A Quote by Yasumasa Morimura
The value of art is its ability to look into the "world of oblivion" and to find things that are generally unrecognized, forgotten, invisible and impossible to tell.
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"Art is the ability to turn one's gaze to the world of oblivion." This is the way in which I understand art at fundamental level.
I can't tell you what art does and how it does it, but I know that often art has judged the judges, pleaded revenge to the innocent and shown to the future what the past suffered, so that it has never been forgotten. Art, when it functions like this, becomes a meeting-place of the invisible, the irreducible, the enduring, guts, and honor.
Every day things happen in the world that cannot be explained by any law of things we know. Every day they're mentioned and forgotten, and the same mystery that brought them takes them away, transforming their secret into oblivion. Such is the law by which things that can't be explained must be forgotten. The visible world goes on as usual in the broad daylight. Otherness watches us from the shadows.
Have a vision. It is the ability to see the invisible. If you can see the invisible, you can achieve the impossible.
We all have an unknown ability, which will probably remain unknown forever. And yet that ability can become our ally. Since it’s impossible to measure that ability or give it an economic value, it’s never taken seriously.
There is a small world of people who are very interested in contemporary art and a slightly bigger world of people who look at contemporary art. But then there is a much larger world that doesn't realise how influential art is on things that they actually look at.
I think one of the things that I took from Mel [Bochner] specifically was his ability to look at oneself and one's relationship to the history of art and the practice of art at arm's length, the ability to sort of clinically and coldly remove oneself from the picture and to see it simply as a set of rules, habits, systems, moving parts.
Nursing may be the oldest art, but in the contemporary world, it is also one of the most invisible. One of the most invisible arts, sciences, and certainly one of the most invisible parts of our health care system.
I think science has a better story to tell than anyone else has been able to tell and that's because it's based on the rigorous winnowing that science and scientists are always doing in order to find out what's really happening. I think it's really good to encourage generally our ability to tell stories and that's a great skill that we come by naturally, so I'm excited about that.
I don't value authority. I don't value the systems. I don't value patriarchal religion. I don't value the things that diminish you when you do tell the truth. So I'm not scared of the end result, and that is the biggest asset I have.
There are things going on in galleries recently that have shocked me. What I'm going to say is really controversial, but what I find the most provocative is the commerciality of art in general. And the fact that a lot of people have forgotten what the meaning of art is and what the intention behind it is.
I am suspicious and disillusioned about the uses and misuses of photography in the art world, the press, and the world of entertainment. And to make things more complicated, I don't think that the general public is well educated regarding images. Generally we are taught how to read, but we are not taught how to look.
I think my life has been transformed by the ability to take things that exist in the world and look at them more closely. I think that's what art does at its best: it allows us to slow down.
There is this tendency to think that if you could only find the magic way, then you could become a poet. "Tell me how to become a poet. Tell me what to do." . . . What makes you a poet is a gift for language, an ability to see into the heart of things, and an ability to deal with important unconscious material. When all these things come together, you're a poet. But there isn't one little gimmick that makes you a poet. There isn't any formula for it.
I put priority on such artists who focus on the world of "oblivion" and who consider placing themselves into the world of "oblivion" as fundamental to their attitude for their expression.
Nature proceeds little by little from things lifeless to animal life in such a way that it is impossible to determine the exact line ure hath made one world, and art another. In brief, all things are artificial; for nature is the Art of God.
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