Kishio Suga (B. 1944, Iwanate Prefecture, JPN) Currently Lives and Works in Shizuoka, Japan

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Kishio Suga (b. 1944, Iwanate Prefecture, JPN) currently lives and works in Shizuoka, Japan. He studied oil painting under Yoshishige Saito at Tama Art University and graduated in 1968. Rising to prominence in the mid-1960s, Suga and other Mono-ha artists, such as Lee Ufan and Nubuo Sekine, eschewed traditional representation, instead exploring quotidian and natural materials; investigating the relationship between them and their impact on the surrounding the space. The movement grew both in response to the rapid industrialisation of Japan and also as a reaction to the dominant influences of western art history. Kishio Suga showed at the 8th Biennale de Paris 1973 and the 38th Venice Biennale, 1978. Suga’s recent solo exhibitions include: Situations, Pirelli HangarBicocca, Milan, IT (2016); Situated Latency, Museum of Contemporary Art Tokyo, Tokyo, JP (2015); Blum & Poe, New York, US (2015); Vangi Sculpture Garden Museum, Shizuoka, JP (2014); Kishio Suga 1970/80, Gallery Cocon, Tokyo, JP (2014); Placement of the Hidden Currents, Tomio Koyama Gallery, Tokyo, JP (2012). Selected Group exhibitions include; Utopias and Heterotopias: The Wuzhen International Contemporary Art Invitational Exhibition, Wuzhen, CN (2015); MONO-HA, Fondazione Mudima, Milano, IT (2015); Construction / Destruction, Almine Rech Gallery, Paris, FR (2015); Abstract Drawing (Curated by Richard Deacon), Drawing Room, London, UK (2014); Other Primary Structures, The Jewish Museum, New York, US (2014); 2013-1 Layers of Artistic Expression, Hiroshima City Museum of Contemporary Art, Hiroshima, JP (2013); Prima Materia, Punta della Dogana, Venice, JP (2013); Tokyo 1955-1970: A new Avant-Garde, Museum of Modern Art, New York, US (2012); Double Vision: Contemporary Art from Japan, Moscow museum of modern art, Moscow, RU (2012); MOT Collection Enter here _ what do you see?, MOT : Museum of Contemporary Art Tokyo, Tokyo, JP (2010); Japon des Avant Gardes 1910-1970, Centre Georges Pompidou, Paris,1986 and Japanese Art after 1945: Scream against the Sky, held at Yokohama Museum of Art, Guggenheim Museum Soho, New York, and San Francisco Museum of Modern Art, 1994. .

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Kishio Suga Situations
Kishio Suga IT Situations Pirelli HangarBicocca 2 Pirelli HangarBicocca In copertina Kishio Suga, Left-Behind Situation (Shachi Jōkyō), 1972/2012 Kishio Suga Legno, pietra, acciaio, fune metallica. 152,5 x 596,5 x 789,5 cm Veduta dell’installazione, Blum & Poe, Los Angeles, 2012 Courtesy dell’artista e Blum & Poe, Los Angeles/New York/Tokyo Situations Foto: Joshua White 30 settembre 2016 – 29 gennaio 2017 Public Programme La mostra è accompagnata da un calendario di conferenze, a cura di Yuko Hasegawa e Vicente Todolí proiezioni, concerti e visite guidate al fine di approfondire i vari aspetti dell’opera dell’artista. Mediazione Culturale Per saperne di più sulla mostra chiedi ai nostri mediatori culturali nello spazio espositivo. Pirelli HangarBicocca Via Chiese, 2 20126 Milano Orari Da giovedì a domenica 10.00–22.00 Da lunedì a mercoledì chiuso Contatti Tel +39 02 66111573 [email protected] hangarbicocca.org INGRESSO GRATUITO Pirelli HangarBicocca 4 Pirelli HangarBicocca 5 Kishio Suga Figura centrale dell’arte contemporanea giapponese, Kishio Suga realizza ed espone il suo lavoro a partire dalla fine degli anni Sessanta come membro del gruppo artistico Mono-ha (letteralmente “la scuola delle cose”), che si forma e sviluppa a Tokyo tra il 1969 e il 1972. Unico tra gli artisti a proseguire fino a oggi la pratica e le ricerche del gruppo, Suga ne ha approfon- dito i temi e i concetti base in oltre vent’anni di lavoro. Attraverso disposizioni e combinazioni di materiali naturali o industriali, Suga si interroga sulla loro presenza fisica, sulla loro esistenza e sul loro rapporto con l’ambiente, realizzando instal- lazioni site-specific nello spazio e nel tempo.
