{"id":5898,"date":"2014-04-30T12:34:00","date_gmt":"2014-04-30T12:34:00","guid":{"rendered":"https:\/\/www.fondation-louisroederer.com\/?p=5898"},"modified":"2025-07-10T09:05:24","modified_gmt":"2025-07-10T09:05:24","slug":"sugimoto-exhibition-at-the-palais-de-tokyo","status":"publish","type":"post","link":"https:\/\/www.fondation-louisroederer.com\/en\/sugimoto-exhibition-at-the-palais-de-tokyo\/","title":{"rendered":"Sugimoto exhibition at the Palais de Tokyo"},"content":{"rendered":"\n

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Hiroshi Sugimoto, 167 Olympic Rain Forest , 2012 \u00a9 Courtesy Gallery Koyanagi<\/p>\n <\/div>\n <\/div>\n

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Sugimoto exhibition at the Palais de Tokyo<\/h1>\n <\/div>\n <\/div>\n <\/header>\n\n
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30\/04\/2014<\/h2>\n <\/div>\n\n
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Could beauty be the world\u2019s salvation?
\nThe first things we see are the tyres\u2014many tyres, mountains of tyres, and barricades of tyres.<\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\n\n\n <\/section>\n\n\n

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\n \"fondation-louis-roederer-palais-de-tokyo-exposition-sugimoto-autoportrait\"

\u00a9 Autoportrait de Hiroshi Sugimoto<\/p>\n <\/div>\n\n

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However, this has nothing to do with Sugimoto\u2019s exhibition; it is the work of Thomas Hirschhorn<\/strong>, whose exhibition opens on the same day, at the same venue\u2014the Palais de Tokyo\u2014, and as part of the 2014 program \u2018L\u2019Etat du ciel\u2019 (\u2018The State of the Sky\u2019).<\/p>\n

Well, visitors will say to themselves, Sugimoto<\/strong>\u2014the \u2018Living National Treasure of Japan\u2019, the master of incessantly renewed photographic seascapes, with their impeccable and consistent geometry\u2014will be something else. With Sugimoto, we\u2019ll be immersed in typically Japanese\u2014minimalist, pure, and precise\u2014aesthetics. Not at all: you\u2019ll leave behind Hirschhorn\u2019s dirty tyres only to be faced with Sugimoto\u2019s rusty sheets of iron.<\/p>\n <\/div>\n\n <\/div>\n <\/div>\n\n <\/div>\n\n \n <\/section>\n\n\n

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In any case, dear visitors, you will not be visiting an exhibition of either artist in the usual sense. You are not invited to \u2018visit\u2019 their work; there is nothing here, a priori, that is intended to arouse your sense of wonder (a priori, we\u2019ll see later); not with Hirschhorn, who is presenting an exhibition that provokes thought and encourages exchange (will it lead to a \u2018revolution\u2019, or just disruption\u2014or not even that? Perhaps the intended effect is subversion; if there\u2019s poetry it\u2019s already a good thing, isn\u2019t it?). The same thing applies to Sugimoto, who proclaims that \u2018Le Monde est mort\u2019 (\u2018The World is Dead\u2019). He proclaims this and repeats it endlessly in a whole series of catastrophist scenarios\u2014from the extinction of the mammals to the end of procreation due to sexuality confined exclusively to inflatable dolls. An obsession? Not at all\u2014it\u2019s more of a surrealistic joke and ridicule. It makes one think of Breton\u2019s Petit Dictionnaire de l\u2019Humour Noir. And Sugimoto sees himself as the natural successor of Duchamp, whose influence is evident throughout this installation. All the same, the ridicule is highly cultivated\u2014after all, the venue is the Palais de Tokyo, not the Th\u00e9\u00e2tre des Vari\u00e9t\u00e9s.<\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\n\n\n <\/section>\n\n\n

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\n \"fondation-louis-roederer-palais-de-tokyo-exposition-sugimoto-lightning-fields\"

Hiroshi Sugimoto, Lightning Fields 138, 2009 \u00a9 Courtesy Gallery Koyanagi<\/p>\n <\/div>\n\n

