{"id":602620,"date":"2024-05-07T11:34:00","date_gmt":"2024-05-07T09:34:00","guid":{"rendered":"https:\/\/numero.com\/non-classifiee\/in-the-studio-of-takesada-matsutani-exhibited-at-the-hauser-wirth-gallery-in-paris\/"},"modified":"2024-11-29T11:40:14","modified_gmt":"2024-11-29T10:40:14","slug":"in-the-studio-of-takesada-matsutani-exhibited-at-the-hauser-wirth-gallery-in-paris","status":"publish","type":"post","link":"https:\/\/numero.com\/en\/art-design\/in-the-studio-of-takesada-matsutani-exhibited-at-the-hauser-wirth-gallery-in-paris\/","title":{"rendered":"Takesada Matsutani at Hauser & Wirth : inside the artist\u2019s Parisian studio"},"content":{"rendered":"\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Takesada Matsutani in his studio by Joshua Woods for Num\u00e9ro art.<\/figcaption><\/figure>\n\n\n\n

Meeting with the Japanese artist Takesada Matsutani, in his Parisian studio<\/h2>\n\n\n\n

Num\u00e9ro art : In the early 60s, you came up with the brilliant idea of working with vinyl glue, which has become your signature. Inflating it directly on the canvas, you challenge the boundaries of painting, expanding it into three dimensions in a way that is sensual and even erotic, given how the glue evokes ejaculations and ovulations. Where did this idea come from?<\/strong><\/p>\n\n\n\n

Takesada Matsutani<\/strong>\u00a0: I was born before the war in a rather desperate Japan where imagining such a thing would not have been possible. After the war, material conditions were hard, of course, but our minds were much freer. Nonetheless, I was still influenced by Cubism and Surrealism \u2013 Western art, in particular French art, was everywhere in Japan at the time. Moreover, my painting was entirely figurative. Then I discovered the Gutai movement [an important group of Japanese iconoclasts who promoted<\/em>\u00a0a \u201cconcrete\u201d art through which they sought to breathe life into matter<\/em>]. Its members seemed much freer to me \u2013 they were starting from scratch. So I decided to get closer to the founder, Jiro Yoshihara. <\/p>\n\n\n\n

This was in the early 60s. Yoshihara kept rejecting my work, saying \u201cNo, no, and again no!\u201d I\u2019d show him a piece and he\u2019d pull out a catalogue from the shelf and say, \u201cLook, Fontana has already done it,\u201d or, \u201cJackson Pollock has already done it. You have to do something that\u2019s never been done before, something new!\u201d That was the mantra of the Gutai movement. I needed to come up with and create new images. Inspiration came from a friend who worked in the medical faculty. I was able to observe cell samples under a microscope \u2013 I was fascinated by these organic and somewhat sexual forms. All of a sudden, a new image came to me: it wasn’t a sculpture but a material, and a canvas that was flat yet three-dimensional. I found some vinyl glue, which I inflated on the canvas, at first by blowing into myself. It became a sort of skin. Then I let the wind and chance do their thing, piercing and shaping it. Sometimes I intervened by turning the canvas around… And Yoshihara finally accepted my work<\/p>\n\n\n\n

\"\"\/\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Takesada Matsutani, “Knoll” (2023). \u00a9 Photo: Nicolas Brasseur. Courtesy of the artist and Hauser&Wirth. \u00a9 Takesada Matsutani. <\/figcaption><\/figure>\n\n\n\n
\n

“I’m not a philosopher. I’m in the action. I feel time, I feel the cosmos. My knowledge and consciousness are nourished by my sensations and emotions.”<\/em><\/h2>\n\n\n\n

<\/p>\nTakesada Matsutani<\/cite><\/blockquote>\n\n\n\n

\"\"\/\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Takesada Matsutani in his studio by Joshua Woods for Num\u00e9ro art.<\/figcaption><\/figure>\n\n\n\n

The year was 1963 and, as in some of your later works (I\u2019m thinking of the monumental installations you began in 1979, which were often associated with performances), you manipulated chance. You don\u2019t represent nature or life \u2013 you create it, you make it happen, along with its share of chaos. Even the trace of your breath is captured and preserved. Would you say the idea of the cosmos lies at the heart of your work?<\/strong><\/p>\n\n\n\n

Things don\u2019t come through ideas, but through action. I\u2019m not a philosopher. I feel time, I feel the cosmos. We live inside the impermanence, the long reach of cosmos. My knowledge and my conscience time, and meditation, and on the are fed by my sensations and my emotions, by other the present moment, or a what I feel and experience. Why did I choose succession of moments, and the to use graphite pencils in 1977? Because I had occasional desire to freeze that a lot of time on my hands. I knew no one! All moment for eternity, like that little I had at my disposal was a blank sheet of incident of life captured forever paper. What could I do? I\u2019m not a poet, I wasn\u2019t  going to write stories. So I picked up a pencil and drew a line every day, then another, and another until the surface turned black. Naturally I thought of the Japanese tradition of calligraphy. But copying wasn\u2019t allowed \u2013 I had to do something new! So I started doing these 10 m-long formats that I would hang up. To come back to the cosmos, the best way to be part of it is to undertake this type of work, to put yourself in this state of mind \u2013 one line after another, again and again. That\u2019s a good start. A small part of the cosmos we live in.<\/p>\n\n\n\n

