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Since ma king his artistic debur at the end of the 1970s, Senzaki
Chieo has devoted himself to the creation of installations. His
prin cipal style consists of the prolific use of small branches, which
he arranges inside and outside of buildings. He has createdlarge-scale works at JAPON ART VIVANT (Marseille, 1987) , at
P.S.l(New York, 1989), and, recently , at the Hiroshima City Museum of Cont emporary Art ( 1993), where his installation covered theentir e oval facade of the museum.
Senzaki has also employed glass as a principal material.
Exa mpl es include an early work at Gallery 21 in 1984 in whichglass was arranged in a trigonal pyramid, with a video inside it,
and a project at Kaneko Art GII in 1992, in which he covered a
block-shaped wooden frame with glass. In recent years, he hassometimes also used paraffin. The paraffin covers phorographs ofland scapes and human activities. At gallery SHOKO NAGA I in
1992, h e covered plywood with paraffin and made a large
cube-shaped box, in which he placed a green light. These are his
major works ro dare .
I have dubbed these works as a whole "a penetrable barrier. "In the catalogue for the solo exhibition of Senzaki's work at
gallery SHOKO NAGAI in 1992 , I wrote that Senzaki's works"are always wavering the bo rder of contrasting conditions andrelationships. He has explored many different kinds of relationships: inside / outside, reflection / transmittance, organic / inorganic,
and closed / open. In doing so he has always been concerned withinteraction rather than conflict. The fact that he has serried onparaffin as a material is related ro this concern. It has an intermedia te qua lity. It cannot make a visually absolute partition anddoes not signify a minimalistic object. This quality serves ro carryout his concept in its present form. With this in mind, the outercoating of paraffin can be described as a barrier which can becrossed and penetrated by interacting elements like rhe membraneof a cell." 1 The assemblages of small branches that form a barrier
with countless holes , glass char reflects the outer world yet is alsotransparent , and the semi-transparent paraffin seek to stand apartfrom , rather rhah confronting , absolute barriers (modernism) .
However , Senzaki 's new works will probably try to escape evenfurther from the abo ve sort of scheme. A box containing plants
rests on the front of a forklift , generating various possible messages.
A simple reading suggests char the forklift represents the functionsof lifting and transporting essential to an industrialized societ y.
The plants in the box denote the management of nature . They are
struggling to maintain their balance in isolated positions. Bur the
managed plants on the forklift (industrial society 's "palm of thehand ") suggest that the effort is futi le. Senzaki 's new work could
be characterized as bearing an extremely pessimistic message
generated by the next stage in the problems confronting society
and the environment. This message represents a departure fromrhe happy interaction manifested by the installation ar Miro Parkin 1990, in which Senzaki placed two power shovels opposite eachother and filled the space between them wirh countless branches.

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1. CHlEO SENZAKI , exhibition catalogue, rrans. Stanley N. Anderson (Tokyo: gaUery
SHOKO NAGAl , 1992), p.l.

Senzaki Chieo'flH -~

Senzaki Chieo Biography
Born in Kure , Hiroshima Prefecture , Japan
Graduated from Tokyo University of Fine Arts and Music, Oil
Painting Course,Tokyo (B.F.A.)
Received rhe Ohashi Prize of Tokyo University of Fine Arts andMusic ,Tokyo
1981 Completed Masters Course at Tokyo University of Fine Arts andMusic, Tokyo (M.F.A.)
1986-87 Resided in France (with a grant from the Ministry of
Culture of France )1987-88 Resided in New York, U.S.A. (with a grant from the Asian
Culmral Council)
1988 Artist-in-Residence, Yadd, New York State , U.S.A.
1990-91 Artist-in-Residence, Kunst-Station Sankt Peter , Koln,
Germany

