In the spirit of Kintsugi (usually meant for repairing busted ceramic pottery items with gold – and gluey goop but you don’t notice – to “emphasize” the imperfections), i repainted the worn-off top line of the haiku on the postbox at the “Rural Caprine Farm” in gold paint.
Created this functional poetic installation (and the “inexact doppelgänger” on canvas) in 2018, scant days before meeting Ryoko.
As it goes, this might be my most seen piece of art. And not only is it a functioning daily mailbox also – due to the exposure to elements and whatnot – the piece is constantly changing and evolving. Ergo: wabisabi / beauty in decay. Besides many insta-snaps, at least one patron painted the postbox itself.
For “the man who walks among the stars” the great poet Gord Downia on anniversary of his untimely passing with brief soliloquy about the importance of supporting the indigenous peoples of the land colloquially known as Canada.
And special appreciation for my favorite album/book “Coke Machine Glow” + special regards to survive in the band mates of The Tragically Hip who are telling stories, making songs and re-issuing albums (tyvm).
Yeah, just waking up, in bed under a mosquito net (with adorable pajamas) in a cottage in provincial #Japan with apologies for mediocre unrehearsed baritone #ukulele playing and marginally acceptable “singing” / croaking. It’s the sincerity that counts, right? Right.
Truthfully, I am partial to small/quirky/cozy museums and this was quite different… an expansive modern building with many many halls of exhibits (but only some were photo friendly) including (as i recall):
Impressional/post impressionist/modern art (Picasso, Chagall, Toulouse-Latrec, Klee, Munch et al)
Installation of an urban lonely-ish bar street corner complete with sound
An exhibit/installation involving various nets and recycled materials
Various giant friendly bears
A capsule hotel segment
Art made from packing/duct tape by (as I understand it a fellow who works as a custodian on site)
Another hall of modernist art (Pollock, Dali, Miro…)
A few other installation rooms (a rather disorienting as was the purpose)
An incredible collection by an art benefactor of her magazines, prints, brochures, books and what not
A collection of 20th century chairs and posters (not about chairs), like high design chairs you *must not* sit upon these chairs (they are not comfortable and on display) – showing the great print / industrial design sense of modern Japan
And (my favourite) a collection of items given to a Japanese poet, art critic, artist Shuzo Takiguchi by his other artist friends (like a load of big timers and worldwide interesting cats), all “bric a brać” and seemingly simple one-off creations and sorta – at-first-glance – rather “nonsensical except for the source” items (seemed like was going into my head/archive, exhibit was called “Shop of Objects” or “Notes about things”
Another permanent collection from a benefactor couple called Goldberg
Also a ‘hands-on” Atelier area, a library, and long halls of upcoming and legacy items (including interactive panels)
As usual, purchased a museum/exhibit guide at the gift shop as well as other postcards and artefacts but really it was quite overwhelming and required some fresh air and a café visit at the end.
buy the book, and the postcards, and the coffee / TAD. not *just* a band
I mean besides mentioned already, in the collection were Henry Moore, Jasper Johns, Henri Matisse, Andy Warhol’s Marilyn x4, Man Ray, Marcel Duchamp… goes on and on… plus loads of contemporary-ish Japanese artists i wasn’t familiar with so was great to see *not the usual classic Japanese art* styles.
Especially interesting a Japanese-French painter called Tsuguhara Foujita (aka Léonard Foujita) with “Two Nudes” from 1929 made me curious about how he came to be there and who he collaborated with.
Though I have the exhibit guidebook, I am not going to annotate all these photos, just let them flow, gently assembled. [Update: went out to the archive and pulled out the “Selected Works from the Collection”book, so heaven help me, gonna add notes where i can… oh geez, even looked up the exhibits from 2019], on we go:
(probably Bushiro Mori but not sure, can ya give me a hand?)
Aside note: the guide book shows the staff uniforms for Spring 2019 were designed by Issey Miyake (who at this writing in Summer 2022, has recently passed away with a legacy of importancy and acclaim).
Post-Impressionalist Hall (not official name)
Pablo Picasso, Femme dans un fauteuil, 1923
Henri Toulouse-Lautrec, Portrait of Manzi Panneau, 1901
Marc Chagall, L’homme la chévre, 1924-25
Joan Miro, Testa di fumatóre, 1925
oh my, another i can’t reference… i’ll try harder
Another hall of modern-ists (not official title)
Salvador Dali, Allegory of an American Christmas, 1943
Note: Fascinated with era of Japan (forgotten in between the epic Meiji Restoration and industrialization and the militaristic/imperial period leading up to the Asian/Pacific etc. war / working on finding more books and films exploring this “forgotten” time (started with Naomi by Tanazaki)
The Taisho Era: When modernity ruled Japan’s masses via The Japan Times, July 29, 2012, by Michael Hoffman
One hundred years ago this week — on July 30, 1912 — Emperor Meiji passed away and Japan, traveling blind and hardly knowing where it was going, entered a new age.
