KANEKO
Liberating the Chawan: I Am a Tea Bowl.  I Am the Sea.

Interpretive Introduction

 

The key feature of KANEKO’s contribution to this exhibit at the Pintô Art Museum is

its intriguing position-in-between. On the one hand, the work of the artist duo

(Haruhiko and Masayo Kaneko) reveals the beauty and complexity of traditional

Japanese ceramics. On the other, it expresses a desire to transcend tradition. In

Japan, this desire has often been a source of conflict between the artists and those

dedicated to conserving a valuable cultural legacy. For visitors to this exhibit it is vital

to appreciate the severe pressure to conform innovators like KANEKO face within the

Japanese craft world.

 

In recent years, KANEKO has been actively exhibiting in Europe. In these exhibitions,

the duo has sought to emphasize the artistic aspect of its work as opposed to its

craft aspect. They feel honored, naturally, to have Haruhiko’s extraordinary tea

bowls included in the collections of the British Museum (London) and the Guimet

Museum of Asian Arts (Paris). At the same time, they have felt somewhat

misunderstood in Europe as representatives of Japanese aesthetics, especially

considering their quite different position at home. The artists were encouraged,

therefore, to see the Guimet bowl portrayed by a French-Vietnamese photographer

as an objet d’art as opposed to an artifact from traditional culture.[1] The positive

response to KANEKO’s 2019 installation at the Revelations fine craft biennial in Paris

may also indicate that a shift in their European image is underway.

 

 [1] Huynh, Jean-Baptiste. Infinis d’Asie. Paris: Musée national des arts asiatiques Guimet and Editions

Skira, 2019.

Image 1 La Mer.jpg
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This daring three-part installation amounts to a deconstruction of the chawan (the

Japanese word for tea bowl). This deconstruction does not reject the chawan’s time-

honored aesthetic tradition, however. Rather, it opens an informative dialog between that tradition and present-day artistic concepts. It encourages the viewer to see traditional artistry in a new light and to appreciate the historic roots of contemporary art, which are occasionally difficult to perceive.

 

In Japan, the tradition-oriented ceramics world has been unreceptive to ideas like those of KANEKO and others. Of course, it’s not only a question of reception. Many Japan-based ceramics artists themselves, including KANEKO, find the transition from traditional aesthetics to the different values of 21st-century art difficult.[2]

 

Elsewhere in Asia, the welcome has been warmer. A 2018 show at HaoHaus (Chiayi,

Taiwan) was the first KANEKO exhibition to focus primarily on contemporary

ceramics. Despite employing some of the most ancient means of art—clay and fire—

and an age-old glazing technique, the works they displayed evidenced an

extraordinary will to transcend the past.

 

KANEKO now appears ready to free itself entirely from the confines of traditional

Japanese pottery. Yet although the artists have indicated their ability to blow the tea

bowl into a thousand exquisite shards, their aim is not to destroy tradition. Instead,

the goal is to invigorate tradition by reassembling it into novel symbolic patterns that

lend new resonance to the chawan’s form and connotations.

 

 

[2] For a discussion, see http://gallery-kaikaikiki.com/2017/02/report_pottery01/ and http://gallery-kaikaikiki.com/2017/02/report_pottery02/. In contrast, building bridges between traditional and

contemporary has come naturally to international Japanese artist Yoshitomo Nara (see Ceramic

Works, Tokyo: Foil, 2010). In another example, American Tom Sachs exploited his off-the-spectrum

freedom to challenge the Japanese tea world with his 2019 Tea Ceremony exhibit at Tokyo Opera City

Art Gallery (disdainful of craft traditions, in his way Sachs was highly respectful of the Japanese art of tea).

Image 5 Expanding the Chawan (Untitled).jpg
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Image 6 Expanding the Chawan (Ocean Eyes).jpeg

KANEKO ceramics are medium-centered and have a remarkable visual impact. The work has essentially three layers of meaning.

 

One layer is its expression of the artists’ relation to nature, above all, the sea. Here, characteristic pieces include the Blue Wave and Blue Wall series.

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Where Ishigaki Blue (as KANEKO terms it) appears in the work, it refers to the ocean

encircling the artists’ home island of Ishigaki, Okinawa. For KANEKO, this vivid,

green-tinged blue is understood as a source of life, inspiration, and peace. In

contrast, the black and silver tones of yuteki glazing—which suggest ocean depths or

the night sky—evoke introspective considerations, on solitude, perhaps, or human

transience.

 

Also known as Jian ware, tenmoku is a style of tea bowl developed in China

approximately 1,000 years ago. “Tenmoku” refers to Mount Tianmu, a Chinese

mountain whose surrounding area is associated with such ceramics. Yuteki tenmoku

is a type of tenmoku ware. “Yuteki” refers to the “oil spots” that appear in the dark

iron-oxide glaze. For centuries, Chinese and Japanese yuteki tenmoku tea bowls have

been among the most highly valued chawan used during the tea ceremony in Japan.

There are strict rules about what qualifies as a yuteki tenmoku bowl. KANEKO’s

addition of blue glass (symbolizing life) to the bottom of such bowls represents a

violation of these rules.

 

A second layer of significance is the work’s expression of personal history. Masayo

Kaneko is originally a child of the city. But Haruhiko’s boyhood was passed on Yoron,

where he spent many happy hours wandering the reefs that surround the idyllic

island. The Blue Wave series carries the subtitle “Memory of the Presence.” The

phrase refers to the surging, un-reflected-upon immediacy you feel when you

become so absorbed in something that consciousness releases you for a while. Time

ceases to flow. You become integrated into the world, present in it, as it is present in

you. Haruhiko cherishes his boyhood reef-walking memories of presence and, with

Masayo’s insightful assistance, attempts to recapture them in ceramics.

 

A third key layer of meaning in KANEKO’s work is, of course, its resistance to the constraints of the Japanese pottery tradition and the desire to transform that

tradition into a medium of contemporary art. As previously noted, KANEKO is not

alone in such efforts. Kazuo Yagi (1918-79), who founded the Sōdeisha group in

Kyoto in 1948, is likely the best-known name associated with Japanese ceramic art

that wishes to free itself from craft and guild restrictions. Another example is Raku

Kichizaemon XV, who is seeking to introduce ideas from contemporary sculpture into

the long-established Kyoto ceramics family he leads. KANEKO, however, has no

connection with such groups. The duo’s struggle has been an independent one

fought in relative isolation.

 

*

 

Surprisingly, KANEKO’s home island of Ishigaki in Okinawa is closer to Manila than to

Tokyo, and the island’s appearance is more similar to that of the rural Philippines

than to landscapes typically associated with Japan. Of course, in these days of rapid

travel and instantaneous communications, the physical and cultural distance

between mainland Japan and Okinawa is increasingly diminished. Still, KANEKO’s

perspective on Japanese ceramics may be more understandable when regarded as

that of quasi-outsiders to mainland traditions. It may be that art lovers in the

Philippines, whose view of Japanese culture is less influenced by Japanese norms,

will readily appreciate the adventurous, non-traditional aspects of KANEKO’s work.

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