l!il!t1953
1979

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:tt&:/JJl,-7,lli!
Video, *Ji'i:Dl®:l<:~f;l;J. **UENO ·so, **ffj;f,j:i<:'F'F1:,g,flg)aif-~. **/j)l,- 7/a, !lli!Ji'i:ffj;f,j;/<:~'F1:,g,flg)aif-~.
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1980
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1986
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Solo Exhi bitions (selected)
Kobayashi Gallery, Tokyo
Sumgadai Gallery, Tokyo
Komai Gallery, Tokyo
Tamura Gallery , Tokyo
Gallery Tamaya, Tokyo
Gallery ASG, Nagoya
Tsuchi (soil), Space Tao.Tokyo
Gallery Parergon, Tokyo
Gallery Lunami, Tokyo
galerie 16, Kyoto
Squatter's House , Chiba
Gallery 21, Tokyo ('85, '86, '87, '88)
Roof , Tokyo
Artist's Smdio , Chiba
Kaneko Art Gallery, Tokyo('90 , '92)
Kaneko Art GI , Tokyo
Kunst-Station Sankt Peter , Koln , Germany
Gallery 21+YO, Tokyo
Kaneko Art G II, Tokyo
gallery SHOKO NAGAI, TokyoGro up Exhibitions (selected)
Video, Campus of Tokyo University of Fine Arts and Music ,Tokyo
Ueno'80, Gallery of Tokyo University of Fine Arts and Music,
Tokyo
Gallery of Tokyo University of Fine Arts and Music , Tokyo
SEIBU Museum , Funabashi , Chiba
Out -door Exhibition , Campus of Tokyo University of Fine Arts
and Music, Tokyo
Three at Tokyo , Coker College, South Carolina, U.S.A.
JAPAN ART FESTIVAL Rath Museum, Geneva, Switzerland
Kanagawa Prefectural Hall Gallery , Yokohama
I o komete , Gallery Lunami, TokyoMEMORl, Plan B, Tokyo
CONTINUUM '85 PRE-EXHIBITION, IBM-Kawasaki City
Gallery, Kawasaki
The Critical Point in Art '85 , Muramacsu Gallery, Tokyo
tJlf!Rifillllf!~- Drawing Show, Gallery 21, Tokyo
CONTINUUM '85, Pinacotheca Gallery, Melbourne , Australia
1986 Spring Show, Gallery K, Tokyo
FUNAKOSHI Kacsura, KONDO Katsuyoshi, SENZAKI Chieo,
Nishimatsu Gallery, TokyoJAPON Ar.T VIV ANT , Centre de la Vieille Charite, Marseille,
FranceJAPON ART VIVANT, Musfe d'Art Moderne, Villeneuve d'Asq., Lille, France
Collection of Tokyo University of Fine Arcs and Music, Nihonbashi-Mitsukoshi, Tokyo
Drawing of Three Persons '88, Kaneko Art Gallery, Tokyo
New Year New Arcs '88, Moris Gallery, Tokyo'88 Art Project Iwakuni, Nishiki River, Kintai Bridge, Iwakuni
The 7rh Parallelism in Arc, Ohararyu Kaikan , Tokyo
Vision Dream Image, Kaneko Arr Gallery, Tokyo
P.S.l Studio Artist Show, P.S.l Museum , New York , U.S.A.
The Game of Manners: Japanese Art in 1990, Art Tower Miro ,Miro
Her Apollohuis, Eindhoven, the Netherlands
Hiroshima Contemporar y Art Exhibition, Hiroshima City
Museum of Contemporar y Art, Hiroshima
6 Contemporary Artists, gallery SHOKO NAGAI, Tokyottii'iAddress
2-22-7-302

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Korobuki , Abiko , Chiba Prefecmre 270- 11, Japan

