“Re-Modernologio” phase2 :Observation and Notation

October 23 (Sun) ~ December 18 (Sun), 2011 10:00 - 18:00 / Free

The phase2 artists’ activities as a springboard for discussion, we will investigate two fundamentals of modernology methodology: observation and notation.

This year the Aomori Contemporary Art Centre (ACAC) will hold an exhibition on “Re-modernology,” which will examine contemporary societal structure, lifestyle culture, and the relationship between regional daily life and art over a three periods—July-September 2011, October-December 2011, and January-March 2012—based upon the keyword “modernology,” a movement first advocated by Aomori-native Wajirō Kon. The theme of the phase2, the second installment of “Re-modernologio”, is “Observation and Notation”. Wajirō Kon attentively observed society and the living space of the time from many different angles and recorded his observations through drawing.

What all participating phase2 artists have in common is the ability of acute observation, through which they attentively examine contemporary situations, aims and intentions, and human conditions; they then transform these observations into art, or alternatively create an action in response or describe them as if a dialogue. Each artist is firmly established in their own original means of expression.

Tomii Motohiro uses familiar everyday items in his art. He strips these items of their essential function and meaning and reduces them to the “things” themselves—their shapes and colors—and by combining these items gives life to his sculptures.

Niwa Yoshinori describes situations to which most people would not ordinarily give a second thought. He reacts acutely to the strangeness he sees in the world which he is in, and by inserting odd behavior into this strangeness, he places himself in tense situations. He describes these experiences through performance.

Finally, Asakai Yoko captures human figures and their behaviors in a moment when they are completely engrossed in a matter of some nature. Through dialogues with various people over a limited time period, she is able to immerse herself in their world and can capture these moments in time through the medium of the photograph.

Around the same time, Romanian artist and conservator of church fresco murals, Pál Péter, will come to Aomori to produce a field sculpture work on the same themes. The means of expression for the final piece will undoubtedly be infinitely varied, but it will be fascinating to see the acuteness of his own original observation towards what he is investigating and a coherent notation which allows him to corporealize his perceptions.
After all, Kon Wajirō saw the situation at his time from many angles with unique skills of observation. He established this way of observing things through the notation of his very characteristic drawings. By comparing modernology’s fundamental methods—observation and description—and comparing them to each artist’s production style, we will investigate ways of viewing the world and manners of description (establishment).


TOMII Motohiro


Born in Niigata prefecture in 1973. He completed his Master’s degree in Sculpture at Musashino Art University’s Graduate School of Art and Design in 1999. From 2011, he has held the post of assistant professor at Nihon University’s College of Art. At first, he presented small humanoid plaster pieces, but after his humanoid series that utilized ready-made materials as pedestals, he now produces pieces which solely combine various off-the-shelf materials. He uses all sorts of daily items and housewares such as vinyl tape and straws, Post-it® notes, thumb tacks, kitchen sponges, carpet, and hammers to create sculpted objects by combining them through extremely simple means like arranging, superimposing, bundling, and folding. He frees these items from their original functions and meanings, reducing them to their colors and shapes, and practices sculpture by combining them. To date, he has participated in diverse exhibitions large and small; he currently has articles on display at the “Yokohama Triennale 2011 Our Magic Hour: How Much of the World Can We Know?” (Yokohama Museum of Art) and “Catch the Light” (Nagoya/Boston Museum of Fine Arts).


NIWA Yoshinori


performance/intervention artist. Graduated from Tama Art University
department of moving image and performing arts in 2005. He's realizing
performance or project to intervene into society. Previous exhibition
are Complex Circuit, gallery alpha m, Tokyo 2010 and Communicating
with thieves, HIAP project room, Helsinki 2010. He has participated
following artist-in-residency HIAP-Helsinki International
Artist-in-residency Programme (Finland, 2010) Also Niwa is curator and
festival organizer. Niwa is currently coordinating an international
art festival titled “Artist as Activist” in Tokyo.

朝海陽子(ASAKAI Yoko)


Born in Tokyo in 1974. She spent her formative years living in countries across the globe—China, France, Singapore, Canada, America, Switzerland, and Myanmar among others. In 1998, she graduated from the Rhode Island School of Design with a degree in photography. After returning to Japan, she worked for a Tokyo gallery and was involved in artist management. She has belonged to Mujin-to Production. Akaaka-sha published her first photo collection book “Sight” in 2011. “Sight” is a collection of photographic works which revolve around people living in cities throughout the world—Berlin, Vienna, Seoul, Tokyo, Yokohama, New York, etc. Asakai Yoko visits these individuals’ homes and captures the distinct time and space of their private lives as they watch a movie. That is, her photographs portray moments within the inherently limited time frame of “a movie”. With “weather forecasts” and “meteorological information” as keywords, she is currently in Aomori creating new photographs under the motif of “landscapes”, “people”, and “wind”.


PAL Peter


Born in Romania in 1961. He learned about murals and art restoration at the University of Fine Arts in Bucharest before graduating in 1989. Since 2001, Pál Péter has been engaged in restoring frescos and religious murals found in medieval churches located in Romania’s northwestern region of Transylvania in addition to his activities as an artist. He produces myriad outdoor pieces, from precise outdoor installations made of stone to massive land art on an expansive premise. This is his second time in Aomori, his first being in 2005 as an Artist in Residence at the Aomori Contemporary Art Centre. He plans to restore and reproduce his outdoor piece from six years ago, Anamorphosis 3 (a walking sculpture), and to produce a new work of field sculpture.


Organized by: Aomori Contemporary Art Centre, Aomori Public College
In cooperation with: Aomori Museum of Art, Japan Foundation JENESYS Programme, AI KOWADA GALLERY, NIHON UNIVERSITY COLLEGE OF ART, Mujin-to Production, Midori Art Center (MAC), ACAC student supporters, AIRS
Supported By: Agency for Cultural Affairs, Government of Japan, in Fiscal Year, 2011