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Suga Kishio 2020
Kishio Suga 1944 Born in Morioka, Japan 1968 Graduated from Tama Art University (Tokyo, Japan) Selected Solo Exhibitions 2020 Gallery Cocon, Tokyo, Japan Released Scenic Space, Tomio Koyama Gallery, Tokyo, Japan 2019 Each Modern, Taipei eN arts, Kyoto, Japan Gallery Saiensu, Morioka, Japan Gallery Shilla, Daegu, Korea Measured Divisional Entities, Tomio Koyama Gallery, Tokyo, Japan Tokyo Gallery + BTAP, Tokyo, Japan 2018 Blum & Poe, New York, USA Expanded Self-Space, Tomio Koyama Gallery, Tokyo, Japan Mendes Wood DM, Sao Paulo, Brazil Released Existence on Edges, The Club, Tokyo, Japan 2017 Blum & Poe, Los Angeles, USA Divided Orientation of Space, Tomio Koyama Gallery, Tokyo, Japan Itamuro Onsen Daikokuya, Itamuro, Tochigi, Japan Mendes Wood DM, Brussels, Belgium Tokyo Gallery + BTAP, Beijing, China 2016 Dia: Chelsea, New York, USA Gallery Shilla, Daegu, Korea Situations, Hangar Bicocca Foundation, Milan, Italy 2015 Blum & Poe, New York, USA Kishio Suga: New Works, Itamuro Onsen Daikokuya, Itamuro, Tochigi, Japan Kishio Suga: Situated Latency, Museum of Contemporary Art, Tokyo, Japan Kishio Suga: 1980s, Gallery Cocon, Tokyo, Japan Perimeter (Entai), 1985, Blain | Southern, London, UK Shane Campbell Gallery, Chicago, USA Tomio Koyama Gallery, Tokyo, Japan 8/ Art Gallery/ Tomio Koyama Gallery, Tokyo, Japan 2014 Itamuro Onsen Daikokuya, Itamuro, Tochigi, Japan Kishio Suga: Situated Underlying Existence, Le Corps de Garde, Colmar, France The “Origin of Situation” as Disclosed by “Things”, Vangi Sculpture Garden Muse- um, Shizuoka, Japan
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The Art of Mono-Ha Curated by Mika Yoshitake 530 West 21St Street June 22 – August 3, 2012
FOR IMMEDIATE RELEASE Requiem for the Sun: The Art of Mono-ha Curated by Mika Yoshitake 530 West 21st Street June 22 – August 3, 2012 Gladstone Gallery is pleased to present the exhibition Requiem for the Sun: The Art of Mono-ha, organized in collaboration with Blum & Poe, Los Angeles. This exhibition examines the postwar Japanese artistic phenomenon Mono-ha (School of Things). Representing a key art historical turning point, “Requiem for the Sun" refers to the death of the sun as emblematic of the loss of symbolic expression and permanence immanent to the object in Japanese postwar art practice. Included in the exhibition are works by Koji Enokura (1942–1995), Susumu Koshimizu (1944– ), Nobuo Sekine (1942– ), Kishio Suga (1944– ), Jiro Takamatsu (1936–1998), Noboru Takayama (1944– ), Lee Ufan (1936– ), and Katsuro Yoshida (1943–1999). Mono-ha's primary tenet explores the encounter between natural and industrial objects, such as glass, stones, steel plates, wood, cotton, light bulbs, leather, oil, wire, and Japanese paper, in and of themselves arranged directly on the floor or in an outdoor field. Evident in these works is a tendency based not on the art historical recuperation of objects, but rather on maintaining an affective relationship between works and our surrounding environment. That is, the works operate as a process of perceiving a perpetually passing present that opens the materiality of the work beyond what is simply seen. These practices are linked to the cultural milieu of process and post-minimalist art apparent on an international level during the 1960s and 1970s. What distinguishes these works is the refined technique of repetition as a studied production of difference developed over time in each artist's practice.
