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Date.           27th May 2005 – 31th July 2005

Place.          The Koishikawa Annex. The University Museum. The University of Tokyo.

Curators.       Sergio Calatroni and Miyuki Yajima / Sergio Calatroni Art Room, Milan, Italy.
               Giacinto Pietrantonio / GAM, Bergamo, Italy.
               Yoshiaki Nishino / The University of Tokyo, Japan.

Guests.         Adélia Borges / Museu da Casa Brasileira, São Paulo, Brazil.
               Hans Höeger / The Bocconi University, Milan, Italy.
               Alessandro Guerriero / N.A.B.A. Milan, Italy.
               Goji Hamada / Aomori Contemporary Art Center, Japan.

Participants. Natalie Du Pasquier, Pino Guidolotti, Ministro del Gusto, Maurizio Turchet,
              Ivo Bonacorsi, Luca Stoppini, Nanda Vigo, Sunplus, Hidemi Amae, George J. Sowden,
              Pietro Finelli, Asha Sarabhai, Franca Sozzani, Giorgina Siviero Cecchi, Toni Meneguzzo,
              Margot Takeda, Matteo Vercelloni, Marina Sinibaldi, Almerico de Angelis, Bruna Soletti,
              Armando Chitolina, Ugo La Pietra, Ryuta Amae, Tassili Calatroni, François Berthoud,
              Giovanni Chiaramonte, Santi Caleca, Marco Ferreri, Fausto Santini, Gherardo Frassa,
              Michelangelo Coviello, Emilio Tremolada, Luca Rento, Enrico Franzolini, Karla Otto,
              Giovanni Sacchi, Massimo Mariani, Antonio Colombo, Franco Raggi, Luisa Cevese,
              Colomba Leddi, Vittorio Solbiati, Rosy Biffi, Toshiko Taguchi, Riccardo Legnani,
              Yumie Nagai, Adele Biffi, Donatella Pellini, Margherita Della Porta, Raimond Bianchi,
              Mito Shimonaka, Marisa Lombarda, Mimma Gini, Diego Grandi, Aurora Di Girolamo,
              Accordone – Guido Marini, Marco Beasley, Sergio Asti, Antonio Pio Giovanditto,
              Francesco Radino, Hisayuki Amae, Cristina Omenetto, Gianni Veneziano, Luigi Mainolfi,
              Lapo Binazzi, Luigi Oltrona, Alberto Meda, Roberto Peccolo, Roberto Serino,
              Riccardo Dalsi, Tatsuya Miyano, Shunsaku Sugiura,


Values attributed to an object vary considerably depending on one’s vision. It is up solely to the ability of the
person who observes it. For we cannot see more than we are able to observe. Sometimes we observe by using
our knowledge; sometimes we observe with our sensibility. While there are objects which remember us
something, there are objects which give us a hint to create something new. There are also objects which
propose us a different way of living. When we have a look at someone else’s library, we can ascertain what
the person is interested in. In the same way, if we look at the objects which surround someone else, the
relation between the person and his/her interests becomes transparent to us.

Each object contains various information about its authorship, its origin, the technology that made it and its
material, the craftsman of the material and the craft that produced it, its history, its landscape, etc. It varies
from person to person which information and communication are taken.
The relation between a person and an object is personal.
There are as many relations between an object and a person as the number of the population on the wide
earth. Each one of them has its meaning and every one of them has its value.

The observing eye of Calatroni who engages in shaping space and objects; the observing eye of Mr. Nishino
who engages in re-assembling in a different framework what he reads along history of art;
the observing eyes of Mrs.Borges and Mr.Höeger who are critics of what is shaped. They will stimulate
spectators to reflect on the relations between themselves and objects with new recognition. Then the
spectators will select objects, by using their new observing eyes and will participate in the exhibition
by way of the web site. This in turn will inspire other spectators. It is this chain of vibrations that this
exhibition expects to produce.
                                                                                     Miyuki Yajima

Transavantgardism into Spirits/Objects : From Temporary to A-Temporary

Yoshiaki Nishino
Museum Technology
The University Museum, The University of Tokyo

 It is now more than thirty years since I visited Europe for the first time. It is already unclear which towns I
visited, which trips I took, who I encountered, etc. All those journeys of mine have not become meaningless,
however; who and what I am now continues to be a culmination of them. Moreover, I have saved in my
possession certain objects through which I can look back on the past; they are connected with my private
memories of wandering around various places. These objects are neither scientific photographs nor academic
materials, for those are merely the fruits of my professional occupation.
I would rather say that they are various objects which have been concerned with the emotional parts
of my experiences, kept secret within me.

