Kishio Suga (Japanese, born 1944), 菅木志雄Fuchi-no-naigai (In-out of the edge)
1985

signed and dated 1985 on the reverse
plywood, Japanese paper, cotton cloth, acrylic and pencil

44 x 100 cm (17 5/16 x 39 3/8 in)注脚Provenance
Kaneko Art Gallery, Tokyo
Private Collection, Japan

Exhibited
Tokyo, Kaneko Art Gallery, Border of Interior and Exterior, 1985

Literature
Kishio Suga 1968-1988, Tokyo 1988, p. 43, illustrated in black and white

菅木志雄
無界
合板 日本紙 棉布 壓克力 鉛筆
1985年作

背面簽名：Kishio Suga 1985

來源
東京Kaneko畫廊
日本私人收藏

展覽
「Border of Interior and Exterior」，東京Kaneko畫廊 , 1985年

出版
《菅木志雄 1968-1988》, 東京1988年 , 第43頁 ，黑白圖

The Mono-ha movement involves a group of Japanese artists active from 1968 to 1975 who aimed to challenge the traditional concepts of what an artist created, and what is considered 'art'. The name translates to "School of Things". The movement was born in a tumultuous socio-political post-war climate that spawned many artists' movements in Japan and internationally, such as Arte Povera in Italy and Land Art in United States. Similar to the mainstream avant-garde art movements of the time, they discussed how to transcend Western Modernism.

However, contrary to the mainstream anti-art tendencies of avant-garde art, Mono-ha attempted to reconfigure art through the reduction of objects to their primary form. Reeling from the horrors of the atomic bombs dropped on Hiroshima and Nagasaki, these artists naturally rejected man-made forms, feeling that they led inevitably towards conflict and destruction. They shared a goal to accentuate what is intrinsically beautiful and artistic in raw materials by bringing together natural and industrial objects in their unaltered state, allowing dynamic combinations of materials to speak for themselves.



Artists most associated with the Mono-ha movement include Susumu Koshimizu, Nobuo Sekine, Kishio Suga and Lee Ufan. They began as a circle of friends from Tama Art University, and with regular meetings and passionate debates, they formed the fundamental ideologies of their movement. To them, each object had significance for artistic expression just by the nature of its being. The artists explored the materials' interdependent relationships with each other, the space they occupied, and the negative spaces. Both the physicality and immaterial qualities were remarkable to the Mono-ha artists.

As the movement gained international recognition, the artists associated with Mono-ha became some of the most respected artists of the 20th century.

The artists were prolific during the late 60s and early 70s, putting together numerous site specific works and happenings. After the Mono-ha period ended, artists remained dedicated to the values while they began to be more receptive to additional elements such as colours, and acknowledging the legitimacy of including painting and sculptural works in their expression.

「物派」是一個自1968年至1975年間，由一群日本藝術家所發起的藝術運動。此派系所追尋的是針對傳統理念中「藝術家創作什麼」及「何為藝術」的問題來提出挑戰。「物派」的意思為物體的學派，起源於社會政治動蕩不安的戰後時代。這個時期不僅在日本甚至在國際上， 例如意大利和美國都在戰後時期掀起「貧窮藝術」、「大地藝術」等各種藝術浪潮。和其他主流的前衛藝術運動一樣，如何超越西方現代藝術是共同討論的議題。

但「物派」和其他主流派系的區格是在於關注物體本身的性質、除去傳統創作形式下所產出的主體。特別是在廣島和長崎原子彈轟炸事件後，藝術家們的對戰爭麻木、恐懼的心態促使他們自然的拒絕任何人為形式，深怕自己的行為將造成不可避免的衝突和毀滅。他們共享一致的目標是探究物質或原物料中所帶有的美學本質，藉由來自天然的物質和工業用的原物料來進行創作，耳目一新的組合開啟了物質之間的對話。

「物派」的主要成員有小清水漸、關根伸夫、菅木志雄、和李禹煥。這群藝術家是在多摩美術大學時期的朋友，他們在組織例行的討論會和辯論之下，建立起物派運動的基石。對他們而言，物體與生俱來就擁有獨特的藝術體現。物體和物體之間、物體與空間的相互關係是藝術家研究的課題，在實體和精神層面上對物派藝術家極為重要。

當物派運動得到國際上的關注，這些藝術家成為了20世紀備受敬仰的藝術家之一。

藝術家們在60年代晚期至70年代早期時蓬勃發展，許多為特定場域所創作的裝置藝術和各種藝術活動遍地開花。在物派運動結束後，藝術家依舊堅守物派精神，同時他們也開始接受加入其他像顏料等元素的可能性，也認同了繪畫和雕塑亦可以作為正當表現物派精髓的形式。