Artist:
Hiroshi Sugimoto
Title:
Mathematical Model 013
Year:
2013
Adress:
Kita-aoyama, Minato-ku
Art and sadism
This seems like a thorn. A thorn with a extra long razor-sharp needle. Or would the needle slowly stretch out and hit the ground? Stainless metal is hard and merciless. This is not meant to be funny. There is no sparkle of irony or self-mockery. This is a dangerous and aggressive tool.
This object is hanging in a narrow corridor. A viewer has two choices: walk underneath it with the danger to be affected, or perambulate and lose time. You don’t want one these choices.
In my opinion this is sadism of the artist with the viewer as a victim and the feeling of enjoyment of the artist about this. "Sadism" is derived from the name of the French Marquis de Sade. De Sade described how persons intentionally caused pain on others and wondered what humans are capable of.
This gives me intense emotions: anger because the viewer is a victim, anger because of the client who allows exerting of power and sadism, anxiety because the public space apparently is not always safe.
I don’t need an object like this.
By Theo, www.artatsite.com
Vertaling
Kunst en sadisme
Dit lijkt wel een doorn. Een doorn met een extra lange vlijmscherpe naald, Of zou de naald langzaam uiteen rekken en de grond kunnen raken? Roestvrije metaal is hard en meedogenloos. Dit is niet grappig bedoeld. Er is geen greintje ironie of zelfsport. Dit is een gevaarlijk instrument dat agressie uitstraalt.
Dit object hangt in een smalle gang. Een toeschouwer heeft twee keuzen: er onderdoor lopen met het gevaar getroffen te worden, of omlopen waardoor tijd verloren gaat. Dit zijn twee keuzen die je beiden niet wilt.
Naar mijn gevoel gaat het hier om sadisme van de kunstenaar met de toeschouwer als slachtoffer en het genot dat de kunstenaar erbij voelt. 'Sadisme' is afgeleid van de naam van de Franse Markies de Sade. De Sade beschreef hoe personen anderen opzettelijk pijn toebrachten en vroeg zich af waartoe de mens in staat is.
Dit roept bij mij heftige emoties op: boosheid omdat de toeschouwer slachtoffer is, boosheid om de opdrachtgever die blijkbaar machtuitoefening en sadisme toestaat, angst omdat de openbare ruimte blijkbaar niet altijd veilig is.
Ik heb geen behoefte aan een object als dit.
By Theo, www.artatsite.com
www.at-art.jp:
At the top of the Kinkakuji Temple, the space that imaged the ancient tea room with "Ultimate Tsuchi" representing the ultimate paradise as motif.
Granite from China's quarry is about 25 cm thick. It is 2 tons big, saying that the total weight is 500 tons. You can also see the work from a café operated by a Japanese restaurant located in the back.
Mathematical Model 013
A work based on a mathematical model as a motif.
The total length is 6 m, the narrow part of the tip is 5 mm, it extends to the ground and reaches infinity and it shows infinite to continue (Brazil 0).
The Phillips Collection
Curator at Large Klaus Ottmann introduces Hiroshi Sugimoto: Conceptual Forms and Mathematical Models, on view at The Phillips Collection from February 7-May 10, 2015.
This exhibition features five photographs and three sculptures by the Japanese artist Hiroshi Sugimoto (b. 1948). This is the first exhibition to contrast Sugimoto’s mathematical photographs of 19th-century mathematical plaster models inspired by Man Ray with his own aluminum or stainless-steel mathematical models crafted with computer-controlled, precision milling machines.
www.wikipedia.org:
In 2009 U2 selected Sugimoto's Boden Sea, Uttwil (1993) as the cover for their album No Line on the Horizon to be released in March that year.