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At the top of the solid stone staircase is a thirteenth-century Japanese god\u2014a god of anger\u2014, a precious item from the private collection of Sugimoto, who was an antiques dealer before \u2018being an artist\u2019.<\/p>\n

The god is not happy with what man has done to his beautiful planet. He stands next to a Duchamp-style bottle rack; Warhol-style cans, which the artist tells us will soon be worth less than the real ones full of good soup in the supermarket; a meteorite that has shattered the glass roof, the steel beams, the concrete floor\u2014the Palais de Tokyo has really gone to town\u2014, and the Duchamp urinal on the next floor down; and a very \u2018cute\u2019 inflatable doll, which is also Duchampian. Throughout the exhibition, manuscripts written by Sugimoto tell us how humanity will eventually disappear. Yves Paccalet would have said \u2018good riddance!\u2019 Apart from the god of anger, Japan is as predominant as Duchamp: calligraphy, Hiroshima, and, above all, a traditional tombstone, which brings together the five fundamental elements of Shint\u014d-Buddhism: earth, water, fire, wind, and the sky (cosmos). On Mount K\u014dya, the thousand-year-old remains of two hundred thousand samurai warriors have been marked by similar stones amongst cedars that are several hundred years old.<\/p>\n <\/div>\n\n <\/div>\n <\/div>\n\n <\/div>\n\n \n <\/section>\n\n\n

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Sugimoto takes the theme of the tombstone further, by placing a smaller, crystallized stone in front one of his photographic masterpieces of the sea. \u2018Has it been found? Eternity, that is; it\u2019s the sea\u2026\u2019<\/p>\n

Moreover, in the transition between the dead or half-dead world and eternity, between the tombstone and the glittering crystal, Sugimoto creates beauty. Did he intend to? Or is this just the visitor\u2019s perception? In any case, after the chaos of the rusty iron sheets at the beginning of the exhibition\u2019s itinerary, we find ourselves in a fine, impeccable straight corridor, lined with new designer iron sheeting painted in light grey, at the end of which is a \u2018Sugimotian\u2019 photograph of the sea.<\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\n\n\n <\/section>\n\n\n\n

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\n \"fondation-louis-roederer-palais-de-tokyo-exposition-sugimoto-the-wooden-box\"

\n Hiroshi Sugimoto, The Wooden Box, 2004 \u00a9 Courtesy Gallery Koyanagi <\/p>\n <\/div>\n <\/div>\n

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\n \"fondation-louis-roederer-palais-de-tokyo-exposition-sugimoto-the-wooden-box\"

\n Hiroshi Sugimoto, The Wooden Box, 2004 \u00a9 Courtesy Gallery Koyanagi <\/p>\n <\/div>\n <\/div>\n

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The stories about the end of the world are not so funny, but a serious and exhilarating question does arise by the time one leaves the exhibition: could beauty be our salvation? In Japan, France, and throughout the developed and the developing world, we could create beauty: more beautiful cities, coastlines, suburbs, and metros, instead of larger ones. In short, a quest for perfection, as Louis Roederer would say\u2026<\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\n\n\n <\/section>\n\n\n

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\u2018L\u2019Etat du Ciel\u2019 \u2013 Part 2 \u2013 \u2018Aujourd’hui le monde est mort\u2019 (Today the World is Dead\u2019), Hiroshi Sugimoto, Palais de Tokyo, Paris – 25 April to 7 September 2014<\/p>\n

With the support of the Louis Roederer Foundation, a Major Patron of Culture and the Arts.<\/p>\n

 <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\n\n\n <\/section>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":8,"featured_media":5776,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1],"tags":[],"annee":[252],"class_list":["post-5898","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-non-classifiee","annee-2014-en"],"acf":[],"yoast_head":"\nSugimoto exhibition at the Palais de Tokyo - Fondation Louis Roederer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.fondation-louisroederer.com\/en\/sugimoto-exhibition-at-the-palais-de-tokyo\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" 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