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国内外の彫刻家を招き、1988年から2006年まで隔年で開催された米子彫刻シンポジウムで制作された36体の彫刻は、米子市文化ホールから湊山公園までの新加茂川沿いの遊歩道約3キロにわたり設置されています。米子彫刻ロードは「美しい日本の歩きたくなるみち500選」のひとつとして選ばれるほど美しく、情緒に満ちています。 [Title of work] ㉟ At the time of eyes KOICHI NAGANO Born in Hokkaido 1954- [About the work] My work is installed next to the sidewalk near the entrance to Minatoyama Park. At the preview meeting in late February, when I first visited Yonago, the artists discussed the planned four installation locations and decided on their own installation locations. There is a tall old tree near my place of installation. What will the work of this Yonago Sculpture Symposium look like? I devised a plan in Hokkaido while considering the selected stone and the space of the installation location. "Retina", "projection", "crossing", "drops of memory", "beat", "amplitude", "band of light", "active", "passive", and "conversion" There are "buried", "expression", "scene", "play", "transparency", "unstable shadow", "ambiguity", "provocative", and "smell". Many things are happening around us. The theme of this work is to stare at it. Three stones are placed. The stone in the center represents the eyes of reality and the eyes of the heart. The stones at both ends represent the past and future. I hope that it will become a work that fits nicely into the town of Yonago. [Production] 2004 Yonago Sculpture Symposium [Session] July 17 -August 28 , 2004 [Participating in the Yonago Sculpture Symposium] On the night of July 13, my ferry left the quay of Otaru and set out on a voyage. I finally realized that I was going to participate in the 2004 Yonago Sculpture Symposium. It was the night of July 14th that the ferry arrived in Maizuru, feeling the temperature gradually rising as I decided to go south on the Sea of Japan. On the morning of July 15th, I drove on the highway in fine weather and entered Yonago in the early afternoon. hot. The final inspection of tools such as air tools to bring and consumables such as cutter blades and loading into the car started one week before departure. I knew about the Yonago Sculpture Symposium for a long time, so I was hoping that one day I would be able to carve stones with Yonago. I am very honored to participate this time. I first visited Yonago at the preview meeting held in late February. The calm appearance of Yonago's town gave me a sense of security even though I visited for the first time. At the preview meeting, we confirmed the installation location and decided the location, and selected the stone to be used at the stone dealer. After returning to Hokkaido, I examined how to make the best use of the space of the installation site to install the sculpture. Production started on July 17th. According to local Yonago people, it seems to be hotter than usual this year, and by the way, the temperature of the Minatoyama Park parking lot at the production site was rising early in the morning. The days of making the electric fan prepared by the secretariat at full throttle continued. The production venue was visited by locals and other people from afar, and it was one of the pleasures to meet and talk with them. Volunteers took care of us throughout the session. "We writers can comfortably produce delicious homemade dishes, coffee and cold drinks during breaks, and washing work clothes such as shirts and trousers full of stone powder. Thank you for your attention. I also had a chance to loosen my shoulders. Thank you. There were three other writers who participated in this symposium, but I was taught a lot about the production method and the way of thinking about sculpture. There was a lot of sculpture during the session. Still, I was able to touch the sand at the famous Tottori Sand Dunes and had some time to relax at some hot springs. We enjoyed the taste of local seafood and meat, with the executive committee members feasting at home and the secretariat taking us to a delicious restaurant. The work was successfully installed thanks to the warm support of the mayor, executive committee members, secretariat, volunteers, traders, and other related parties. Thank you from the bottom of my heart. My work is installed beside the sidewalk at the entrance of Minatoyama Park. Please feel free to touch it. Among the children who participated in the sculpture class and made sculptures with stones, there may be people who will be responsible for the future culture of Yonago. I'm looking forward to it. Return to photo

