Nobuo Sekine (–)
Conceptual artist Nobuo Sekine—whose ephemeral, site-specific sculptural and installation works were associated with Mono-ha (the School of Things), the postwar Japanese art movement active in the late s to the mid ’70s—died on Monday in Los Angeles. He was seventy-six years old.
Sekine’s Phase—Mother Earth, comprising a seven-feet-wide, nine-feet-deep hole and an accompanying cylinder made of a mixture of earth and cement, was one of the most celebrated works of Mono-ha. Originally enacted in at the inaugural Contemporary Sculpture Exhibition at Kobe’s Suma Riky&#; Park, it is said to have led to the formation of the movement. Other members included Susumu Koshimizu, Katsuro Yoshida, Koji Enokura, and Kishio Suga.
In the May issue of Artforum, Joan Kee wrote: “Although never bound by a formal association, the Mono-ha artists were nevertheless joined by a shared commitment to what several members identified as a refusal of ‘making,’ or what member Lee Ufan famously explained as a desire to present the world ‘as it is,’ without undue interference on the part of the artist or fro
“Phase of Nothingness-Black” from ’78–’79 solo exhibition in Europe
Solo Exhibition
September 25th – November 28th,
“Mono-ha” is developed in Japan before or aftrer Sekine Nobuo is one of the central figure of ”Mono-ha” and he is also a pioneer in the “Environment Art.” The series of works titled “Phase of nothingness-Black” are exhibited mainly in this exhibition. In , these works exhibited at 4 museums in Europe (Kunsthalle Dusseldorf / Germany, Louisiana Museum for Moderne Kunst / Denmark, Kroller-Muller Museum / Netherlands, Henie-Onstad Art Center / Norway.) We also exhibit some works from “Phase” series (), drawings() and the work titled “Phase-Piller” () that is displayed first time.
関根伸夫
’78–’79 ヨーロッパ巡回個展〔空相-黒〕による
年9月25日–11月28日
展覧会概要
年前後に日本国内で展開した「モノ派」の中核的思想を担ったメンバーの一人であり、また“環境美術”の先駆者でもある作家、関根伸夫の個展です。今回の展覧会では、–79年にヨーロッパを巡回（クンストハーレ・ドュセルドルフ/ドイツ、ルイジアナ美術館/デンマーク、オランダ国立クーラーミューラー美術館、ヘニイオンスタード美術館/ノルウェー）した個展に出品された作品「空相-黒」シリーズを中心に、大変貴重な作品でもある年の「位相」やドローイング（年）、初展示となる「空相-柱」（年）などを展示致します。
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Biography:
Nobuo Sekine (関根伸夫) () is a Japanese sculptor currently living in both Tokyo, Japan, and Los Angeles, California.He is one of the key members of Mono-ha, a group of artists who became prominent in the late s and s. The Mono-ha artists explored the encounter between natural and industrial materials, such as stone, steel plates, glass, light bulbs, cotton, sponge, paper, wood, wire, rope, leather, oil, and water, arranging them in mostly unaltered, ephemeral states. The works focus as much on the interdependency of these various elements and the surrounding space as on the materials themselves.
From into the s, Sekine worked internationally as a central figure of &#;Mono-ha&#; (translated literally as &#;School of Things&#;), a movement considered instrumental in the formation of postwar Japanese art. Phase&#;Mother Earth, an earthwork first constructed in Suma Rikyu Park, Kobe, in , is widely recognized as marking the beginning of Mono-ha, and as one of the most iconic works of this period in Japan.
In , Sekine represented Japan in the Venice Biennale with Phase of Nothingness, consisting of a large natural stone supported by a mirrored stainless steel colum
Los Angeles
Blum & Poe
A seminal figure in the Mono-ha movement, Nobuo Sekine is particularly associated with its emergence, which was marked by his large-scale earthwork Phase—Mother Earth (). For this work, he dug a cylindrical hole in the ground, approximately seven feet wide and nine feet deep; then he placed the excavated earth, made into a cylinder of roughly the same dimensions, next to it. This positive and negative juxtaposition stressed the thingness and relatively unaltered, raw materiality of both the hole and the mound. Like many Mono-ha works, Phase was also about space, its relationship to these “things,” and their combined relationship with the viewer. This show, which featured a decade of Sekine’s work, appeared at first glance to include contributions by a number of different artists&#;see the entire review in the print version of January/February&#;s Sculpture magazine.
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