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“Topology of Time” / 『時間の位相』

“Topology of Time” / 『時間の位相』
¥ 550
[カタログ]
仕様:A4サイズ、8ページ、カラー
掲載作品:河口龍夫『時間の位相』展より8点
テキスト:光田由里
撮影:斎藤さだむ
編集:窪田研二、石水美冬
デザイン:峯石景子
翻訳:河西香奈
発行:SNOW Contemporary

*展覧会展示風景は、カタログに掲載されておりません。/ The exhibition view is not posted in this catalogue.


『時間の位相』展について
『陸と海』が最初に発表されたのは、1970年に中原佑介氏をコミッショナーとして開催された第10回日本国際美術展(東京ビエンナーレ)でした。瀬戸・須磨海岸の干潮と満潮の中間地帯に4枚の板をロープで設置し定点撮影した写真から26点が抽出・展示されました。
鑑賞者は、陸との境界線が動く海の中で板がたゆたう様が写された写真作品から、無意識下において認識しているこの世界の構造を意識することとなります。河口はこの作品を通して大きな宇宙の営みの一端を可視化させるとともに、この一連の現象から思い浮かぶ可視と不可視、感覚と認識、現実と写真、などといった概念の対極要素を「関係」という言葉で結ぶことで、作品に内在する同質性を捉え鮮やかに顕在化させました。『陸と海』は、その後の河口作品の代名詞である「関係」という概念を知らしめた記念碑的な作品と言えるでしょう。 一方、本展で発表する「新作」において河口は、1970年に制作された写真作品の外側を想像力によって描き出します。本作を制作する契機について、河口は以下のように記しています。
「<陸と海>のすべての写真には、当然のことながらその撮影された光景の外側がないのである。写真の左右も上下もない。現実にはあったはずの光景から写真として切り取られそれ以外が欠落しているのである。このことは写真を基点に考えれば、被写体の切り取りで成立する写真そのものの持つ構造であって、写真フレームの外側がないことは何ら不信を抱く事柄ではない。、と納得しながら、なおかつ写真にすることによって欠落してしまった、その写真の外側が気になってしかたがなくなっていたのである」
本作からは、1970年から2016年までの時間によって想起される「時相」(時間の位置)をめぐる諸要素は勿論のこと、境界の内側と外側、現実と創造、写真とドローイングなど、様々な「関係」を読み取ることが出来るでしょう。

*掲載作品に関しては下記までお問い合わせください。
http://snowcontemporary.com/contact.html

[Catalogue]
8 pages, 29.7 x 21 cm,, English & Japanese
8 works by Tatsuo Kawaguchi from the “Topology of Time” exhibition in 2016.
Text: Yuri Mitsuda
Photo: Sadamu Saito
Editors: Kenji Kubota and Mifuyu Ishimizu
Design: Keiko Mineishi
Translator:Kana Kawanishi
Published by SNOW Contemporary

On the “Topology of Time” exhibition
This exhibition consists of eight works titled Topology from ‘Land and Sea’, which are works created by Tatsuo Kawaguchi confronting his representative work Land and Sea from 1970 after 46 years of time.
The first occasion Land and Sea exhibited in public was at the 10th Tokyo Biennale: Between Man and Matter, held in 1970 with Yusuke Nakahara as the commissioner. 26 works were extracted from photographs that were taken from a fixed-position, recording the four boards installed with a rope between the low tide and the high tide area of the Suma Beach in Seto.
Through the photographic works capturing the floating boards swaying in between the boundary line of the land and sea, the viewers recognized the structure of this world which usually is kept under consciousness. Kawaguchi allowed a part of this vast universe to be visualized through this work, and among the sequences of the phenomenon, he vividly actualized the homogeneity connoted in the work by connecting various concepts in opposite ends―the visible and invisible, senses and cognition, reality and photography―all interpreted through the word “relation.” Land and Sea is positioned as his monumental work embodying the concept “relation,” which became the pronoun for Kawaguchi’s works later on.
Now on the other hand, Kawaguchi will be drawing with his imagination the outside of his photographic works created in 1970 for the “new works” exhibited on this occasion. Kawaguchi comments as below regarding the triggers of this work:
”As it would naturally be so, nothing outside the framing exists in all photographs of ‘Land and Sea’. No right or left, nor up or down exists in the photographs. An actual scene was captured and cut off from reality, and everything else was missing. When thinking from the basic point of view of photography, to capture an object within a framing is purely how a photograph can define itself, thus, having no outside of the framing is nothing I need to doubt of. Understood. But still, I began being obsessed thinking the outside of the photographs―what became missed by becoming a photograph.”
Inside and outside the boundaries, reality, and creation, photography and drawings―various
“relations” should be interpreted from this work, of course including the “Time Topology (placement of time)” recalled from the time frame between 1970 and 2016.

*Please feel free to ask us about the artworks shown in the catalogue.
http://snowcontemporary.com/en/contact.html


Please do not proceed with the payment if you live outside of the EMS transportable area (https://www.post.japanpost.jp/int/ems/country/all_en.html).
Please let us know the address to be shipped and contact "snow@officekubota.com" first for the estimate of the shipment fee.

