From Design to Environment: "Art and Technology" in Two1966 Exhibitions at the Matsuya Department Store
From Design to Environment: "Art and Technology" in Two1966 Exhibitions at the Matsuya Department Store
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从设计到环境：松屋百货店Two1966展览中的“艺术与科技”
DOI：
10.1353/roj.2016.0038
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发表时间：
2017
期刊：
影响因子：
--
通讯作者：
R. Tomii
中科院分区：
文献类型：
--
作者：
T. Yasutaka;Nina Horisaki;R. Tomii
1966年11月，当站在银座繁忙大道上的游客走进松屋百货商店时，可能很少有人记得这家商店曾被占领军征用，并在1946年至1952年期间作为军事和占领军人员的东京邮政总站。那些登上松屋八楼的人下电梯时，看到两个展览并排在一起。左边的一个展览“好设计”延续了该店的标志性文化项目之一，该项目可以追溯到1955年“好设计角”的建立（图18.1）。这个角落展示了可以在日常家庭生活中使用的设计物品，这里举办了一个“好设计”展览，几乎每年组织一次，以促进和普及现代设计的理念。那一年的展览包括塑料制造的照明装置和台历等功能性物品。另一个展览，在右边，从空间到环境（Kūkan kara kankyee），是一个艺术展览，促进了一种不同的现代性：艺术和技术的结合（图18.2）副标题为“综合绘画+雕塑+摄影+设计+建筑+音乐”的展览，果断地倡导“中间媒介”，表明不同学科的从业者之间的富有成效的合作，被认为是定义20世纪60年代日本艺术进程的里程碑。事实上，一旦进入，参观者就会看到二维和三维的物体，这些物体超越了“绘画”和“雕塑”的标准定义——一些悬挂在天花板上，一些发光，还有一些以其他方式挑战参观者的传统艺术观念。组织者的一个雄心勃勃的目标是让游客体验一种被定义为“环境”的聚合形式，包括建筑物的内部和外部以及观众。“好设计”和“从空间到环境”毫无关系地并排在一起，但它们彼此之间却截然不同——比它们第一次出现在毫不怀疑的“从设计到环境：1966年在松屋百货公司Tsuji Yasutaka举办的两场展览中的“艺术与技术”更不同
In November 1966, when visitors standing on the busy thoroughfare of Ginza stepped into Matsuya Department Store, few of them probably remembered that the store had been commandeered by the Occupation Forces and served as the Tokyo Main PX (Post Exchange) for military and occupation personnel from 1946 to 1952. Those who ascended to Matsuya’s eighth floor encountered two exhibitions side by side when they got off the escalator. One exhibition, to the left, Good Design, continued one of the store’s signature cultural programs that dated back to the establishment of the “Good Design Corner” in 1955 (fig. 18.1). A place to showcase design objects that could be used in everyday home life, the corner featured a Good Design exhibition, organized almost annually, to promote and make accessible the idea of modern design. That year, the exhibition included such functional objects as plastic-made lighting devices and table calendars. The other exhibition, to the right, From Space to Environment (Kūkan kara kankyō e), was an art exhibition that promoted a different kind of modernity: the marriage of art and technology (fig. 18.2).1 Subtitled An Exhibition Synthesizing Painting + Sculpture + Photography + Design + Architecture + Music, the exhibit decisively advocated “intermedia,” gesturing toward the productive collaboration among practitioners of various disciplines,2 and is considered a landmark in defining the course of 1960s art in Japan. Indeed, once inside, the visitors saw twoand three-dimensional objects that transcended the standard definitions of “painting” and “sculpture”—some hanging from the ceiling, some emitting light, and some others otherwise challenging the visitors’ conventional idea of art. An ambitious goal of the organizers was to have the visitors experience an aggregate formation defined as an “environment” that encompassed the interior and exterior of buildings as well as the viewers. Situated innocuously side by side, Good Design and From Space to Environment were different from each other—more so than they might first appear to the unsuspecting From Design to Environment: “Art and Technology” in Two1966 Exhibitions at the Matsuya Department Store Tsuji Yasutaka