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Tsuchiya Kimio began showing his work at the end of the 1970s ,and since the mid- l 980s he has stood at the forefront of the
Jap anese arr world. Works from around 1984 , which belong to his
early period, used oak and willow. He showed an interest inn atura l materia ls and created primary shapes such as tri angles andovals throu gh the accumulation of materials. The underl ying
charac teristics of his lacer work are alread y manifested here.
In th e catalo gue for an exhibition in Antwerp in 1989 ,Tsuchiya observed char his works are composed of three elements:
materials , form , and accumulation. The materials consist of thesubstance or object used , including the rime or history possessedby the substance as it develops as well as the meaning signified by
its encounter and fusion with the artist. Although simple , forms
represent a universal language. Regardless of differences in languages , nations, and epochs , simple forms stimulate the establishment of communication char transcends such differences. "Accumulation ·· reflecrs the view chat all things are a totaliry made up
of a collection of pares. No existences or forms of life on earth are
exempt from this rule.
Tsuchiya 's major recent works are primal shapes consisting ofan accumulation of driftwood found on the shores of the ThamesRiver in London and Tok yo Bay, or small branches found inforests. An example of the first type is 'Premonition ' (1988), an
assemb lage of driftwood from Tok yo Bay which possesses a
powerful feeling of motion suggesting cresting waves . An example of th e second type is 'Monologue' (1989) at the Openluchrmu seum voor Beeldhou wkunsr Midde lheim in Antwerp, in which
Tsuchiya attached disk-like objects made of small branches tosevera l tree trunks . Severa l of his works were created mainl y withrocks . A representative example is ' Eternit y,' a 5.5-merer-wide semicircle created in a forest in France in 1990.
Since then, however, Tsuchi ya has dismanrled an abandonedhouse and reassembled all of the pillars and boards from it tocreate something new. As ma y be seen from recent works such as' Black Dictionar y' ( 1992 ) and 'Black History ' (1993 ), he has also
tried creating installations using rhe remains of entire houses charhe has reduced to a small pile of ashes.
The repeated burning of a house produces a fine white powderwhich displays a sublime beauty char manifests no trace whatsoever of the srrucrure formerly inhabited by human be ings. Whenthe ashes are spread in the shape of a pol ygon , th e effec t is charof the traces left by the house on the ground. Through the repeated process of incineration , the ashes tr y to change from existence
into non-existence as materia l. They also represent something
wavering on the border between existence and non-existence. In
this way , the ashes reduced completely to a "zero horizon " send us
a message on a more fundamental level regarding rhe significanceof the rime (history / memory) when the object lived and functioned. In char sense , ashes are a symbol that evokes the indeterminate border be tween existence (life) and non-existence (dearh) . A
projector attached onto the ceiling shines onto the ashes the years
in which the house "lived." This could be said to suggest evenmo re to us than the wo rds in the diaries and books char aresome tim es burie d among th e ashes.

Tsuchiya Kimio±~~illTsuchiya Kimio Biography
Born in Fukui, Fukui Prefecture, Japan
Graduated from Nihon University , the Department of Architecture , Tokyo (B.A.)
1981-83 Lived in London, U.K .
1988-89 Studied sculpture at Chelsea School of Art, London, U.K.
(M.F.A.) (with a grant from the British Council)
1990 Received the 3rd Fumio Asakura Prize
1991 Received the Grand Prize at the 14th Japan Contemporary
Sculpture Exhibition, Ube1992 Received the 2nd Prize at the 13th Contemporay Sculpture,
Suma-rikyu, Kobe
1993 Received the Prize for new talent in the Fine Art Division fromthe Gow Memorial Foundation
Visited the United States at the invitation of the Department ofState , USIS, U.S.A.

