[ICOM Commemorative] Maha Harada's First Curated Exhibition "CONTACT — Connecting: Art of Japan and the World" — Kiyomizu-dera

CONTACT — Connecting: Art of Japan and the World

I visited “CONTACT — Connecting: Art of Japan and the World,” curated by Maha Harada.

The exhibition was held to commemorate the ICOM Kyoto conference, and the venue was Kiyomizu-dera. It was reportedly the first time that modern Western paintings have been shown there.
Of Kiyomizu-dera’s approximately 30 main buildings, four were used for the exhibition. In every venue, the artworks merged with the space to form wonderful settings.

The exhibition also ties in with Maha Harada’s book of the same title, “CONTACT.”
“CONTACT” is a book of short stories in which artists the author cannot meet in person appear as characters, and their transcendent “contacts” (dialogues) with the reader draw us into art’s magnetic pull. Written in Maha Harada’s characteristically warm style, the artists in this exhibition appear as charming figures within the book.

The works exhibited are introduced below.

West Gate

Izumi Kato’s work displayed at Kiyomizu-dera’s “West Gate” caught the attention of many visitors, right in the path of tourists.

Izumi Kato, "Untitled 2019" Fabric, leather, acrylic paint, pastel, stainless steel, aluminum, iron, embroidery, stone, lith… — Izumi Kato, “Untitled 2019”
Fabric, leather, acrylic paint, pastel, stainless steel, aluminum, iron, embroidery, stone, lithograph

The piece was made specifically for this exhibition, with Izumi Kato’s signature figures fitted to the size of the West Gate.

Joju-in

Joju-in is normally closed to the public, but its spacious tatami room housed works by many artists.

The tatami room was spacious, and natural light enveloped the works.

Shiko Munakata, "Gunri-zu (Carp)" photo Nobutada OMOTE — Shiko Munakata, “Gunri-zu (Carp)” photo Nobutada OMOTE

Joseph Beuys, "Blackboard used in the action 'Coyote III'," 1984, photo Nobutada OMOTE — Joseph Beuys, “Blackboard used in the action ‘Coyote III’,” 1984, photo Nobutada OMOTE

Henri Matisse, "Woman in a Rose Dress," 1942 — Henri Matisse, “Woman in a Rose Dress,” 1942

[Back] Michaël Borremans, "Gardenia (II)," 2014[Front] Lucie Rie, "Footed Bowl with Manganese Glaze," 1980 — [Back] Michaël Borremans, “Gardenia (II),” 2014
[Front] Lucie Rie, “Footed Bowl with Manganese Glaze,” 1980

A lovely garden. Ritsue Mishima, "Eye of Light," 2017 — A lovely garden. Ritsue Mishima, “Eye of Light,” 2017

Giacometti's sculpture struck a lovely balance with the light filtering through the katomado (flower-shaped window) shoji.Al… — Giacometti’s sculpture struck a lovely balance with the light filtering through the katomado (flower-shaped window) shoji.
Alberto Giacometti, “Bust of a Man,” c. 1947, cast 1980–90

Joju-in Tea Room

The tea room inside Joju-in is a small space that fits only a few people, but Kenji Miyazawa, Yasumasa Morimura, and Charlotte Perriand shared its floor.

Installation view in the tea room [Back] Yasumasa Morimura, "A Little Sunflower," 1998[Front] Kenji Miyazawa, "'Ame ni mo Ma… — Installation view in the tea room [Back] Yasumasa Morimura, “A Little Sunflower,” 1998
[Front] Kenji Miyazawa, “‘Ame ni mo Makezu’ Notebook,” 1931, photo Nobutada OMOTE

Yasumasa Morimura, "A Little Sunflower," 1998 — Yasumasa Morimura, “A Little Sunflower,” 1998

Yasumasa Morimura's Van Gogh video work — Yasumasa Morimura, "Ego Symposion / Van Gogh," 2017 — Yasumasa Morimura’s Van Gogh video work — Yasumasa Morimura, “Ego Symposion / Van Gogh,” 2017

Osamu Tezuka, "From 'Buddha,' Part 1, Chapter 1 'Brahmin'," 1972–83 — Osamu Tezuka, “From ‘Buddha,’ Part 1, Chapter 1 ‘Brahmin’,” 1972–83

Kyodo (Sutra Repository)

In the Kyodo, an Important Cultural Property, Gerhard Richter’s video work and “8 Glass Panes” were exhibited and screened.

The interior of the Kyodo, normally closed to visitors, allowed us to sit and view Richter’s video projected onto a large screen.

Gerhard Richter / Corinna Belz / Rebecca Saunders"Moving Picture (946-3), Kyoto Version," 2019, video (36 min)Screening view… — Gerhard Richter / Corinna Belz / Rebecca Saunders
“Moving Picture (946-3), Kyoto Version,” 2019, video (36 min)
Screening view at the Kyodo of Kiyomizu-dera photo Nobutada OMOTE

It was like a slowly shifting abstract painting, and the 40-minute screening flew by.

[Front] Gerhard Richter, "8 Glass Panes," 2012 photo Nobutada OMOTE — [Front] Gerhard Richter, “8 Glass Panes,” 2012 photo Nobutada OMOTE

Umatodome (Horse Stable)

At the Umatodome, an Important Cultural Property, three sculptures by Izumi Kato were on display.
Instead of horses, they looked charmingly settled in place.
Their antique-like presence matched the space perfectly.

Izumi Kato, "Untitled," 2008 photo Nobutada OMOTE — Izumi Kato, “Untitled,” 2008 photo Nobutada OMOTE

In closing

This was an international exhibition set within Kiyomizu-dera.
Inside historic buildings with no air conditioning or lighting, the exhibition dispensed with captions and left no ropes or other barriers between viewer and work, allowing for a leisurely dialogue with each piece.

It was a great pity that the run was only eight days long.