\n

“I found vinyl glue that I inflated on the canvas, first with my own breath. It became like a skin. And then I let wind and chance do its work <\/span>.\u201d<\/em><\/h2>\nTakesada Matsutani<\/cite><\/blockquote>\n\n\n\n
\n
\"Takesada\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>

Takesada Matsutani, Circle Yellow-19 <\/em>(2019). \u00a9 Courtesy of the artist and Hauser & Wirth. \u00a9 Takesada Matsutani. <\/figcaption><\/figure>\n\n\n\n
\"Takesada\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Takesada Matsutani,
Untitled<\/em> (2020). \u00a9 Courtesy of the artist and Hauser & Wirth. \u00a9 Takesada Matsutani. <\/figcaption><\/figure>\n<\/figure>\n\n\n\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Takesada Matsutani in his studio by Joshua Woods for Num\u00e9ro art.<\/figcaption><\/figure>\n\n\n\n

Arriving in Paris in 1966 was an important moment in your life. You took part in a competition and won a six-month residency, but afterwards you never really left the city. Your studio and your archives are now to be found in the 11th arrondissement. What happened?<\/strong><\/p>\n\n\n\n

I ask myself the same question. There\u2019s no short answer. Maybe you have to go back to my early years. I didn\u2019t go to school much. Of course, secondary school was compulsory, but at 15 I contracted tuberculosis. I had to stay in isolation at home or in a sanatorium. I drew a lot. One or two years went by. Nobody needed me. They needed a healthy young man! So I turned to painting. And I ended up enrolling at the municipal school of arts and crafts in Osaka. But I only stayed a few months! I\u2019m self-taught \u2013 I got my education through experiencing things for myself. France was a new experience… I only knew the world through books, films, and photographs. But I wanted to see it for myself. That same year I went to Egypt, Italy, and Greece. And in 1967 I felt the need to start working again, in Paris.<\/p>\n\n\n\n

\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Takesada Matsutani,
Stream-Venice<\/em> (2016-2017). \u00a9 Courtesy of the artist and Hauser & Wirth. \u00a9 Takesada Matsutani. <\/figcaption><\/figure>\n\n\n\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Takesada Matsutani in his studio by Joshua Woods for Num\u00e9ro art.<\/figcaption><\/figure>\n\n\n\n

What made you frequent the Atelier 17 studio, where you made many engravings and became the assistant to Stanley William Hayter, an artist who breathed new life into the art of engraving with his abstract constructions? It was there that you met your wife, Kate Van Houten, who introduced you to screenprinting, which has since played a very important role in your oeuvre. Then you went on to produce work in the hard-edge style \u2013 multi-hued paintings that featured abrupt transitions from one area of colour to another.<\/strong><\/p>\n\n\n\n

I knew Hayter\u2019s work from a Tokyo Biennale in the 1960s at which he was awarded the main prize. I really wanted to learn the techniques of engraving \u2013 the idea in my mind was to make flat versions of my organic, sensual three-dimensional works. Once again, I needed to come up with something new. Hayter also taught me perspective, which I then incorporated into my work. As for hard edge, I was tired of black and white at the time. I needed a new challenge that would allow me to mix the colours.<\/p>\n\n\n\n

\n
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Takesada Matsutani, Suiun 2021-2-12 (2021). \u00a9 Courtesy of the artist and Hauser & Wirth. \u00a9 Takesada Matsutani. <\/figcaption><\/figure>\n\n\n\n
\"Takesada\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Takesada Matsutani, Wave 24-2 (2024). \u00a9 Courtesy of the artist and Hauser & Wirth. \u00a9 Takesada Matsutani. Retouching: INK retouching. <\/figcaption><\/figure>\n<\/figure>\n\n\n\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Takesada Matsutani in his studio by Joshua Woods for Num\u00e9ro art.<\/figcaption><\/figure>\n\n\n\n

Takesada Matsutani’s paintings exhibited at the Hauser&Wirth Paris gallery<\/strong><\/p>\n\n\n\n

Some of your compositions follow a logic of \u201cpropagation\u201d and \u201cdevelopment,\u201d which is how you refer to some of your series. By this do you mean like a virus or a cell that multiplies?<\/strong><\/p>\n\n\n\n

Yes, we’re back to what I saw through the microscope \u2013 the bacteria, and all sorts of things that were growing. It\u2019s also about biological propagation linked to sexuality, of course.<\/p>\n\n\n\n

So can we say that sensuality and the body are an important part of your work?<\/strong><\/p>\n\n\n\n

During my exhibitions, I like to sit in a corner and listen to what the visitors in the gallery tell each other about them. Do you know what they say about my pieces? \u201cI want to touch them!<\/p>\n\n\n\n

\u201cMatsutani\u201d, exhibition until May 19th, 2024, at Hauser & Wirth<\/a>,<\/u> Paris.<\/em><\/p>\n\n\n\n

\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Takesada Matsutani,
Object-Box \/ Plexiglas Box<\/em> (1966). \u00a9 Photo: Stefan Altenburger Photography Z\u00fcrich. Courtesy of the artist and Hauser&Wirth. \u00a9 Takesada Matsutani. <\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

Meeting with the Japanese artist Takesada Matsutani, in his Parisian studio Num\u00e9ro art : In […]<\/p>\n

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