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Curriculum Vitae for Koji Enokura
KŌJI ENOKURA Born 1942 in Tokyo, Japan Died 1995 in Tokyo, Japan Education BFA, Tokyo National University of Fine Arts and Music, Tokyo, Japan, 1966 MFA, Tokyo National University of Fine Arts and Music, Tokyo, Japan, 1968 One-Person Exhibitions 2018 Tokyo Gallery + BTAP, Tokyo, Japan 2017 Skin, Tokyo Publishing House, Tokyo, Japan Figure, Taka Ishii Gallery, Tokyo, Japan 2016 VeneKlasen/Werner, Berlin, Germany Taka Ishii Gallery, New York, NY 2015 Story & Memory, Tokyo Publishing House, Tokyo, Japan Taka Ishii Gallery, Tokyo, Japan 2013 Blum & Poe, Los Angeles, CA Photographic Works, Gallery Space 23°C, Tokyo, Japan Prints, Ohshima Fine Art, Tokyo, Japan Tokyo Gallery + BTAP, Beijing, China McCaffrey Fine Art, New York, NY 2012 Documentation, Taka Ishii Gallery, Tokyo, Japan Prints, Gallery Space 23°C, Tokyo, Japan Tokyo Gallery + BTAP, Beijing, China 2010 ’90s Print Works and Painting, Shimada Shigeru Gallery, Tokyo, Japan Painting as Sign, Ohshima Fine Art, Tokyo, Japan Photographic Works, Gallery Space 23℃, Tokyo, Japan Ten Ten, Yokota Shigeru Gallery, Tokyo, Japan 2009 ’80s Print Works, Shimada Shigeru Gallery, Tokyo, Japan Drawings, Gallery Space 23°C, Tokyo, Japan & POE LOS ANGELES NEW YORK TOKYO 2008 Paper and Oil, Gallery Space 23°C, Tokyo, Japan 2007 Intervention Ratio, Gallery Space 23°C, Tokyo, Japan 2006 Charcoal Drawings IⅠ, Gallery Space 23°C, Tokyo, Japan SPACE TOTSUKA ’70 – In Photographs, Gallery Space 23°C, Tokyo, Japan 2005 Charcoal Drawings Ⅰ, Gallery Space 23°C, Tokyo, Japan Homage to Kōji Enokura, Nagai Fine Arts,
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Robert Morris & Kishio Suga Blum & Poe, Tokyo: March 12 – May 7
Robert Morris & Kishio Suga Blum & Poe, Tokyo: March 12 – May 7, 2016 Opening reception: Saturday, March 12, 2016, 6 – 8pm Blum & Poe is pleased to present an exhibition of Robert Morris and Kishio Suga, two influential artists whose work has been central to the history of site-specific installation since the 1960s. This is Morris’ first exhibition in Tokyo in nearly twenty years, and the first occasion to see Suga’s work in a focused, two-person presentation with one of his American peers. Robert Morris played a pivotal role in defining Minimalist sculpture, Process Art, and Earthworks. After concentrating his attention on rigid materials and angular forms in the mid- 1960s, Morris began to use soft materials, most notably felt, which he piled, stacked, and hung from the wall in an investigation of the effects of gravity and tension on ordinary materials. Morris also explored other industrial raw materials such as dirt and thread waste, yet due to their scattered placement these works often appear light despite their heavy weight. One of the artist’s principal concerns during these years was the notion of indeterminacy—for example, Scatter Piece (1969) simply consists of two hundred pieces of steel, lead, zinc, copper, aluminum, brass, and felt, which can be exhibited in any number of configurations. Similarly, Kishio Suga gained recognition for arranging natural and manmade materials in unprecedented installations such as Parallel Strata (1969), a totemic enclosure made of paraffin wax. The notion of “release” is a defining aspect of Suga’s philosophy: in Law of Situation (1971), he placed ten flat stones in a line on a sixty-five-foot-long pane of woven glass fiber and floated it on the surface of a lake.
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FOR IMMEDIATE RELEASE June 29, 2016 Dia Art Foundation to Open Two New Installations at Dia:Chelsea on November 5, 2016 Collecti
FOR IMMEDIATE RELEASE June 29, 2016 Dia Art Foundation to Open Two New Installations at Dia:Chelsea on November 5, 2016 Collection reinstallation of Hanne Darboven’s Kulturgeschichte 1880–1983 (Cultural History 1880– 1983, 1980–83) First solo museum exhibition in the United States by Kishio Suga featuring a new commission New York, NY – This fall Dia Art Foundation will present two new installations at Dia:Chelsea. Kishio Suga and Hanne Darboven’s Kulturgeschichte 1880–1983 (Cultural History 1880–1983, 1980–83) will be on view from November 5, 2016, to July 30, 2017. These new programs continue to demonstrate Dia’s commitment to presenting artworks that invite sustained interest and contemplation from visitors, scholars, and artists alike. Additionally, they trace relationships, formal dialogues, and conceptual parallels among international artistic practices that are historically and intellectually linked to Dia’s focused collection of art from the 1960s and 1970s. Kishio Suga November 5, 2016– July 30, 2017 Beginning November 5, 2016, Dia will present an exhibition of Kisho Suga’s work at Dia:Chelsea at 541 West 22nd Street in New York City. Suga is a founding members of Mono-ha (School of Things), which emerged in Japan in the 1960s and 1970s and developed in parallel with Postminimal and Land art in the United States and Arte Povera in Europe—movements at the core of Dia’s permanent collection. This will be Suga’s first solo museum show in the United States. In this exhibition, Suga will respond to the building’s unique history as a marble-cutting facility by recreating his Placement of Condition (1973), a signature installation of cut stones that lean precariously away from each other, but are bound together with wire into a mutually dependent and stable network.
