Art Works Ushio Sakusabe

Floating Stone - ARCH 2006

Floating Stone - ARCH 2006
Neckar River Art Project/Nuertingen, Germany
natural stone, stainless steel wire rope, steel, steel bar
h12m x w90m x d6m

Another Angle

  • Photo. A. Glinin

At Art Works

  • Look for stones at stoneworks 20. June. 2006
  • Arrange 11 stones for Arch 23. June. 2006
  • Bind stone with steel bar and Weld 29. June.2006
  • Check balance for hanging stone 8. July. 2006
  • Put support iron post on riverside 14. July. 2006
  • Put heavy stones for weight  14. July. 2006
  • Hang up wire on the support post 15. July. 2006
  • DLRG pick ( installed stones in wire) up on boats 15. July. 2006
  • DLRG stand by hanging stones 15. July. 2006
  • THW wind the wire by winch 15. July. 2006
  • Check the form of Art work 15. July. 2006
  • Fix the end of wire 15.July.2006
  • Opening 16.July.2006

Press

  • 2006.6 Magagine 'Gallery'
  • Nuertingen Newspaper  2006.2.17
  • Nuertingen Newspaper 2006.7.15
  • Stuttgart Newspaper 2006.7.17
  • Nuertingen Newspaper 2006.7.18
  • Stuttgart Newspaper 2006.7.19

Comment

  • Freie Kunstakademie Nuertingen Prof. Harry Walter

A river gets an eye
To hover means to hang high up in the sky. The air has no hooks something could be hanging on and therefore to hang high up in the sky is always an expression for an impossible or even absurd situation. The person whose fate is hovering finds himself in the most possible uncertainty. There are enough reasons tothink that art finds itself in a similar situation for a long time. Somehow everything keeps on going but nobody really knows where this leads to. In such a precarious situation everything which is hovering gains avery special expressiveness. The terminology as well as the stones.

 

The way the artist Ushio Sakusabe chose the stones for his Neckar-project,
looked at them from various sides and tured them around in his hands to study their “faces”reminds one of the carefulness towards all the things, whivh can be seen in all arts influenced by the Zen-Buddhism following the tradition in Japan. Because stones are rarely used as a material for building and the japanese culture eas always one of adaptive refinement, archaic-mystical connection to them remains unbroken. Even more: it’s deve-
loping an art nothing similar can be found in the whole Occident.
The searching, choosing, collecting, presenting and finally the looking at untreated stones, no matter if this happens in the well-known Zen-gardens or in your private area, is an art of seizing the stones in their pure “being”.
Not the craft work of the stones leads us to the “work”, but the way of the adequate presentation of the already existing dose the job. In thisturning away from the principal of producing, in the focus to the ready made the traditional Japaneas art touches the paradoxes and even the contradictions of the modern world of western art in an odd way.

 

But to make stones hover by hanging them onto ropes made of steel and building a highly symmetrical construction is so far away hard to connect this mathod to it. But that’s even better: nothing is more seductive and more obscene than making an artist to the ambassador of some exotic principle.
Or speculating as an artist to the benefit how the world of arts will hooonor such an effort in the sarch for new material.
It seems that Ushio Sakusabe’s hanging stones don’t want to know anything about that at all. This project at the river Neckar is not the effort to open a new chapter in land-art and it does not satisfy the concept of modern town-making. For that purpose the work is on the one hand not spectacular enough and on the other way to honest. The arch which is tight of the eleven
stones doesn’t even want to make the connection between eastern and western culture, between the sky and the ground or between “art” and all that is “not art”- or between everything which we want to be reconciled through art so much.

 

Sakusabe’s construction remains an airbridge. Nobody knows if it transports
Anything else than itself or if the huge technical effort which was necessary for the realization isn’t part of the narcissistic strategy where the lust for self-reflection is made one of a public matter. Anyhow, every time when the eleven stones mirror in the plain surface of the river and melt together with
Their virtual counterparts you can recognize and feel that the river now has an eye-an eye through which the river floats without ever touching it.
Who doesn’t want to call that art?

Freie Kunstakademie Nuertigen Harry Walter

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