This image had previously been used by sound artists Richard Chartier and Taylor Deupree for their 2006 CD inspired by Sugimoto's "seascapes" series.[32] Sugimoto noted it was merely a "coincidence" that the image appears on both album covers. In addition, he notes that the agreement with U2 was a "stone age deal" or, artist-to-artist. No cash exchanged hands, rather a barter agreement which allows Sugimoto to use the band's song "No Line on the Horizon" (partly inspired by the "Boden Sea" image) in any future project.
www.guggenheim.org:
Hiroshi Sugimoto was born in 1948 in Tokyo. He took his earliest photographs in high school, photographing film footage of Audrey Hepburn as it played in a movie theater.
After receiving a BA from Saint Paul’s University in Tokyo in 1970, he traveled west, first encountering communist countries such as the Soviet Union and Poland, and later Western Europe. In 1971, he visited Los Angeles and decided to stay, receiving a BFA from the Art Center College of Design in Los Angeles in 1972.
In 1974, he moved to New York. In 1976 he visited the city’s American Museum of Natural History for the first time and he was intrigued by the lifelike qualities of the dioramas of animals and people. These provided the subject matter for the first of his Dioramas series, which, along with the Seascapes and Theaters series (deadpan, near-abstract photographs of such sites), were conceived between 1976 and 1977 and have continued through the present.
He has since developed other ongoing series, including photographs of waxwork-museum figures, drive-in theaters, and Buddhist sculptures, all of which similarly blur distinctions between the real and the fictive. In Praise of Shadows (1998) is a series of photographs based on Gerhard Richter’s paintings of burning candles. His Architecture series (2000–03) consists of blurred images of well-known examples of Modernist architecture.
In 2004, Sugimoto began to photograph Richard Serra‚Äôs torqued spiral sculpture Joe, exploring the work‚ dynamic viewpoints and dramatic manipulations of light and shadow; for the publication of this suite of photographs, novelist Jonathan Safran Foer contributed an adjacent textual component.
The series Conceptual Forms (also 2004) takes up the subject of Industrial Revolution-era mechanical models used to demonstrate the movements of the rapidly advancing machines of the day. Favoring black-and-white, Sugimoto has continued to use the same camera, a turn-of-the-century box camera, throughout his career.
This seems like a thorn. A thorn with a extra long razor-sharp needle. Or would the needle slowly stretch out and hit the ground? Stainless metal is hard and merciless. This is not meant to be funny. There is no sparkle of irony or self-mockery. This is a dangerous and aggressive tool.
This object is hanging in a narrow corridor. A viewer has two choices: walk underneath it with the danger to be affected, or perambulate and lose time. You don’t want one these choices.
In my opinion this is sadism of the artist with the viewer as a victim and the feeling of enjoyment of the artist about this. "Sadism" is derived from the name of the French Marquis de Sade. De Sade described how persons intentionally caused pain on others and wondered what humans are capable of.
This gives me intense emotions: anger because the viewer is a victim, anger because of the client who allows exerting of power and sadism, anxiety because the public space apparently is not always safe.
I don’t need an object like this.
By Theo, www.artatsite.com
Vertaling
Kunst en sadisme
Dit lijkt wel een doorn. Een doorn met een extra lange vlijmscherpe naald, Of zou de naald langzaam uiteen rekken en de grond kunnen raken? Roestvrije metaal is hard en meedogenloos. Dit is niet grappig bedoeld. Er is geen greintje ironie of zelfsport. Dit is een gevaarlijk instrument dat agressie uitstraalt.
Dit object hangt in een smalle gang. Een toeschouwer heeft twee keuzen: er onderdoor lopen met het gevaar getroffen te worden, of omlopen waardoor tijd verloren gaat. Dit zijn twee keuzen die je beiden niet wilt.
Naar mijn gevoel gaat het hier om sadisme van de kunstenaar met de toeschouwer als slachtoffer en het genot dat de kunstenaar erbij voelt. 'Sadisme' is afgeleid van de naam van de Franse Markies de Sade. De Sade beschreef hoe personen anderen opzettelijk pijn toebrachten en vroeg zich af waartoe de mens in staat is.
