Page 17 - World of Art magazine (2000)

KeiGo YaMaMoto JaPan

born on February 4th 1936 Fukui prefecture, Japan; lives in tokyo york, usa; 1979 the 11th tokyo int’l prints biennale, the national others; 1994 the 45th venice biennale, Eci, casino container,
and Fukui. media artist; 1958 Graduated from Fukui university; museum of modem art tokyo, Japan; 1982 the 4th biennale of venice italy; 1995 ’95 kwangju biennale, city art museum, kwangju
professor of the musashino art university, department of imaging sydney, sydney australia; 1983 photography in contemporary Japan; 1996 World Wide network art 96: tokyo station (laforet
arts and sciences. art, national museum of modem art tokyo, Japan; 1983 ElEctra, museum liikura), Fukui station, yugawara, Japan; oslo, norwai;
personal exhibition 1968 1972 Fire and smoke, Event series, musee d’art modeme de ia ville de paris France; 1984 the 41st amsterdam,holland; seoul, south korea; new york, usa other;
Echizen kaigan, Japan; 1972 video installation, Gallery 16, kyoto venice biennale, tapes section, venice italy; 1984 video 84, 1996 adicere animos, modern and contemporary art museum,
Japan; 1979 media installation, vancouver art Gallety, vancouver contemporary art museum montreal, canada; 1986 new video sesena italy 1996 siggraph 96, Journeys by tele-community, digital
canada; 1980 traveling one man show, saw Gallery, Ed video, art Japan, the museum of modem art, new york usa; 1988 the bayou, new orleans usa; 1996 science and art, koEx, korea
space, video inn, others, canada; 1981 media installation, ”the 3rd bonn int’l video biennal, Japanischen kultunnstiut, cologne sience Foundation seoul, south korea; 1997 siggraph 97, Electric
bank” amsterdam, holland; 1981 tape show, kijkuhuis, den haag, Germany; 1989 video skulptur:retropekyiv und akyuell ”1963-1989” Gaden, los angeles convention center la usa; 1997 the 15th
holland; 1992 Fukui Fine arts museum, Japan. dumont kunsthall cologne Germany; 1989 network art, Encounter World Wide video Festival, stedelijk museum, amsterdam holland;
group exhibition 1968 ”the trends in contemporary art”, between Japanese paper and Electronic media, Fikui-kyoto-tokyo, 1997 lndras net, Gurzenich koln station Germany; 1998 k-bit
the national museum of modem art tokyo, Japan; 1975 the 13th lmadate oublic center Fukui Japan; 1990 Japan - France network art institute station Japan.
sao paulo biennale, sao paulo brazil. 1977 documEnta 6, kassel by isdn, Fukui canon 01 shop, tokyo canon 01 shop, nagoya canon addrees Fukui: 24-10, oomura-cho, Fukui city, Fukui pref.,
Germany; 1977 ”bird’s Eye view of contemporary art”, the national 01 shop, nancy, paris; 1991 the 2nd int’l nagoya biennal, artEc 919-0316, Japan; isdn tel: +81 0776-41 7000 Fax: +81 0776-41-7001;
museum of modem art kyoto, Japan; 1979 cinema Experimental 91, nagoya city art museum, nagoya Japan; 1992 documEnta 9, tokio: 202, 2-21-9, shirasagi, nakano-ku, tokio, Japan; isdn tel: +81
Japonais, centre Georges pompidou, paris France; 1979 video the int’l mobile Electronic café, casino container kassel Germany, 03-5373-720 Fax: +81 03-5373-7200; E.mail:keigo@ nn.iij4u.or.jp
from tokyo to Fukui and kyoto, the museum of modem art new nagoya city art museu and Fukui Fine arts museum, Japan and internet; http://www.syba.co.jp/k-bit/
vaterdrop: giFt FroM heaven nr.5
blossed Forest 1
1999 linkEd picturEs©
kEiGo yamamoto and Eiko ito
window oF cosMos nr.2
urban energies and rural energies no.28
1998 linkEd picturEs©
kEiGo yamamoto and Eiko ito
urban landscape with a banner
urban energies and rural energies no.12
1992 octobEr 1996 JunE, linkEd picturEs©
kEiGo yamamot, Eiko ito, undou inamura
the syMbol oF analogue
urban energies and rural energies no.21
1997 april, linkEd picturEs©
kEiGo yamamot and Eiko ito
urban energies and rural energies no.30
vaterdrop: giFt FroM heaven nr.3
1998 april, linkEd picturEs©
kEiGo yamamoto and Eiko ito

linkEd picturE
urban energies and rural energies

While culture has been headed for urbanization, during the Muromachi period (1392-1573) could peaks ranging east of Kyoto, is utilized as a
the advances in computer technology have made be a good model. I believe the philosophy and borrowed view in this garden. We can learn from
the world smaller, and changed our concept of thoughts behind these gardens could give us a this garden how to utilize “natural energies” for
time and space. The Internet, in particular, has clue to help survive the 21st century. activating “Urban Energies”.
enabled us to communicate with any remote site One good example is “Rock Garden at Ryoanji The landscape changes with the weather each
without any time lag, and to introduce telecommut- or Ryoa Temple”. Elements of this garden include day, and needless to say, with the season. Just
ing systems into companies as a new working style. natural rocks arranged in as natural-looking a imagine the garden on a fine day, say, after a
This progress in electronic information systems state as possible in the midst of white sand shower, or in the snow. The changes in the
can be a piece of evidence that the one-way representing flowing water. This style of garden borrowed view produce more varieties in the
approach of urbanization is not enough to survive is called “karesansui” or dry landscape, and it landscape. As a result, it evokes the thoughts and
the upcoming 21st century. In other words, a features an abstract symbolism of nature. The feelings of the universe with its immense
one-way flow of energies alone cannot expect to concept of ”karesansui”is linked to a view of dimensions. We realize that “rural energies’’
create something unique or attractive. Indeed, at universe. The Chinese character or “dry” inherent in the garden interact with “urban
this rate, cities in the world might be standardized represents something abstract and intangible, and energies’’, and result in perfect harmony. I believe
and turn out to be unattractive places. or “mountains and water” symbolizes the this ideology will be essential when we think of
What we need for the cities in the 21st century flow of spiritual energies. Furthermore, Ryoanji the culture we create in the 21st century. In view
is intentionally to utilize more of nature. We will Rock Garden provides us with a good example of these matters, I gave this work of mine the title
have to explore a new type of culture by mingling for “shakkei” or view-borrowed landscape, in of “Urban Energies and Rural Energies”. A single
“Urban Energies” and “Rural Energies”, and which the background elements such as mountains piece of work can hardly explain this concept, so
harmonizing them. are incorporated into the garden’s composition. I decided to present a series of works in line with
Viewed in this light, Japanese gardens made The scenery of East Mountains with thirty-six this theme.

spEcial issuE 2000 world of art 15