l!!llf1955
1977

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Art Today '86, Fukui Prefectural Museum of Art, Fukui
Contemporary Sculpture in Japan, Miyagi Prefectural Museumof Art , Sendai
The 1st Art Contact , Lausanne, SwitzerlandThe
7th Hara Annual, Hara Museum of Art, Tokyo
1987
Art Junction International '87, Nice , France
Jeune Sculpture '87, Port d'Austerlitz, Paris, France
1988 '88 Art Project Iwakuni, Nishiki River , Kintai Bridge , Iwakuni
1989 20ste Biennale Middelheim Ja pan, Openluchtmuseum voor
Beeldhouwkunst Middelheim Antwerp , Belgium
The Space: Material , Tension , Vacancy in Japanese Contemporary Art , The Museum of Modern Art , Saitama, Urawa
Mid-Year Exhibition, Flower East Gallery , London , U.K.
Art Exciting '89, The Museum of Modern Art, Saitama, Urawa
Japan Contemporary Art: Japanese Ways, Western Meanes,
Queensland Museum, Australia
1990 Contemporary Sculpture in Japan III: Expression after 1970Changes of Material and Space, Kanagawa Prefectural Hall
Galler y, Yokohama
Primal Spirit : Japanese Contemporary Sculpture, Hara Museum
ARC , Shibukawa / Los Angeles County Museum , LA / Museumof Contemporary Art , Chicago , Chicago / Museum of Modern
Art of Forrworth , Texas, U.S.A. / National Gallery of Canada ,Ota wa , Canada
International Sculpture Exhibition IS '90, Washington D.C.
]. Uhlen, B. Caler , B. Bailly, K. Tsuchiya, M. Couturier, Centerd' Art Contemporain de Vassiviere, Limoges , France
New Wave of Wood: Thinkers in the Ikon Forest, Hokkaido
Asahikawa Museum of Art , Asahikawa
1991 Japan Art Scene '9 1, Tokyo Art EXPO, Tokyo
From a Sculpture--·to Another Object--·, Chateau Douzac, Bordeaux,FranceA Current of Contemporar y Art in Japan-Sculpture , The Museumof Modern Art, To yama
Project in Grizedale, Grizedale Forest Museum , Cumbria , U .K.
(Subsidized by the British Council and the Northern Arts )Opening Gala Exhibition , Centre d'Art Contemporain de V assiviere,
Limoges , France
199 2 T. Kawamata , K. Tsuchiya Exhibition (planned by Gallery
Kobayashi ), NICAF , Yokohama
The Urban Environment and Art in Japan - My Home Sweet
Home in Ruins , Setagaya Art Museum, Tokyo
1993 The 2nd Sculpture in the Little Forest, Raanana, Israel
Artist of the Gallery, Carine Campo Gallery, Antwerp, Belgium
TOY AMA NOW '93-Art Scene in Central Europe , The Museumof Modern Art , Toyama
The 6th Sculpture on the Hill, Wageningen , the Netherlands:t::t.l:'.7
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1986

**

Address
812-202 Hachigasaki , Marsudo, Chiba Prefecture 270, Japanffp)j7"270 'fliii~ tt/=im/\7~8

Solo Exhibitions (selected)
Gallery Space B', Fukui
Gallery Kobayashi, Tokyo {'85, '8 7, '88 , '91, '93)
1985 Gallery Love Collection , Nagoya
Moris Gallery, Tokyo {'86, '8 7, '8 8)1987 Kinokuniya Gallery, Tokyo
1988 Galerie Keller , Paris, France ('90)
1989 Gallery Carine Campo , Antwerp, Belgium ('92)
1990 Ancient Rain, The Contemporary Art Gallery , Ikebukuro
SEIBU, Tokyo
Centre d 'Art Contemporain de Vassiviere, Limoges, France(Subsidized by the Ja pan Foundation)
1991 Exhibition for the 3rd Fumio Asakura Prize , Ueno Matsuzakaya,
Tokyo
Izumi Gallery, Fukui
Invisible Material, A.T.Gallery , Tokyo
1992 LOCUS, spiral garden, Tokyo (with a grant from Japan Arts Fund )1993 TRAVELLING GALLERY, Scottish Art Council , Scotland
1984

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List of WorksNo.