Dit roept bij mij heftige emoties op: boosheid omdat de toeschouwer slachtoffer is, boosheid om de opdrachtgever die blijkbaar machtuitoefening en sadisme toestaat, angst omdat de openbare ruimte blijkbaar niet altijd veilig is.
Ik heb geen behoefte aan een object als dit.
By Theo, www.artatsite.com
www.at-art.jp:
At the top of the Kinkakuji Temple, the space that imaged the ancient tea room with "Ultimate Tsuchi" representing the ultimate paradise as motif.
Granite from China's quarry is about 25 cm thick. It is 2 tons big, saying that the total weight is 500 tons. You can also see the work from a café operated by a Japanese restaurant located in the back.
Mathematical Model 013
A work based on a mathematical model as a motif.
The total length is 6 m, the narrow part of the tip is 5 mm, it extends to the ground and reaches infinity and it shows infinite to continue (Brazil 0).
The Phillips Collection
Curator at Large Klaus Ottmann introduces Hiroshi Sugimoto: Conceptual Forms and Mathematical Models, on view at The Phillips Collection from February 7-May 10, 2015.
This exhibition features five photographs and three sculptures by the Japanese artist Hiroshi Sugimoto (b. 1948). This is the first exhibition to contrast Sugimoto’s mathematical photographs of 19th-century mathematical plaster models inspired by Man Ray with his own aluminum or stainless-steel mathematical models crafted with computer-controlled, precision milling machines.
www.wikipedia.org:
In 2009 U2 selected Sugimoto's Boden Sea, Uttwil (1993) as the cover for their album No Line on the Horizon to be released in March that year.
This image had previously been used by sound artists Richard Chartier and Taylor Deupree for their 2006 CD inspired by Sugimoto's "seascapes" series.[32] Sugimoto noted it was merely a "coincidence" that the image appears on both album covers. In addition, he notes that the agreement with U2 was a "stone age deal" or, artist-to-artist. No cash exchanged hands, rather a barter agreement which allows Sugimoto to use the band's song "No Line on the Horizon" (partly inspired by the "Boden Sea" image) in any future project.
www.guggenheim.org:
Hiroshi Sugimoto was born in 1948 in Tokyo. He took his earliest photographs in high school, photographing film footage of Audrey Hepburn as it played in a movie theater.
After receiving a BA from Saint Paul’s University in Tokyo in 1970, he traveled west, first encountering communist countries such as the Soviet Union and Poland, and later Western Europe. In 1971, he visited Los Angeles and decided to stay, receiving a BFA from the Art Center College of Design in Los Angeles in 1972.
In 1974, he moved to New York. In 1976 he visited the city’s American Museum of Natural History for the first time and he was intrigued by the lifelike qualities of the dioramas of animals and people. These provided the subject matter for the first of his Dioramas series, which, along with the Seascapes and Theaters series (deadpan, near-abstract photographs of such sites), were conceived between 1976 and 1977 and have continued through the present.
He has since developed other ongoing series, including photographs of waxwork-museum figures, drive-in theaters, and Buddhist sculptures, all of which similarly blur distinctions between the real and the fictive. In Praise of Shadows (1998) is a series of photographs based on Gerhard Richter’s paintings of burning candles. His Architecture series (2000–03) consists of blurred images of well-known examples of Modernist architecture.
In 2004, Sugimoto began to photograph Richard Serra‚Äôs torqued spiral sculpture Joe, exploring the work‚ dynamic viewpoints and dramatic manipulations of light and shadow; for the publication of this suite of photographs, novelist Jonathan Safran Foer contributed an adjacent textual component.
The series Conceptual Forms (also 2004) takes up the subject of Industrial Revolution-era mechanical models used to demonstrate the movements of the rapidly advancing machines of the day. Favoring black-and-white, Sugimoto has continued to use the same camera, a turn-of-the-century box camera, throughout his career.