Church of silence, or border of silence

Church of silence, or border of silence 2016

Church of silence, or border of silence

A serene space has been created in the auditorium that is decorated with portraits of past headmasters, students’ creations and so on. On the floor, there is Pitch-black Swamp, filled with a black liquid. On the stage, there is Maria’s Tear on the stage, consisting of a glossy, black, egg-shaped piece, with a ray of light shining on it from above. The two works seem to be in concert. It was in 1970 that Tanaka produced Untitled, a work that involved pungent coal tar contained in a urethane bed. The work was imbued with social criticism, using as it did a material derived from crude oil that was used all the time during the period of Japan’s rapid economic growth to pave roads. Pitch-black Swamp (Indian ink on urethane), which takes up the concept again after 46 years, will prompt contemplation about mankind and civilization in the naturally rich area of Daigo. Is silence to be found in a place of prayer, or at its threshold? The stark contrast of the “church” and “boundary” – both “kyokai” in Japanese – seem to be blended together in the swamp.

Art Information




Shintaro TANAKA

©Seiji Tonomura/ Pen magazine

Shintaro TANAKA Shintaro TANAKA