The Taisho Era (1912-26), sandwiched between the boldly modernizing Meiji Era (1867-1912) and the militarist tide of early Showa (1926-1989), deserves more recognition than it gets.
Taisho is Japan’s Jazz Age. Can it be summed up in a phrase? It often is: ero-guro-nansensu — eroticism, grotesquerie, nonsense.
All three filled the air. Was Taisho, then, mere frivolity? To cite only the plainest evidence to the contrary: World War I; the 1918 Rice Riots; “Taisho Democracy;” the founding in 1922 of the Japan Communist Party; the Great Kanto Earthquake of 1923; the granting of universal manhood suffrage in 1925; and the repressive Peace Preservation Law passed barely two months later.
As such, while visiting with Hongo-sensei on Noto Peninsula in Ishikawa-ken, amongst the other activities including a fishing/ whaling/Marine Museum, an early morning fish market / auction, the dismembering and preparation of an ankou fish, a picnic on the beach…, we visited Miwakai ruins with well-preserved archeological history from the Jomon period.
While obviously not original, there was a great recreation of Jomon-era housing with fire-pit and various accruements.
the time in Japanese prehistory, traditionally dated between c. 14,000–300 BCE, during which Japan was inhabited by a diverse hunter-gatherer and early agriculturalist population united through a common Jōmon culture, which reached a considerable degree of sedentism and cultural complexity
Contrast to the contents, the building looked more like a evil villain secret liar
The museum building was very interesting and both shape and contrast to the contents which were rustic pottery, natural building materials and organic art whereas the structure was a brick cylinder with various halls attached.
the mighty Sea of Japan coast! in the distance, the modern highway on pilings now whisking folks easy from region to the next
And, along the way, made a top at a remarkable “scenic waystation” in Niigate-ken which commemorated a unique piece of Japan geography which (in brief): in olden times posed an incredible challenge to pass from one region to the other because of steep mountains and minimal coastline/headlands.
interperative signs for learning the area (obv) i always enjoy stopping to investigate
As such, travellers *could* risk going right along the coast at low tide but the distance was too great to travel without getting swept out to sea,. Later, a variety of pathways were constructed along the side of the mountain, rather treacherous to say the least, especially when carrying cargo. The area, now popular for hiking and exploring also showed evidence of pedestrian tunnels and other engineering marvels.
various upgrades to the original pathways
As “modern times” came along, new roads were built including the highway now clearly visible built on pilings high above the sea and skirting the coast line. Driving along it later was quite a ride, felt like a playland attraction of sorts as we “levitated” after the crashing waves of the Sea of Japan as well as going through extensive modern tunnels.
This esteemed gentleman was largely the driving force for introducing the concept of Zen Buddhism to the “west” in contemporary times. He spoke several languages and traveled widely, certainly influencing notable figures as Alan Watts and Gary Snyder and possibly you.
the restraint of *not* filling walls with *everything all at once* is not something i am accustomed to :)
The museum is a modern, rendered concrete designed by Yoshio Taniguchi largely assembled rectangles with a water courtyard with large windows playing with light against the garden.
As one might expect, lots of space for contemplation throughout the buildings, long empty hallways, simple signage, a few large pictures and wonderful scrolls.
the scholar and teacher DT Suzuki doing his scholarly pursuits
Primary aims were to visit friends, stay at all manner of accommodations and see loads of museums, especially, spontaneous, small-ish and quirky if possible.
1 and only 1, snippet of Hokusai museum
As such, in the town of Obuse, Nagano-ken, we made a stop at a museum for the famous print block artist, Hokusai. His name may not be as recognizable as his work (yup, that big wave from the “37 views of Mt Fuji” series) the museum (current exhibit anyhow) didn’t really pack in the well-know pieces but rather focused on his work making soerta pre-cursors to manga comics with endless “clip art” doodles, characters and life shape studies.
The museum wasn’t “photo friendly” (that’s fine) but including a few atmospheric snaps to recall that “yes, we went here”. As usual loaded up at the gift shop (so many postcards and books!). Pardons for underwhelming post (we did get tasty dessert afterwards nearby)
no photos in galleries but evidence we were “there”