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Guitar Sutra 4 / hommage to Noriyuki Haraguchi

by Shinobu Nemoto

supported by
Tom Rimshot
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Dave Seidel
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/
1.
Hiyou Tunnel Pansori 14:36
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2.
Taura Port Submarine/Abandoned Factory/Industrial Waste Disposal Plant 14:04
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3.
Old Navy Ammunition Depot/Honeycomb table 4 meters in diameter/Beatles bootleg/Paul Bley of Tkashi Kako/The Way We Were 14:45
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4.
Black and Black, Black 13:47
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about

This album is the 4th in the Guitar Sutra series, but I felt that what I was trying to do there was somehow related to the Japanese contemporary artist Noriyuki Haraguchi, so I made it as a hommage to Mr. Noriyuki Haraguchi.
The album for Mr. Haraguchi was planned for the future of my work, but it was realized in the form of Guitar Sutra.
And this album is not based on my memories of Mr. Haraguchi.
The sounds you hear here truly embody Noriyuki Haraguchi.
At least that's how it is for me.


Japanese artist Noriyuki Haraguti passed away on August 27, 2022.
I helped him with his work for a while, and he was my mentor and father figure.
After I left him, I began to feel his influence.
The influence was not only related to creation but was wide-ranging.

This album is based on my guitar sutra method and includes influences from Noriyuki Haraguti's artwork and influences from Joseon pansori.
Haraguchi's work has always carried the attributes of the material itself, visual tension and mechanical movements, and social implications related to the material, he himself was always critical of Japanese society and the way Japanese people should be.
Noriyuki Haraguchi has been categorized as either ``Mono-ha'' or ``post-Mono-ha'', but as he himself refers to, Noriyuki Haraguchi's work is distinct from the ``Shinto'' Japanese ``Mono-ha''.
Noriyuki Haraguti was an isolated artist in Japan, but his criticism of Japan was one of the reasons Haraguchi stayed in Japan.
Haraguchi's works ensured the directness of the media and the autonomy of the works, and from the beginning they were given social significance.

While making this album, I listened to the sound of the waves on the nearby beach many times, and felt what was real and necessary in the dark and quiet room just after sunset. And when I strike a match in the dark, I realize it's the same power that Noriyuki Haraguchi's work has.

The time I spent with Noriyuki Haraguchi happened to mean a lot to me and I am proud of it.
So after his death, I was surprised to learn that he was connected to Hodai Yamazaki(a Japanese poet).
In 2010, I released the album "HODAI" inspired by Hodai Yamazaki from "ANALOGPATH" under the name of "Summons of Shining Ruins".
I knew Hodai Yamazaki through a different route than Mr. Haraguchi.

Thank you so much Haraguchi-San.


Noriyuki Haraguchi one of the most notable artists to come out of the postwar era in Japan, has died at 74. His death was reported on Thursday by his gallery Fergus McCaffrey, which has spaces in New York and Tokyo.

Haraguchi has been regarded as a key figure in his home country of Japan, where he is most often associated with a 1960s movement known as Mono-ha. With a name meaning “School of Things,” the movement harnessed industrial materials in the service of minimalist paintings, sculptures, and installations that shifted viewers’ perspectives on themselves and their surroundings.


Haraguchi’s best-known works utilized machine oil. His masterpiece, Oil Pool (1971), comprises oil in a low pool that serenely reflects its surroundings back at its viewer. A version of that work was shown at the 1977 edition of Documenta in Kassel, Germany, where Haraguchi became one of the first Asian artists ever to present work at the famed quinquennial, and it was later acquired by the Tehran Museum of Contemporary Art in Iran. In 2017, the museum restored the work, which ranks among its most notable holdings.

Haraguchi was born in 1946 in Yokosuka, Japan, where the U.S. Navy’s 7th Fleet was based. Early on, he was exposed to the aftermath of World War II. Engagement with the effects of war, as well as a fascination with different kinds of industry spurred by local businesses around Yokosuka, continued to permeate Haraguchi’s work. He once said he began to understand the “true nature of creativity” when he saw a warplane flying overhead as a kid.

During the 1960s, while he studying at Nihon University in Tokyo, anti–Vietnam War protests erupted in Japan and around the world. His work began to deal outright with conflict, and he began to exactingly recreate pieces of jet tails and warplanes as sculptures exhibited in galleries. (One is on long-term loan at Tate Modern in London.)

Around the same time, he also began making paintings that relied on polyurethane, a material more commonly found in hospitals and factories than in art. His paintings are stripped-down and abstract, with few shapes in their compositions.

Fergus McCaffrey, Haraguchi’s dealer, said in a statement, “I am confident that he will inspire future generations of creative souls to commit themselves to important art.”

-ALEX GREENBERGER

Noriyuki Haraguchi's final interview.
vimeo.com/ondemand/haraguchi2020

credits

released April 20, 2023

photo by UKKU and Shinobu
Dedicated to Noriyuki Haraguti

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(MOUFUROKUON is Shinobu Nemoto's private label, not an artist).

The music I made was always about death. Death is the end of something and the beginning of something, it's almost a desperate hope. It shines like a diamond through a slight cracks. I have a clear response to it. ... more

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