I brought back various things from my travels abroad. Most of them are without any value in an economic
sense. On a journey, I would discover a certain thing and put it in my trunk, feeling good that it was nobody
but me who had found it. I cannot be proud of it, as it was brought on by such an instinctive act. In fact,
how much could be such a thing as a huge pine-cone picked up on the sandy beach of Civitavecchia in Italy
be worth? It is a meaningless thing for anyone but me. A paving stone found on a street in the old town of
Prague is much the same - to recognize that it is a relic of "Prague in 1968" is an exceptional privilege,
exclusively permitted to me in all the world. A scarab which I found in the countryside of Provence, a round
white pebble which I picked up at the seashore of Antibes near Cannes, and a memo pad from a hotel at
Saint-Petersburg - is there anyone, except me, who should be glad to have things such as these?

There are also things bought with some pocket money while I am traveling: a canteen used so that a pilgrim
of Lourdes might gather the miraculous water of life; a tiny, old-fashioned ivory box made in England and
used as a case for certain cosmetic powders; a Daguerreotype of a Parisian mother and daughter; the photo
album of a family living in Budapest at the Fin-de-Siecle; a round bowl of Lapis Lazuli which a Syrian
peddler carried back from far Afghanistan - these have a little worth. A pipe-type chalk case and a sketch-
book that I can qualify only as "old ones"; various woodblocks and diverse movable type; mechanical tools
and industrial parts the use of which I cannot know - as for these, any other person would not understand
their "raisons d'etre".

Of course, there are also fantastic presents from my friends or from those whom I have met during my
lifetime. A deformed iron nail which had been used for a 15th century Provencal altarpiece; an engraving of
the School of Fontainebleau of the 16th century; a broken Italian picture frame of the 17th century - these
have some historic value. In opposition: a small piece of marble said to have been found near the Parthenon
Temple at Athens, a piece of ancient Roman glass which seems only to be a forgery, and a bottle of sand
from the Sahara desert swept up by the hands of a Japanese traveller in the first years of the 20th century -
these are all components of the world of my ego-centric consciousness.
Objects continually being accumulated as souvenirs of my journeys, or presented by those with whom I
meet, surround me in my daily life. Being busy with work every day, I feel that these objects are silent but
eloquent. It might sound strange when I use the word "eloquent" for these lifeless things that don't in fact
ever pronounce any words, but these objects tell me of the flow of my lifetime. They tell of all of the things
that have happened to me and remind me of all of the past memories just as if they had happened yesterday. I
want therefore to say that they are both silent and eloquent.

Objects revive memories through their presence; the revived memories are so clear and so vivid. They are
only fragmentary at first, because they are human memories. After a short time, those memories begin to
expand around their chronological contexts, and I remember clearly the details of when each object was
found. I feel objects kept at hand are cherished carriers of memory. I feel such a sensation when times of the
past are brought back to me by them: an object begins to address to me, I listen to the voice of it, and a past
time stands up by me. I allow my imagination to fulfill the memory to complete satisfaction.

A collection of objects accumulated through personal events varies in nature. It is rather different from one
composed of intentionally collected things, such as a public collection of things purchased, because no
objects in a private collection can stand independently from the experiences of the person who accumulated
them. If my lifetime is compared to a long journey, each object is material evidence from which my
experiences could be traced. A postcard sent to me is proof that its sender was present at that place, and that
he/she was thinking of me at that moment. A postcard connects one person with another beyond space and
time. It becomes a means to unite one with others and to conserve the temporary memories of these
relationships. Objects go beyond any borders, and can move anywhere. They are out of time, so to say:
atemporal and a-temporary. I take such objects as I do food in my everyday life.

