The Origin of a “Typical” Art Exhibition

This exhibition, Exploring II - Fragments of Art in Everyday Life, was a quintessential art exhibition, displaying works as “art” in a straightforward manner. While any exhibition, by definition, showcases “art,” contemporary art exhibitions often focus on the way art is presented and framed rather than simply displaying it. However, this exhibition appears to have deliberately chosen not to challenge the established framework of “art” as an institution. This was likely a deliberate curatorial decision, but at the same time, it appears to stem from historical and structural reasons beyond mere planning intentions.
According to the explanation displayed at the entrance, this exhibition aimed to “enhance the appreciation” of “outstanding works by artists with disabilities” by having them recognized “as contemporary art.” It is stated succinctly in a single sentence, but being recognized “as contemporary art” and “enhancing appreciation” are not necessarily part of a straightforward process. This goal setting is quite natural when considering that Osaka Prefecture has been promoting a policy of evaluating works by people with disabilities as “contemporary art” within the context of art/welfare for many years. However, it seems that this approach has contributed to the exhibition giving the impression of a typical art exhibition.

Looking around the venue, it seemed that, within the diverse range of contemporary expressions, more traditional methods were the prevailing trend. Around the same time, an exhibition titled Made in Aomori was held at Omotesando Crossing Park, which was located not far from the venue at Spiral. The catchphrase for that exhibition was “Encounter contemporary art from Aomori at the Omotesando Crossing,” so two contemporary art exhibitions were being held just a few hundred meters apart. When comparing the two, it was clear that the latter exhibition used a wider range of expressive techniques, such as large-scale video installations placed outdoors and an ikebana arrangement filling a container truck to its maximum capacity. In contrast, most of the works in Exploring II were in more conventional forms, such as paintings that could be hung on walls or three-dimensional pieces that could be displayed on pedestals.
However, this does not mean that many of the works created by people with disabilities use conventional techniques. When attending contemporary art exhibitions, it’s not uncommon to encounter expressive works that make you question whether they can truly be considered “art.” Even more so, the expressions of people with disabilities often push the boundaries of art to their limits. For example, the works of Iguchi Naoto, which have garnered attention in recent exhibitions and media, involve pressing his face against the glass surface of a convenience store photocopier and making monochrome or two-color reproductions. There are also many individuals who repeatedly engage in expressive acts like rituals, solely for themselves, in their homes or care facilities.
The fact that many works in this exhibition use traditional techniques is probably not closely related to whether or not the artist has a disability, but more likely to the exhibition’s attempt to “enhance appreciation.” There are various criteria for assessing art, but the most straightforward is the evaluation in the art market. In order to increase its value in the market, the artwork must be bought and sold. Based on this approach, Osaka Prefecture has developed a project called “capacious” to promote the sale of artworks. When considering sales, it is preferable for artworks to be of a manageable size and an easily displayable form, and thus, the somewhat unique goal of “enhancing the appreciation of artworks” was presented at the outset as the exhibition’s objective. To avoid any misunderstanding, it should be clarified that this exhibition itself is not intended for sales. However, there is no doubt that this goal setting and the existing policy direction have influenced the emergence of an exceptionally refined and “conventionally artistic” exhibition, which is quite unusual for a contemporary art show. In that sense, the use of the word “everyday” in the exhibition’s subtitle is symbolic. The works, woven from the everyday lives of each creator, are all pieces that can seamlessly blend into the daily life of the viewer—meaning they are pieces that can be taken home and displayed in one’s room.
In Japan, works by people with disabilities are often referred to as art brut, but this exhibition avoids categorizing such works under that specific label. Instead, it can be interpreted as aiming to position them within the broader context of contemporary mainstream art practices. The original art brut in France, due to its historical context in the mid-1940s and the collecting policy of its founder, Jean Dubuffet, primarily consists of works in traditional forms such as painting and sculpture. It is somewhat ironic that this exhibition, which avoided the categorization of art brut, ended up displaying works in forms closer to those typically found in art brut rather than contemporary art.

That being said, the fact that the physical form of the works is conventional does not necessarily mean that the expression within them lacks novelty or originality. The selected works were all powerful and of high quality. The extraordinary techniques of artists like Hirata Yasuhiro, who skillfully avoided the collapse of cardboard tubes while driving nails in without gaps, Morimoto Eri, who meticulously filled a canvas with tiny circular patterns following strict rules, and Fujioka Yuki, who miraculously cut paper into comb-like strips less than a millimeter wide, left us breathless. Meanwhile, the serene still lifes by Kobayashi Takanobu and Shuji Takashi, with their piercing observational skills that seemed to reveal the essence of their subjects, imbued the viewer with a sense of tension, as though we too were being penetrated by their gaze. Indeed, there was a vibrant display of expressions from contemporary creators. Therefore, this exhibition can be appreciated as one that, without resorting to gimmicks, earnestly engaged with art and respected the act of creation, embodying a sincere dedication that deserves praise.