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Kishio Suga Situations
Kishio Suga EN Situations Pirelli HangarBicocca 2 Pirelli HangarBicocca Cover Kishio Suga, Left-Behind Situation (Shachi Jōkyō), 1972/2012; Kishio Suga wood, stone, steel, wire rope; 152.5 x 596.5 x 789.5 cm. Installation view at Blum & Poe, Los Angeles, 2012. Courtesy of the artist and Blum & Poe, Los Angeles/New York/Tokyo. Photo: Joshua White Situations 30 September 2016 – 29 January 2017 Public Program The exhibition is accompanied by a series of conferences, video curated by Yuko Hasegawa and Vicente Todolí screenings, concerts and guided tours that allow visitors to learn more about various aspects of the artist’s work. Cultural Mediation To know more about the exhibition ask to our cultural mediators in the space. Pirelli HangarBicocca Via Chiese, 2 20126 Milan IT Opening Hours Thursday to Sunday 10 am – 10 pm Monday to Wednesday closed Contacts T. +39 02 66111573 [email protected] hangarbicocca.org FREE ENTRY Pirelli HangarBicocca 4 Pirelli HangarBicocca 5 Kishio Suga In the late 1960s, Kishio Suga began to produce and exhibit his work as a member of the artistic group Mono-ha, which was formed and developed in Tokyo between 1969 and 1972. Suga, a key figure in Japanese contemporary art, is the only member of Mono-ha to have consistently developed the group’s research and practices through the present day, pushing the boundaries of its original concepts and themes. Taking temporary arrangements and combinations of natural and industrial materials as his starting point, Suga investigates their physical presence, existence and relationship with the environment by building site-specific installations.
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Kishio Suga Bibliography Selected Catalogs
Kishio Suga Bibliography Selected Catalogs 2015 Keisuke Mori,‘Kishio Suga’, Nohara. Jason Farago, ‘Kishio Suga’, Blum & Poe Edition. ‘Kishio Suga -Situated Latency’, HeHe 2013 Kishio Suga, ‘Suga’, Blum & Poe Edition. 2012 Kishio Suga, 'Kishio Suga', Los Angeles: Blum & Poe Edition. Chong Doryun, 'Tokyo 1955–1970: A New Avant-Garde', New York, Museum of Modern Art. Yoshitake Mika 'Requiem for the Sun: The Art of Mono-ha', Blum & Poe Edition, Los Angeles. Rawlings Ashley, 'Kishio Suga', Blum & Poe Edition, Los Angeles. 2009 ‘Kishio Suga works 1970-1978’, Tomio Koyama Gallery, Tokyo, Japan. 64 rue de Turenne, 75003 Paris 2002 18 avenue de Matignon, 75008 Paris [email protected] Thomas R.H.Havens, ‘Radicals and Realists in the Japanese Nonverbal Arts- The - Abdijstraat 20 rue de l’Abbaye Avant-Garde Rejection of Modernism’. Brussel 1050 Bruxelles [email protected] - Grosvenor Hill, Broadbent House W1K 3JH London 2001 [email protected] - Simon Groom, ‘Monoha: Enokura Koji, Koshimizu Susumu, Lee Ufan, Sekine Nobuo, 39 East 78th Street New York, NY 10075 Suga Kishio, Yoshida Katsuro’, Kettle’s Yard Edition. [email protected] - 27 Huqiu Road, 2nd Floor 200002 Shanghai China [email protected] - www.alminerech.com 1999 ‘Suga Kishio: stance’, Yokohama Museum of Art. ‘Selected writings of Suga Kishio: spheres will not be closed’, Yokohama Museum of Art. 1997 'Suga Kishio', Texts by Hitoshi Dehara, Toshiaki Minemura, and Kishio Suga, Tokyo: Yomiuri Shinbunsha, Bijutsu renraku kyogikai. 1991 Koplos Janet, ‘Contemporary Japanese Sculpture’, Abbeville Press, New York. 1990 Toko Gendai Bijutsukan, ’Kishio Suga: 20 October - 18 November 1990’, Touko Museum of Contemporary Art.