ArtistTide

YearMedium/Technique

Sansern Milindasuta

The Door (iron)1992

acrylic, oil, wax, iron

Sansern Milindasuta

The Door (wood)

1992

acrylic, oil, wax, wood

93x79

Sansern Milindasuta

The Door (iron)1992

acrylic, oil, wax, iron

124X53

4

Sansern Milindasura

Ivory Whisper No.l

199 2plastic, wax, nail, woo den board , plastic case

45.2X35

5

Sansern Milindasuta

Ivory Whisp er No.2

1992

paper, wax, clay, wooden board , plasric case

45X30

6

Sansern Milindasuta

Ivory Whisper No. 3

199 2

clay, wax, wooden board , plastic case

45X35

7

Sansern Milindasura

Ivory Whisper No.4

199 2

paper, wax, clay, wooden board, plastic case

45X30

8

Sansern Milindasuta

Ivory Whisp er No.5

1992

paper, wax, rubber , wooden board, plastic case

55X30

9

Sansern Milindasuta

Ivory Whisper No.6

1992

paper, wax, clay, wooden board, plastic case

55X30

10

Sansern Milindasuta

Ivory Whisper No.7

1992

plasric , wax, clay, wooden board, plastic case

45.3X30

2

Dimension (cm)
124X8011

Sansern Milindasuta

Ivory Whisper No.8

1992

pap er, wax, wooden board, plastic case

35X46

12

Sansern Milindasuta

Gardiner No.l

1993

acrylic, wax, clay, wood

163X8013

Sansern Milindasuta

Gardiner No.2

1993

acrylic, wax, clay, wood

134Xl45

14

Sansern Milindasuta

Gardiner No.3

1993

acrylic, wax, clay, wood

133X130

15

Sansern Milindasuta

Gardiner No.4

1993

acrylic, wax, clay, wood

l 70X 100

16

Sansern Milindasuta

Gardiner No.5

199 3

acrylic, wax, clay, wood

126Xl40

17

Sansern Milindasuta

Gardiner No.6

199 3

acrylic, wax, clay, wood

126Xl40

18

Sansern Milindasuta

Gardiner No.7

1993

acrylic, wax, clay, wood

180Xl30

19

Supachai Satsara

On the Roa d of Industr y

199 3tire, stee l

200Xl200

20Supachai Satsara

To You,Our Worshipped Leaders

1993

iron chair, roy, fiber glass,

each:50X50Xl80(22 pieces)rose, steel

21

Senzaki Chieo

The Only Fast Ones are Us

199 3iron, paraffin wax, plant , forklift

22

Senzaki Chieo

Arrangement III

1992

phoro, pine needle

77.3X58.3

23

Senzaki Chieo

Vector VI

199 2

phoro, pine needle

73.3X57

24

Senzaki Chieo

Vector VII

199 2

phoro , pine needle

77.3X57

25

Senzaki Chieo

Here

1992

phoro, pine needle

77.3X58.3
77.3X58.3

26

Senzaki Chieo

Switch On

1993phoro, pine needle

27

Senzaki Chieo

Tray

1993

photo, pine needle

28

Tsuchi ya Kimio

Showa

1993

ash (worth an entire dilapidated house),
steel, glass, slide projecror

29

Tsuchiya Kimio

LOCUS

1993

paper , conte/collage

Sansern Milindasura'swork, 'Gardiner,' is inspired by
Jerzy Kosinski's novel Being There,in which
rhe scory develops around a gardener, whose name ismisunderstood as being "Mr. Gardiner" when a certain incident occurs.

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1993if.12.Fl9B~fr©1993 OOl~xim:~]t7-t7:.,,JCft.-t:.,,3"[~~ltirtiilix ]Contemporary Thai / Japane se Art Exhibition
Beyond the Border
Planned by
The Japan Foundation ASEAN Culture Center
Planned in cooperation with
Tani Arata
Editor: Furuichi Yasuko
Editing Assistant: Nakamoto Kazumi
Japanese-English Translator: Janet Goff
Editorial Des igner: Hayase Yoshifumi
Phototypesercing: Moriyama Co., Ltd.
Printing: Nissha Printin g Company
Published by
The Japan Foundation ASEAN Culture Center
Saito ill Bldg. , 34-5 Udagawa-cho,Shibuya-ku, Tokyo 150
phone. 03-3780-6391 fax. 03-3780-6567
Published on Decemb er 9, 1993
© 1993 The Japan Foundation ASEAN Cultuce CenterAll rights Reserved
Pr inted in Ja pan