Import duties and taxes may be applied upon customs clearance into your country.
In such cases, the recipient of the item will be responsible for those fees. Please pay these costs directly to the delivery agents or the customs office upon delivery. Additionally, taxes and duties differ by country. Please contact the customs office in your country for details.
[カタログ]
仕様:A4サイズ、8ページ、カラー
掲載作品:河口龍夫『時間の位相』展より8点
テキスト:光田由里
撮影:斎藤さだむ
編集:窪田研二、石水美冬
デザイン:峯石景子
翻訳:河西香奈
発行:SNOW Contemporary

*展覧会展示風景は、カタログに掲載されておりません。/ The exhibition view is not posted in this catalogue.


『時間の位相』展について
『陸と海』が最初に発表されたのは、1970年に中原佑介氏をコミッショナーとして開催された第10回日本国際美術展(東京ビエンナーレ)でした。瀬戸・須磨海岸の干潮と満潮の中間地帯に4枚の板をロープで設置し定点撮影した写真から26点が抽出・展示されました。
鑑賞者は、陸との境界線が動く海の中で板がたゆたう様が写された写真作品から、無意識下において認識しているこの世界の構造を意識することとなります。河口はこの作品を通して大きな宇宙の営みの一端を可視化させるとともに、この一連の現象から思い浮かぶ可視と不可視、感覚と認識、現実と写真、などといった概念の対極要素を「関係」という言葉で結ぶことで、作品に内在する同質性を捉え鮮やかに顕在化させました。『陸と海』は、その後の河口作品の代名詞である「関係」という概念を知らしめた記念碑的な作品と言えるでしょう。 一方、本展で発表する「新作」において河口は、1970年に制作された写真作品の外側を想像力によって描き出します。本作を制作する契機について、河口は以下のように記しています。
「<陸と海>のすべての写真には、当然のことながらその撮影された光景の外側がないのである。写真の左右も上下もない。現実にはあったはずの光景から写真として切り取られそれ以外が欠落しているのである。このことは写真を基点に考えれば、被写体の切り取りで成立する写真そのものの持つ構造であって、写真フレームの外側がないことは何ら不信を抱く事柄ではない。、と納得しながら、なおかつ写真にすることによって欠落してしまった、その写真の外側が気になってしかたがなくなっていたのである」
本作からは、1970年から2016年までの時間によって想起される「時相」(時間の位置)をめぐる諸要素は勿論のこと、境界の内側と外側、現実と創造、写真とドローイングなど、様々な「関係」を読み取ることが出来るでしょう。

*掲載作品に関しては下記までお問い合わせください。
http://snowcontemporary.com/contact.html

[Catalogue]
8 pages, 29.7 x 21 cm,, English & Japanese
8 works by Tatsuo Kawaguchi from the “Topology of Time” exhibition in 2016.
Text: Yuri Mitsuda
Photo: Sadamu Saito
Editors: Kenji Kubota and Mifuyu Ishimizu
Design: Keiko Mineishi
Translator:Kana Kawanishi
Published by SNOW Contemporary

On the “Topology of Time” exhibition
This exhibition consists of eight works titled Topology from ‘Land and Sea’, which are works created by Tatsuo Kawaguchi confronting his representative work Land and Sea from 1970 after 46 years of time.
The first occasion Land and Sea exhibited in public was at the 10th Tokyo Biennale: Between Man and Matter, held in 1970 with Yusuke Nakahara as the commissioner. 26 works were extracted from photographs that were taken from a fixed-position, recording the four boards installed with a rope between the low tide and the high tide area of the Suma Beach in Seto.
Through the photographic works capturing the floating boards swaying in between the boundary line of the land and sea, the viewers recognized the structure of this world which usually is kept under consciousness. Kawaguchi allowed a part of this vast universe to be visualized through this work, and among the sequences of the phenomenon, he vividly actualized the homogeneity connoted in the work by connecting various concepts in opposite ends―the visible and invisible, senses and cognition, reality and photography―all interpreted through the word “relation.” Land and Sea is positioned as his monumental work embodying the concept “relation,” which became the pronoun for Kawaguchi’s works later on.
Now on the other hand, Kawaguchi will be drawing with his imagination the outside of his photographic works created in 1970 for the “new works” exhibited on this occasion. Kawaguchi comments as below regarding the triggers of this work:
”As it would naturally be so, nothing outside the framing exists in all photographs of ‘Land and Sea’. No right or left, nor up or down exists in the photographs. An actual scene was captured and cut off from reality, and everything else was missing. When thinking from the basic point of view of photography, to capture an object within a framing is purely how a photograph can define itself, thus, having no outside of the framing is nothing I need to doubt of. Understood. But still, I began being obsessed thinking the outside of the photographs―what became missed by becoming a photograph.”
Inside and outside the boundaries, reality, and creation, photography and drawings―various
“relations” should be interpreted from this work, of course including the “Time Topology (placement of time)” recalled from the time frame between 1970 and 2016.