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Curriculum Vitae for Kishio Suga
KISHIO SUGA Born in Morioka, Japan, 1944 Education BFA, Tama Art University, Tokyo, Japan, 1968 One-Person Exhibitions 2018 Blum & Poe, New York, NY Expanded Self-Space, Tomio Koyama Gallery, Tokyo, Japan Photography and Video, 8/ ART GALLERY/ Tomio Koyama Gallery, Tokyo, Japan Released Existence on Edges, The Club, Tokyo, Japan Mendes Wood DM, São Paulo, Brazil Yu-un, Tokyo, Japan Gallery Saiensu I / II, Morioka, Japan 2017 Blum & Poe, Los Angeles, CA Mendes Wood DM, Brussels, Belgium Tokyo Gallery + BTAP, Beijing, China Divided Orientation of Space, Tomio Koyama Gallery, Tokyo, Japan New Works, Itamuro Onsen Daikokuya, Itamuro, Nasushiobara, Tochigi Prefecture, Japan 2016 Dia: Chelsea, New York, NY Gallery Shilla, Daegu, South Korea Situations, curated by Yuko Hasegawa and Vicente Todolí, Pirelli HangarBicocca, Milan, Italy 2015 Blum & Poe, New York, NY Perimeter (Entai), 1985, Blain|Southern, London, UK Tomio Koyama Gallery, Tokyo, Japan Situated Latency, Museum of Contemporary Art, Tokyo, Japan Intentional Scenic Space, Tomio Koyama Gallery, Tokyo, Japan Kishio Suga: 1980s, Gallery Cocon, Tokyo, Japan Shane Campbell Gallery, Lincoln Park, Chicago, IL New Works, Itamuro Onsen Daikokuya, Itamuro, Nasushiobara, Tochigi Prefecture, Japan 2014 Situated Underlying Existence, Corps de Garde, Colmar, France The “Origin of Situation” as Disclosed by “Things,” Vangi Sculpture Garden Museum, Shizuoka, Japan Itamuro Onsen Daikokuya, Itamuro, Nasushiobara, Tochigi Prefecture, Japan 1970/80s, Gallery Cocon, Tokyo, Japan 2013 Gallery Collection:
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Kishio Suga Bibliography Selected Catalogs
Kishio Suga Bibliography Selected Catalogs 2015 Keisuke Mori,‘Kishio Suga’, Nohara. Jason Farago, ‘Kishio Suga’, Blum & Poe Edition. ‘Kishio Suga -Situated Latency’, HeHe 2013 Kishio Suga, ‘Suga’, Blum & Poe Edition. 2012 Kishio Suga, 'Kishio Suga', Los Angeles: Blum & Poe Edition. Chong Doryun, 'Tokyo 1955–1970: A New Avant-Garde', New York, Museum of Modern Art. Yoshitake Mika 'Requiem for the Sun: The Art of Mono-ha', Blum & Poe Edition, Los Angeles. Rawlings Ashley, 'Kishio Suga', Blum & Poe Edition, Los Angeles. 2009 ‘Kishio Suga works 1970-1978’, Tomio Koyama Gallery, Tokyo, Japan. 64 rue de Turenne, 75003 Paris 2002 18 avenue de Matignon, 75008 Paris [email protected] Thomas R.H.Havens, ‘Radicals and Realists in the Japanese Nonverbal Arts- The - Abdijstraat 20 rue de l’Abbaye Avant-Garde Rejection of Modernism’. Brussel 1050 Bruxelles [email protected] - Grosvenor Hill, Broadbent House W1K 3JH London 2001 [email protected] - Simon Groom, ‘Monoha: Enokura Koji, Koshimizu Susumu, Lee Ufan, Sekine Nobuo, 39 East 78th Street New York, NY 10075 Suga Kishio, Yoshida Katsuro’, Kettle’s Yard Edition. [email protected] - 27 Huqiu Road, 2nd Floor 200002 Shanghai China [email protected] - www.alminerech.com 1999 ‘Suga Kishio: stance’, Yokohama Museum of Art. ‘Selected writings of Suga Kishio: spheres will not be closed’, Yokohama Museum of Art. 1997 'Suga Kishio', Texts by Hitoshi Dehara, Toshiaki Minemura, and Kishio Suga, Tokyo: Yomiuri Shinbunsha, Bijutsu renraku kyogikai. 1991 Koplos Janet, ‘Contemporary Japanese Sculpture’, Abbeville Press, New York. 1990 Toko Gendai Bijutsukan, ’Kishio Suga: 20 October - 18 November 1990’, Touko Museum of Contemporary Art.
