Page 17 - World of Art magazine (2000)
P. 17

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@
         from tokyo to Fukui and kyoto, the museum of modem art new   nagoya city art museu and Fukui Fine arts museum, Japan and   internet;
                    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.

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