*Please feel free to ask us about the artworks shown in the catalogue.
http://snowcontemporary.com/en/contact.html


Please do not proceed with the payment if you live outside of the EMS transportable area (https://www.post.japanpost.jp/int/ems/country/all_en.html).
Please let us know the address to be shipped and contact "snow@officekubota.com" first for the estimate of the shipment fee.

Import duties and taxes may be applied upon customs clearance into your country.
In such cases, the recipient of the item will be responsible for those fees. Please pay these costs directly to the delivery agents or the customs office upon delivery. Additionally, taxes and duties differ by country. Please contact the customs office in your country for details.

*Tax included.

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[カタログ]
仕様:A4サイズ、8ページ、カラー
掲載作品:河口龍夫『時間の位相』展より8点
テキスト:光田由里
撮影:斎藤さだむ
編集:窪田研二、石水美冬
デザイン:峯石景子
翻訳:河西香奈
発行:SNOW Contemporary

*展覧会展示風景は、カタログに掲載されておりません。/ The exhibition view is not posted in this catalogue.


『時間の位相』展について
『陸と海』が最初に発表されたのは、1970年に中原佑介氏をコミッショナーとして開催された第10回日本国際美術展(東京ビエンナーレ)でした。瀬戸・須磨海岸の干潮と満潮の中間地帯に4枚の板をロープで設置し定点撮影した写真から26点が抽出・展示されました。
鑑賞者は、陸との境界線が動く海の中で板がたゆたう様が写された写真作品から、無意識下において認識しているこの世界の構造を意識することとなります。河口はこの作品を通して大きな宇宙の営みの一端を可視化させるとともに、この一連の現象から思い浮かぶ可視と不可視、感覚と認識、現実と写真、などといった概念の対極要素を「関係」という言葉で結ぶことで、作品に内在する同質性を捉え鮮やかに顕在化させました。『陸と海』は、その後の河口作品の代名詞である「関係」という概念を知らしめた記念碑的な作品と言えるでしょう。 一方、本展で発表する「新作」において河口は、1970年に制作された写真作品の外側を想像力によって描き出します。本作を制作する契機について、河口は以下のように記しています。
「<陸と海>のすべての写真には、当然のことながらその撮影された光景の外側がないのである。写真の左右も上下もない。現実にはあったはずの光景から写真として切り取られそれ以外が欠落しているのである。このことは写真を基点に考えれば、被写体の切り取りで成立する写真そのものの持つ構造であって、写真フレームの外側がないことは何ら不信を抱く事柄ではない。、と納得しながら、なおかつ写真にすることによって欠落してしまった、その写真の外側が気になってしかたがなくなっていたのである」
本作からは、1970年から2016年までの時間によって想起される「時相」(時間の位置)をめぐる諸要素は勿論のこと、境界の内側と外側、現実と創造、写真とドローイングなど、様々な「関係」を読み取ることが出来るでしょう。

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[Catalogue]
8 pages, 29.7 x 21 cm,, English & Japanese
8 works by Tatsuo Kawaguchi from the “Topology of Time” exhibition in 2016.
Text: Yuri Mitsuda
Photo: Sadamu Saito
Editors: Kenji Kubota and Mifuyu Ishimizu
Design: Keiko Mineishi
Translator:Kana Kawanishi
Published by SNOW Contemporary

On the “Topology of Time” exhibition
This exhibition consists of eight works titled Topology from ‘Land and Sea’, which are works created by Tatsuo Kawaguchi confronting his representative work Land and Sea from 1970 after 46 years of time.
The first occasion Land and Sea exhibited in public was at the 10th Tokyo Biennale: Between Man and Matter, held in 1970 with Yusuke Nakahara as the commissioner. 26 works were extracted from photographs that were taken from a fixed-position, recording the four boards installed with a rope between the low tide and the high tide area of the Suma Beach in Seto.
Through the photographic works capturing the floating boards swaying in between the boundary line of the land and sea, the viewers recognized the structure of this world which usually is kept under consciousness. Kawaguchi allowed a part of this vast universe to be visualized through this work, and among the sequences of the phenomenon, he vividly actualized the homogeneity connoted in the work by connecting various concepts in opposite ends―the visible and invisible, senses and cognition, reality and photography―all interpreted through the word “relation.” Land and Sea is positioned as his monumental work embodying the concept “relation,” which became the pronoun for Kawaguchi’s works later on.
Now on the other hand, Kawaguchi will be drawing with his imagination the outside of his photographic works created in 1970 for the “new works” exhibited on this occasion. Kawaguchi comments as below regarding the triggers of this work:
”As it would naturally be so, nothing outside the framing exists in all photographs of ‘Land and Sea’. No right or left, nor up or down exists in the photographs. An actual scene was captured and cut off from reality, and everything else was missing. When thinking from the basic point of view of photography, to capture an object within a framing is purely how a photograph can define itself, thus, having no outside of the framing is nothing I need to doubt of. Understood. But still, I began being obsessed thinking the outside of the photographs―what became missed by becoming a photograph.”
Inside and outside the boundaries, reality, and creation, photography and drawings―various
“relations” should be interpreted from this work, of course including the “Time Topology (placement of time)” recalled from the time frame between 1970 and 2016.

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