The Dwelling Place of Memories

Mariko Kaname

《The Journal of Asian Arts & Aesthetics》 3期 (2009/12) Pp. 53-58

https://doi.org/10.6280/JAAA.2009.03.07

並列摘要

Nowadays in Japan, public art installations are attracting attention under the umbrella of community renovation projects, as seen in the Faret Tachikawa Art Project (Tokyo 1994), the Art House Project in Naoshima (Kagawa 1997- ), and the Echigo-Tsumari Art Triennial (Niigata 2000-). Projects of this magnitude are achieved through the participation of artists and renowned art directors and producers, with financial assistance from the government or business sector. The host city becomes the center of attraction even for people who previously had no interest in that area.
The artists themselves, however, who are involved in such large projects, may have ideas and aspirations that do not always correspond to those of the planners. Indeed, some activities are more like the artists' own projects. In this paper, I discuss the approaches of the artist Sotaro Ide (1966-) who places priority on the ”house” and its ”memories” in creating his artwork.
First, his sense of aesthetics focuses on the dwelling places of memories rather than the artwork itself. An analogy is the cycle of life between the systems of memory which appears and disappears, and his process of creation. He uses fascinating techniques of etching. His unique aesthetic sense perhaps lies in the process of change instead of the permanence of a finished artwork.
Next, citing several examples of the public art project, Hatago-cho Machiya Project (Tokyo 2000), Piacer d'amor bush: Asai's house (Tokyo 2000), AINOKURA: Its light and Fusuma Exhibition (Toyama 2001), Vacant House Project in Echigo-Tsumari Art Triennial (Niigata 2006), Watanabe House: the shine and memories (Ehime 2006-2009), I suggest that his idea of regionality and the passion of his works not only characterize his own activities, but are also interconnected with, leading eventually to regional development.

並列關鍵字

Memories ； Someone's Memory ； Collective Memory ； Artist as a Mediator ； Pubic Art Project ； Dwelling Place ； Etching