مساهمــــــــــــــات فكريّــــــــــــــة
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Shawati’ 73
Musahamaat Fikriyya – Constructs of Creativity
نفسه، أما ما عدا ذلك فكان كل شيء مؤقتًا. وقد شكّلت هذه التجارب في الشــــــقق مرحلة مفصلية في مســــــاري، إذ منحتني مساحة للتجريب بحرية، بعيــــــدًا عن قيود صالت العرض أو المتاحف. وخلال ثمانينيات القرن الماضي، كنت في حالة نشــــــاط مســــــتمر، أُنجز مشروعًا جديدًا كل شهر تقريبًا، في طوكيو وناغويا وكيوتو وأوساكا، وفي أماكن مختلفة. كنت أتنقّل ومعي بعض المواد، أبني العمل، ثم أفكّكه وأمضي إلى المكان التالي. كان الأمر أشــــــبه بعرض متنقّل. ومن هناك، بدأت تتشكّل ملامح أعمالي التركيبية المؤقتة.
Tadashi Kawamata - Tree Huts, 2013. Site-specific installation, facade and courtyard of the Palazzo Strozzi, Florence. Apnea, 2013. Site specific installation. In collaboration with LAC – Laboratory Civic Arts Views of the exhibition “Territori Instabili. Confini e identità nell’arte contemporanea”, Centro di Cultura Contemporanea Strozzina, Florence, 2014-2013. © Tadashi Kawamata. Photo. Martino Margheri, by permission of the Fondazione Palazzo Strozzi. Courtesy of the artist and Mennour, Paris
In 1982, you were invited to exhibit in the Japanese Pavilion at the Ven- ice Biennale at a very young age. Yes, I was 28 years old at the time. For a young artist, it was a very exciting opportunity. The Venice Biennale has enormous prestige, and I was ambi- tious to participate. However, the experience was also slightly disappoint- ing. In the early 1980s, the art world was still dominated by painting and sculpture. Installation art was not widely recognised. The type of work I was making did not fit easily into the expectations of the exhibition. I presented my installation in the Japanese Pavilion, but many visitors did not fully un- derstand it. The reception was rather quiet. After the Biennale, I returned to Tokyo with mixed feelings. At that moment, I realised that following the dominant trends of the art world was not very meaningful for me. Instead, I decided to pursue my own path and continue experimenting with instal- lations in unconventional spaces. Is that when you began working in apartments in Tokyo? Yes, exactly. I started renting ordinary apartments in the city and transform- ing them into temporary installations. The idea was very simple. I would rent the apartment for a short period, usually about one month. During that time, I built a structure inside the space using wood and other materials. At the end of the month, I dismantled everything and threw the materials away. The only condition from the owner was that I should not damage the building itself. Everything else was temporary. These apartment projects became a very important step in my development. They allowed me to ex-
Tadashi Kawamata, Tree Huts at Place Vendôme, 2013. On site installation. Bois · Wood. Dimensions variables · Variable dimensions. Presented by Mennour, Paris & Annely Juda, London. © Tadashi Kawamata. Photo Archives Mennour. Courtesy of the artist and Mennour, Paris.
ولم تنســــــجم الأعمال التي كنت أقدّمها بســــــهولة مع توقّعات المعرض. عرضــــــت عملي في الجناح الياباني، لكن كثيرًا من الزوار لم يتمكّنوا من قراءته بشــــــكل كامل، فجاء التفاعل معه محــــــدودًا إلى حد كبير. وبعد انتهــــــاء البينالي، عدت إلى طوكيو وأنا أحمل مشــــــاعر متباينة. في تلك اللحظة، أدركت أن السير خلف التيارات السائدة في عالم الفن ل يحمل بالنسبة لي قيمة حقيقية. ومن هنا، قرّرت أن أمضي في طريقي الخاص، وأن أواصل تجاربي في فن التراكيب خارج الأطر التقليدية. هل كانت تلك المرحلة التي بدأت فيها العمل داخل الشقق في طوكيو؟ نعم، تمامًا. بدأت أســــــتأجر شققًا عادية في المدينة، وأحوّلها إلى أعمال تركيبيــــــة مؤقتة. كانت الفكرة بســــــيطة للغاية: أســــــتأجر الشــــــقة لفترة قصيرة، غالبًا نحو شهر، وخلال هذه المدّة أبني داخلها تركيبًا باستخدام الخشــــــب ومواد أخرى. ومع نهاية الشــــــهر، أفكّك كل شيء وأتخلّص من المواد. كان الشــــــرط الوحيد من المالك أل أتســــــبّب بأي ضرر في المبنى
Your use of wood also began quite naturally. Yes, the material came directly from the studio environment. The wooden stretchers used for painting became my first construction elements. At that time, I also had very little money, so I started collecting leftover materials: scrap wood, discarded canvases, anything that was available. Recycling was not an ideological decision; it was simply the most practical solution. Grad- ually, I moved away from the traditional studio environment and began creating installations in other spaces: small galleries, public parks, aban- doned buildings and sometimes even forests. I enjoyed the physical aspect of building structures and working with my hands. The material remained similar – mostly wood – but the context constantly changed. Each site re- quired a different approach. Building inside a gallery is very different from building outdoors in a park or inside an abandoned building. These varia- tions made the process more interesting. Slowly, the relationship between the work and the site became central to my practice.
Installation views, Tadashi Kawamata, [Saint Paul de Vence]. Paris. 2024. © Frédéric Pasquini Courtesy of the artist and Mennour, Paris.
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