the
gift of hope : : ian clothier
the
gift of hope
Museum
of Contemporary Art Tokyo (MOT).
the
kaki tree project
Rising from the ashes of nuclear destruction at Nagasaki,
the revive time Kaki Tree Project by miyajima, tatsuo is perhaps
the most significant interactive art work of recent times. The artist visited
Nagasaki in 1995 and met the local tree doctor, Dr M Ebinuma. When the bomb dropped
on Nagasaki, it was initially thought that all life in the city centre had been
destroyed, but in fact, several trees were found alive. One of them, a kaki (persimmon)
tree had been nurtured by DR Ebinuma, and he was now distributing the seedlings.
"Feelings
of disquiet" [1] arose in the artist after first visiting Hiroshima as a
17 year old. It occurred to Miyajima, as he talked with DR Ebinuma, that distribution
might be not just to visiting children, but involve people internationally. The
doctor enthusiastically approved. Thus the artist gave birth to the Kaki Tree
project and subsequently the Kaki Tree Project Executive Committee, which coordinates
projects worldwide.
There
are five parts to a Kaki Project. Search for a place to plant the seedling - the
seedling must be cared for; the planting ceremony, which must involve artists,
children (importantly) and the public; nurture the seedling; ten years later hold
a 'Harvest of Kaki' event, celebrating the first fruit; and document the process.
Miyajima,
who also works with LEDs, has three concepts that inform all his work: "keep
changing, connect with everything, continue forever" [2]. It is hard to imagine
an art concept that better expresses these three ideals.
The
Kaki Tree Project Executive Committee presented at gift of hope documentation
of the Kaki Project art work. There was origami to fold into a flower, and place
on a symbolic Kaki Tree on a wall. Documentation of the entire process, background
information, and video of Kaki Tree days.
The
search for expressive power that motivates artists in all contexts is often best
exemplified by a simplicity that resonates. Here is an art concept that is interactive
on several levels, runs deep into the psyche of contemporary humanity, and offers
a positive future.
paper
letter day
lee, mingwei of Taiwan offers a different kind of interactivity,
based in letter writing. In the centre of a room, a paper walled wooden structure
stands, open at one end, where there are a set of steps to take you inside. At
the other end of structure, inside, there is a small writing desk and chair. Around
the inside walls in the light softened space, are shelves with holders for envelopes.
The
idea is to write a letter to someone, and place it in an envelope in one of the
holders. If the letter is specifically addressed to a person or persons in any
country, the gallery will post it. A number of gallery attendees had taken up
the opportunity. Some had written to a friend overseas, some simply "To Timmy"
and others had addressed their letters to the dead.
So
it's a private affair. Clearly the participators take away all sorts of sensations,
some of which the artist cannot be directly responsible for (but is responsible
in so far as the opportunity was provided). A reminder that he consequences of
art works do not always arise out of the intrinsic properties of the objects on
view.
This is
a small scale idea, beautifully presented and a little like the joy found in a
quiet spot. A pleasant experience whilst there, but often forgotten in the clutter
of daily life, to be recalled occasionally.
complete-me-please
Think kids coloring-in books. A coloring-in book with four pages where each page
is the wall of a room. Visualize in strong dark lines of equal width a shopping
street scene on one wall, a beach scene on another wall, city and suburban scenes
on the other two, all empty of colour. Then imagine parts colored-in by gallery
viewers, mostly young ones it seems (it is difficult to see whether the artist
kicked it all off), colour in an enthusiastic and brash way, spilling over the
edge of the black lines.
Japan's
yamaide, jun'ya provides all this. The drawing covering all four walls,
scaffolding to get up and participate, crayons to do the business. Instead of
going along to look at art, finish it off. Entertaining perhaps, but without intrigue.
It might be interesting to record the reaction of children to a full scale real
world coloring-in book, and certainly it takes us all back to childhood. A novelty,
but a kick that doesn't last, neither sharp nor intoxicating. It doesn't resonate.
Is
it possible to be sharp, intoxicating and resonant in this aesthetic? Certainly
but there needs to be more to grasp: an indicator of the many faceted, busy and
frequently emotional world that is being a child. It would be interesting to see
the starting walls depict not an adult view of life, but a view closer to a child's
perspective.
fresh
wind or flatus?
Interactive and viewer participation as formats for art
certainly have expanded possibilities. Neither guarantees good work results, but
by the same token when a level of poetry is achieved, the impact on the viewer
can be every bit as meaningful as engagement with traditional art media. As with
the Kaki Tree project, new media formats can extend art into realms previously
out of bounds.
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Notes
[1]
Miyajima, T. (1999) How the Kaki Tree Project started. Kaki Tree Project Executive
Committee exhibition documentation p3.
[2] ibid, p3.
Affiliates
