The Poetic Instant.
The search for the interval inherent to the Japanese culture of Ma (spacing, interval, gap)
It suggests a consciousness of time that encompasses the intermediary and the in-between, composing the present, a present in the process of becoming.
Mono-Ha, the idea of the artwork as a phenomenon of natural order with no other meaning. The artist can simply organise what already exists, and only he who dedicates himself to it – and concentrates on it – manages to maintain a privileged relationship with the world.
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Beyond the formal attraction and cultural interest of the objects, the collections also translate the consistency, the tenacity even, of ending the dispersion of the fragments of the world to reach an (illusory) form of totality. Through the careful work done, the artist becomes a conservator, in the museum sense of the term: he gathers the pieces, cleans them, counts, tidies, names and exhibits them. The same applied attention is brought to collected pieces as to created ones. Of his monastic wisdom, he nurtures the kare-sensui of his art and his life, repeating identical gestures that deepen the sense of a relationship with the world.
We cannot create
what we can do is remove the dust
that has formed on the surface of things
thus rendering visible the world contained underneath.
Sekine Nobuo, 1969
Tsukuranai to iu kota (Do not create)
Roger Ackling.
The Invisible Appears. 2020
Lydia Rekow-Fond.
Translated by Derek Byrne.
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