One object might be chosen from among numerous similar ones in the world. It is a human being that
chooses it; only the one who has made this choice might be able to reconstruct the memories that the object
has carried with it. How could one transport these kinds of a-temporary objects from the ego-centric sphere
to a public space, gathering them in one place, as to exhibit them all together in a gallery space? Each object
carries its own memories; in a gallery there would be produced a mixture of relationships - here and there
would arise total indifference, peaceful opposition, and unexpected collision. If those a-temporary objects
were installed all together, would there be born a fantastic chaos, full of various creative imaginings?


The exhibition has not one title but two. Each one expresses one point of view, one hypothesis of the
project, one personal interpretation of an exhibition conceptualized as an open research laboratory.
The intention of the exhibition is to review and catalogue again a series of heterogeneous handmade things
from different countries, times and cultures.
Every title that is proposed by an exhibition director corresponds to an investigation method and a theoretical


Sergio Calatroni – an internationally active architect based in Milan-, Adélia Borges – director of Museu da
Casa Brasiliera, São Paulo, Brazil-, and Yoshiaki Nishino – a professor at Tokyo University Digital Museum
- have been working on a new project whose theme is “a-temporary, a-national,
a-regional, a-nonymous”. The chaotic dadaistic bazaar is sure to be beyond any exhibition structure we have
known so far, combining art and anti-art, the traditional and the contemporary, modern design
and craftsmanship. Theme proposed by Yoshiaki Nishino.
“O&A Observation and Admissions”

Exhibition of recognition of resources and connections between the Marginal Culture and the Rich Culture
within the New Frontier of Creativity. Theme proposed by Sergio Calatroni.

Why the exhibition.

The old, the new, the antique, the forgotten, the marginal, the rich, the poor, the art, the anti-art, the
craftsmanship, the modern and the non-modern, the design as art and the industry as craftsmanship,
the classical, the artificial, the popular, the ritual, the myth, the primitive, the possible in the future, the
simulated-technology, etc., etc. We can go on infinitely with the chain of the enumeration of relations,
violations, of short circuits which endanger the rules and codes that define the corpus of the Western Rich

In this International Souk the whole tends to become Trend, Spectacle, moment of Consumption. Does
humanity construct the beauty and destruct it? Is the third world more modern than the West? Does a
farmer talk of art or produce it? And how much do local traditions influence on the Marketing Trend of the
Global Culture? Does a Colonization of the World Cultural Casbah exist or not?

The exhibition investigates the richness of diverse and anonymous researches originated in diverse parts of
the globe. Ordinary people often perform art without any pretension to impose it. Not by chance the scarcity
of resources, the simplicity of signs, the clearness of vision and the tradition create universal works which
become epoch-making.

Objects, things, music, art, craftsmanship, NoName manufactum – of which the authorship is not known and
which divide the existence of millions of people of diverse cultures and social conditions – are often the
elements out of which the creative energy arises that influences the Rich Culture.

This exhibition points out that the beauty does not know any frontier and talks us out of stopping at the
appearance. It denounces that the jam in communications handled as strategic arms is not a sign of civility.

It wants to signal a mode of watching and reflecting on particular signs, which exist often unnoticed and are
considered as not important because they are too marginal and peripheral to the information circuit and to the
official culture.
                                                                                 Sergio Calatroni

What will be exhibited.

To a corpus of Sergio Calatroni’s works and his collection of Objectswithoutdaddy will be integrated
a shower of objects sent by people from various nations. Day after day, the sediment, the accumulation and
the cataloguing of these objects will be progressive and not thematic. Participants in the exhibition are
supposed to send an object selected and described by them as model, testimony of an idea or message to be
passed on and recollected.

