August 1970. Aspects of New Japanese Art

“This exhibition represents certain aspects of currentart activities by young Japanese artists.”August 1970” is the focal point for projecting thesefacets and at the same time shows the phenomenalquality of the spaces they have conceived.Therefore, this exhibition asserts something unami-able~anti-painterly and anti-sculptural-in a visual sense,but on the reverse, suggests a posture for the dash intounknown areas of the contemporary age.It is very difficult to capture this movement from thesalon to the environment and from the gallery wall tothe ground which replaces the gallery floor, within theclosed space of a typical salon-type museum.It mightbe possible, rather, by providing the artists with thissalon as an environment within which to work. Theenergy resulting as seen in “August 1970″, in keepingwith this hypothesis, may be regarded later as havingbeen an experiment, performed to the very line of thethen-current limits.In the contradictory juxtaposition of aiiluence andcrises of a nuclear age, the assertions of younger gen-erations are refracted all the more.And each of usshould comprehend this as a total human being morenaked than in any age prior to ours.We thank Mr. Yoshiaki Tono who cooperated withus in planning and realizing this exhibition, and eachof the participating artists who joined with enthusiasm.August 1970The National Museum of Modern Art, Tokyo”

Text: Tono Yoshiaiki. cm 18×25,5; pp. 36; BW ills.; staple binding. Publisher: The National Museum of Modern Art, Tokyo, 1970.

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“This exhibition represents certain aspects of currentart activities by young Japanese artists.”August 1970” is the focal point for projecting thesefacets and at the same time shows the phenomenalquality of the spaces they have conceived.Therefore, this exhibition asserts something unami-able~anti-painterly and anti-sculptural-in a visual sense,but on the reverse, suggests a posture for the dash intounknown areas of the contemporary age.It is very difficult to capture this movement from thesalon to the environment and from the gallery wall tothe ground which replaces the gallery floor, within theclosed space of a typical salon-type museum.It mightbe possible, rather, by providing the artists with thissalon as an environment within which to work. Theenergy resulting as seen in “August 1970″, in keepingwith this hypothesis, may be regarded later as havingbeen an experiment, performed to the very line of thethen-current limits.In the contradictory juxtaposition of aiiluence andcrises of a nuclear age, the assertions of younger gen-erations are refracted all the more.And each of usshould comprehend this as a total human being morenaked than in any age prior to ours.We thank Mr. Yoshiaki Tono who cooperated withus in planning and realizing this exhibition, and eachof the participating artists who joined with enthusiasm.August 1970The National Museum of Modern Art, Tokyo”

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