、恐懼的心態促使他們自然的拒絕任何人為形式,深怕自己的行為將造成不可避免的衝突和毀滅。他們共享一致的目標是探究物質或原物料中所帶有的美學本質,藉由來自天然的物質和工業用的原物料來進行創作,耳目一新的組合開啟了物質之間的對話。

    「物派」的主要成員有李禹煥、關根伸夫、榎倉康二、原口典之、小清水漸、成田克彥、菅木志雄、高山登、吉田克朗和高松次郎。這群藝術家是在多摩美術大學時期的朋友,他們在組織例行的討論會和辯論之下,建立起物派運動的基石。對他們而言,物體與生俱來就擁有獨特的藝術體現。物體和物體之間、物體與空間的相互關係是藝術家研究的課題,在實體和精神層面上對物派藝術家極為重要。當物派運動得到國際上的關注,這些藝術家成為了20世紀備受敬仰的藝術家之一。

    藝術家們在60年代晚期至70年代早期時蓬勃發展,許多為特定場域所創作的裝置藝術和各種藝術活動遍地開花。在物派運動結束後,藝術家依舊堅守物派精神,同時他們也開始接受加入其他像顏料等元素的可能性,也認同了繪畫和雕塑亦可以作為正當表現物派精髓的形式。這次拍賣會中,我們推出兩位核心人物,菅木志雄(拍品編號10)和小清水漸(拍品編號11)後物派時代的成熟作品,體現物派之終極精神和數十年來淬煉下的藝術結晶。

    身為「物派」領軍人物之一的菅木志雄, 他的創作主軸是重新定義日常生活隨手可得的物體,將其不曾受關注的一面展露出來。菅木試圖將看不見的物體內在特質表現出來,透過無形的手法,在同一空間與「物」共存。在1990年的作品《格子內與外》拍品標號10中,我們可以看到物質已經變成了框的形式來呈現。菅木藉由常見的木板來組合成一個網羅空間的框。這件作品不僅體現「物」的組合,它也劃下了空間的界限,重新配置了看不見的空間。約30件赤褐色木板組合了成一個方形木框,木板朝內的末梢帶有黑色顏料,看似從畫面正中心滲溢出來,木板朝外的另一端則保有原木的肌理。如此的體現方式,讓觀者意識到看不見的「物」,這亦是「物派」強力倡導的信念。 除了發現各種材質的實體特質,此般體驗也帶領觀者探索內在思維和身邊各種物體之間的關係。

    任教於雕塑系的小清水漸,最著名的是他運用常見的媒材,如鐵、木材和紙來創作極簡風格的雕塑和裝置。本次拍品《皇后的椅子》拍品編號11是小清對於木材和雲石的探索。王座在每次展出時需要重新組合,而最終的展示效果也將呈現不同面貌。兩件物體需要依賴在彼此身上來完成作品的搭建。原因是因為木頭座椅如沒有底座來支撐則會倒塌,而座椅也沒有足夠的面積和安穩度來支撐坐姿。此作不僅概括了物派藝術家迷戀與「物」之間的共棲關係,也讓小清思索著椅子為坐席工具的來源。在大自然中,我們可以席地而坐或坐在大石頭上。椅子一開始的發明則是為了符合社會禮儀,而非為了人體物理需求。隨著椅子的使用逐漸普及化,王位的緣由則是為了滿足替帝王畫的政治權威示意圖所設有。《皇后的椅子》是一張不實用的王位,其笨重的材質反應出移動性的問題。這和君主政治不靈活的架構產生共鳴,體制中極不自然、權貴為重的社會階級制度與人本需求背道而馳。

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  • Please note the image has been inverted in the catalogue illustration. It has been corrected online.
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