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Key HIRAGA seems to confess that there is no alternative but to grandly maintain the authority of man's basic instincts as over against systems of ready-made morality or intelligence for the purpose of securing human nature and resisting highly mechanized contemporary society. In the midst of civilized society overflowing with deception and affectation the innocent primitive human relations are emphasized even to the extent of gross gaudiness. In contrast with this, Hitoshi MAEDA cooly molds the form of alienated contemporary man using almost nothing but the monochrome black. The minimum stereotyped form in outline, from which alI individuality has been lost, is left. It is as if these forms cut out and tightly bound by thin transparent threads were a silent wordless protest. These nameless human heads lined up stealthily fiU us with a fathomless horror. Kozo MIO, through twisted perspective, bold magnification, on intersecting acry1ic board three dimensionally in cross formations, attempts to chalIenge our ordinary sense of vision. The men and women painted as if floating to the surface are typical of contemporary mass éonfmunications society. However. in reality they are an expression of empty vanity. These abnormal dramas of sight charm us into a world of fiction but when we return to reality it is with a kind of awakening stimulated by these paintings. In regard to the sculpture, Kazuo YUHARA's mirror sculpture holds within it an intense criticaI expression. When we walk around his nearlycubic sculptures we are caused to come face to face with oun;elver whether we like it or not. In addition, the image of the real world reflected there is different from that which we perceive directly and we are strangly chalIenged to a new consciousness of reality. These sculptures function as it were as the substance of vanity; they are severe judges of the contemporary world' they exist as that which is forced to telI the fortune of our age. ' Tomio MIKI, long known as an artists obsessed by the ear, on this occasion introduces a modern arrangement of cubes through compositions of transparent sheets of glass. At the same time the long narrow sheets of glass stretched out on the floor in T-shape will lead the appreciative viewer to a meeting with Japan as if they were folIowing the stepping stones of a path leading to a Shinto Shrine. The ultimate function of his work, can be said to be the purificaiton, the healing of the spiritual sickness which affJicts contemporary man, the artist himself incJuded. The unique bending of line and surface seen in the plain wood sculpture of Hisayuki MOGAMI brings to mind the curved shapes which are shared in common by the traditional swords, wooden ships, an roofs of temples and shrines of J apan. It can be said that his work is one example of a muscularly superior modernization of an original spontaneous sense of traditional beauty. This is one kind of "salvation." Moreover, his work piled-up on three legs of wooden zlocks celebrates the folk vitality of J apan, a country of trees.

HIRAGA, Key (1936) 6leo 1. 2. 3. 4. 5. 6. 7.

A A A A A A A

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1969. 1969. 1969. 1969. 1969. 1969. 1969.

162 162 194 162 162 162 162

MAEDA, Hitoshi (1939) 6leo 8. 9. 10. 11. 12.

122

Eclipse Solar, 1969. 180 x 250 Mercado Humano, 1969. 160 x 240 Um Diálogo, 1969. 160 x 240 Amor, 1969. 160 x 240 Homem Caçando, 1969. 180 x 390

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Profile for Bienal São Paulo

10ª Bienal de São Paulo (1969) - Catálogo I  

Primeira parte do Catálogo da 10ª Bienal de São Paulo (1969).

10ª Bienal de São Paulo (1969) - Catálogo I  

Primeira parte do Catálogo da 10ª Bienal de São Paulo (1969).

Profile for bienal