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Suga Kishio 1968 Graduated from Tama Art University, Department Of
Suga Kishio 1968 Graduated from Tama Art University, Department of Painting 1944 Born in Morioka City, Iwate, Japan Solo Exhibition 2019 《Suga Kishio: Opposed Realm and Connected Edges》, Each Modern, Taipei, Taiwan 《Kishio Suga》, Tokyo Gallery, Tokyo, Japan 《Measured Divisional Entities》, Tomio Koyama Gallery, Tokyo, Japan Gallery Shilla, Daegu, South Korea 《’Kishio Suga’ presented by The eN arts collection in collaboration with Tomio Koyama Gallery》, eN arts, Kyoto, Japan 2018 yu-un, Tokyo, Japan Mendez Wood DM São Paulo, Brazil Gallery Saiensu l･ll, Morioka, Iwate, Japan 《Expanded Self-Space》, Tomio Koyama Gallery, Tokyo, Japan 《Kishio Suga - Photographs and Videos》, 8/ ART GALLERY/ Tomio Koyama Gallery, Tokyo, Japan 《Released Existence on Edges》, THE CLUB, Tokyo, Japan 《KISHIO SUGA》, Blum & Poe, New York, NY 2017 《Itamuro Onsen Daikokuya》, Nasushiobara, Tochigi, Japan Mendes Wood DM, Brussels, Belgium 《Divided Orientation of Space》， Tomio Koyama Gallery, Tokyo, Japan 《Work from the 1970s and 1980s》， Shibuya Hikarie 8/ CUBE, Tokyo, Japan Tokyo Gallery +BTAP - Beijing Tokyo Art Projects, Beijing, China Blum & Poe, Los Angeles, CA 2016 Dia: Chelsea, New York, NY, USA 《Situations》， Pirelli HangarBicocca, Milan, Italy Gallery Shilla, Daegu, Korea 2015 《Intentional Scenic Space》， Tomio Koyama Gallery, Tokyo, Japan Blain|Southern, London, UK Shane Campbell Gallery, Lincoln Park, Chicago, IL 8/ ART GALLERY/ Tomio Koyama Gallery, Tokyo, Japan Itamuro Onsen Daikokuya, Nasushiobara, Tochigi, Japan 《Kishio Suga_Situated Latency》， Museum of Contemporary
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Ways to Investigate an Unknown Thing: Kishio Suga
MOUSSE 55 WAYS TO INVESTIGATE AN UNKNOWN THING […] 220 221 K. SUGA S. MUNRO In the spring of 1971, the prolific writer and Provoke magazine pho- WAYS TO INVESTIGATE tographer Takuma Nakahira took part in the Seventh Paris Biennale with his weeklong installation project Circulation, a cacophony of AN UNKNOWN THING: cut and cropped images that also featured Korean artist Lee Ufan and Japanese installation artist Ko¯ji Enokura—both affiliated with KISHIO SUGA AND THE the Japanese movement Mono-ha (School of Things) taking part ENDURING NATURE in the same biennale, looking the worse for wear. Shot during the day, processed at night, and hung ready for the next morning, the OF MONO-HA sheer weight and volume of images began to spill uncontrollably across the venue floor. Days before the installation was due to finish, Nakahira fell out with the biennial organizers. In a fit of desperation BY STUART MUNRO and no doubt protest, he went on to destroy most of the work. Lee later attested that for Nakahira, this moment in Paris was probably a turning point that hinted at bigger things to come.1 Stuart Munro introduces the work While that trial by fire proved to be crucial for Nakahira both of Kishio Suga, a Japanese sculp- personally and professionally, it also proved to be a milestone for Mono-ha: the biennial marked the first major introduction of this tor and installation artist and a group to Europe. The group was never formalized, and those associ- ated with it shied away from such formalities. The first real point of founding member of Mono-ha, contact between artists was the round table discussion titled “Voices who has major exhibitions hap- of Emerging Artists: Mono Opens a New World,” as published in the February 1970 issue of Japanese art periodical Bijutsu Techo.
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