The program included live performances by three leading experimenters in electronic music over the last twenty years, Hanna Hartman, Thomas Ankersmit and Thomas Brinkmann. This combination with the exhibition proved to be on point, with the curator rightly confirming the common thread running through the work of the visual artist and that of the musicians.
Suga, leading artist of the Mono-ha movement born in Japan at the end of the sixties (the “school of things”), has always developed his work around a clear philosophical and aesthetic position that he has himself contributed to. In the words of the artist, “transferring things to their final state of being means shifting them to a state where they are isolated, alone” . Meaning that for Mono-Ha artists encountering an object is a matter of reciprocal alienation: in the face of technological overdevelopment (the warning of the movement, although active during the 60s and 70s, is as timely as ever), the role of the artist is no longer to manipulate things to obtain objects that meet the diverse criteria of current value, but instead to place the objects of the world in a position where they can express their own characteristics.
For Suga, this means emphasizing the experience of the major differences – between things and the world, between things and men, and between things themselves – generated by this encounter, leaving space for potential convergence and mutual understanding.