A series of objects and things which are pre-selected by Prof.Yoshiaki Nishino of Tokyo University, Adélia
Borges, director of Museu Casa Brasileira of São Paulo, Brazil, and Prof. Hans Höger of Bocconi University
of Milan, Italy, Giacinto Di Pietrantonio, director of GAM, Bergamo, Italy, Alessandro Guerriero, president
of N.A.B.A. Milan, Italy, Goji Hamada, director of Aomori Contemporary Art Center, Japan, will be added
to the construction always in progress of the exhibition.

The Website (
dedicated to the project gathers and catalogues every object – testimony by way of technical and critical file-
cards. A paper catalogue will synthesize part of the collection selection. The research started in Tokyo is
supposed to be continued in the future both in Web pages, which will be updated continuously, and by guests
at museums, institutions and universities in the world.

The Master Data Base of the Exhibition will be conserved and made available for teachers and students of
the C.A.C. ( Centre des Hautes études internationaux en Architecture et Créatio Spontaneuses )
Tahanaout, Maroc, now under construction in Marrakech, Marocco, which is dedicated to the Anonymous
Art and Architecture.

How it is exhibited.

The objects will be freely put side by side without any pre-judice. The expositional causality will
give each entity a further identity. The whole of works will inspire other considerations and
hypotheses in us. On arrival of new objects, the willfully instable and not pre-defined equilibrium
of the exhibition is bound to alter progressively.

From whom the idea of the exhibition came.

Sergio Calatroni with his wife, Miyuki Yajima, on their frequent trips of recognition around the
world often found by chance signs of creativity, intelligence, fantasy and poetry which were
deposited in things without pretension, normally made by very modest people.
These unexpected appearances influenced their way of thinking and confronting the project.
“The object never concludes in itself, but it is the testimony of the path of an idea destined for the
world. It contains in itself its destiny of journey and of teaching in the universe of time and
existence. Its story also becomes ours. It helps us to see beyond things.” (Sergio Calatroni. The
Notebooks of Marrakech Morocco 2002).

Sergio Calatroni invited those who share with him the same emotion and the same sentiment to take
part in this laboratory-exhibition, becoming the company of the journey.
Each of them draws his or her mental map and enriches the vision of the project in order to put it
before the eye and the heart of spectators and participants.

Prof. Nishino Yoshiaki of the University of Tokyo teaches history of art.
Dr. Adélia Borges is director of the Museu Casa Brasileira di São Paulo, Brazil.
Prof. Hans Höger of Bocconi University in Milan, where he teaches design and visible art, is also a
docent of theory and history of design at Free University of Bolzano, Italy.


“Koishikawa Annex” is the main building of the former Tokyo School of Medicine (now Faculty of
Medicine of the university) which was brought over and reassembled. The building was originally
completed in 1876. It was designated as an important cultural property by the government in 1970
since it maintained the features of the wooden construction after European style of the early Meiji
era. Many students of medicine, for example Ogai Mori, frequented this building, which initially
collected the specimens. Its entrance hall and its plan and framework remind us of that time. In
2001 an overhaul repair work took place and turned the building into a new museum establishment
with old and new patterns and functions.
For more information, Press office Italy and Japan.

Please kindly visit the Web site: By clicking A-temporary, all the
information concerning the project can be found and asked. Or contact directly:


Contact: Miyuki Yajima. Sergio Calatroni Art Room srl. Milan, Italy. A-tempoproject workshop: di P.ta Nuova 46/b Milan, 20121 Italy. Tel. +39 02 6555816. Fax: +39 02 62694348
e-mail: Url:


Contact: prof. Yoshiaki Nishino. The Koishikawa Annex. The University Museum.
The University of Tokyo, Japan. Tel. +81 (0)3.58412818. Fax. +81 (0)3.58418451
E.mail. Url:

Sponsors and Patronages.

Exhibition realized with the sponsorship of the Japanese National University: The University of
Tokyo. The University Museum. Tokyo, Japan, The Japan Foundation, São Paulo, Brazil,
Grafiche Mariano S.P.A. Mariano Comense, Italy, and the patronage from Museu da Casa
São Paulo, Brazil, Istituto Italiano di Cultura Tokyo, Japan, and The Italian Embassy, Tokyo, Japan.

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