国内外の彫刻家を招き、1988年から2006年まで隔年で開催された米子彫刻シンポジウムで制作された36体の彫刻は、米子市文化ホールから湊山公園までの新加茂川沿いの遊歩道約3キロにわたり設置されています。米子彫刻ロードは「美しい日本の歩きたくなるみち500選」のひとつとして選ばれるほど美しく、情緒に満ちています。 [Title of work] ㉞ Rice legend KAZUYOSHI HIRAI Born in Saitama prefecture 1958- [About the work] When I made it with Yonago this time, I was thinking of making it with children and rice, but I don't know much about the rice I eat every day. Rice is a versatile food that can be eaten if cooked, powdered into powder, processed food such as rice crackers, and fermented into sake, but I saw it at the beginning of the process of growing it. There was no. When I got rice and various kinds of rice from a farmer I knew and a rice shop to check the difference in shape, and when I dipped it in water and observed it, I was impressed by the vitality as if I woke up from sleep. Now that rice cultivation from the Yayoi period and human activities before that have continued forever. It was a legend in the United States that it would be a good opportunity to stop and think about what it was like in the past as the birthrate declined and the birthrate declined, and what it would be good to continue in the future. [Production] 2002 Yonago Sculpture Symposium [Session] July 13th -August 25th , 2002 [Participating in the Yonago Sculpture Symposium] I first participated in the sculpture symposium 21 years ago. I had a very good experience by making big stones that students couldn't buy in a short period of time and interacting with the participants. Therefore, I was very happy to have Yonago call me this time. At the preview in November last year, the installation location was in the neighboring Minatoyama Park, so I decided to make something with a certain height. Everyone wanted to put it in a large place, and after sharing it twice with the Amida lottery, it became the third choice place, and the next day, they took me to a stone dealer to search for rough stones. I met and ordered only one white granite whose shape was visible in the stone. Then, around June, the city's Culture Division sent me a production plan, and the rough stone arrived at the production site, but I was informed that it wouldn't move anymore because it was an odd size. I started drawing. I entered Yonago with anxiety about whether I could do it in 40 days with an esquis that could be made while lying down. After the opening ceremony, it was a difficult start because it could be rolled with a resident 3-ton forklift or it got stuck due to a key failure during the trial, and it could not be removed from the rough stone. It wasn't a welcome party, but I felt the welcome and expectations of the people in the city, and after drinking alcohol, I decided to start working positively, saying, "Something will happen! Let's do it from where we can." I asked Mr. Nakata, who is in charge of the city, to lease a 10-ton hydraulic jack with claws, and I was able to move the rough stone, so I knew that it could be close to the shape I originally imagined, and I carved it from the relief on the top. In addition, I changed from Esquis to lighter and concentrated on the work from morning till dark. Also, when I checked the installation location with the people involved in the city, I was planning to put it at Mr. Hishida's place, even though it was decided last year, and I realized that I was the only one, and my head became blank. I hurriedly searched for another place and asked if it could be changed to an open place that was not included in this year, and I was happy to decide on a suitable place like no other. When the rough carving is finished to the weight that can be moved with a forklift, the work can be done while standing upright, so the writer, the superintendent of education and the staff who were present can help and build stones, and the tent is also high. did. In addition, I borrowed a board that would be a bullet and a scaffolding board from Mr. Nakata's house, assembled it with the help of the staff, made the roof of the vertical, and produced it while being blown by a pleasant breeze at the height where the Nakaumi can be seen. Was done. At the time of the grindstone work, I asked the college students and the secretariat to help me, and at the request of the citizens, I put the stones destined to be abandoned, which were made by roughing, near the work. I feel like I've done more work than I had planned, but this is also the volunteers, the secretariat, the executive committee, the people who visited the venue, and the three people who worked together. I think it was created by everyone with cooperation and encouragement. Also, I am glad that I was invited to many events and entertainment and soaked in the hot springs. I'm really thankful to you. Return to photo

国内外の彫刻家を招き、1988年から2006年まで隔年で開催された米子彫刻シンポジウムで制作された36体の彫刻は、米子市文化ホールから湊山公園までの新加茂川沿いの遊歩道約3キロにわたり設置されています。米子彫刻ロードは「美しい日本の歩きたくなるみち500選」のひとつとして選ばれるほど美しく、情緒に満ちています。 Around Yonago Station / Western General Office * Click to see the work information and the state at the time of production.

国内外の彫刻家を招き、1988年から2006年まで隔年で開催された米子彫刻シンポジウムで制作された36体の彫刻は、米子市文化ホールから湊山公園までの新加茂川沿いの遊歩道約3キロにわたり設置されています。米子彫刻ロードは「美しい日本の歩きたくなるみち500選」のひとつとして選ばれるほど美しく、情緒に満ちています。 [Title of work] ㉕ Playback HITOSHI TANAKA Born in Miyazaki prefecture 1949- [About the work] In a corner of the hill of the town, the fields where the tumuli are scattered are quietly spread. In contrast to the famous Saitobaru Burial Mound, it is called the Higashitobaru Burial Mound. One of them is an old burial mound called Ishifunezuka, and at the top of the mound, a grave robbed sarcophagus is left under a horse chestnut tree and remains exposed to the rain and wind. However, it is impressive that the red gala at the time of burial still remains vividly inside the casket. The reason I started painting stones with red granite in the series "Regeneration" was simply because I was strongly attracted to the combination of red granite and black granite. The concept is that by applying a folk-colored red gala to the cutting part, various thoughts of people who come into contact with the work are revived from the shadows, and at the same time, an organic form is regenerated. However, it seems that the origin of this expression was in the memory of that sarcophagus, which I often visited to dispel loneliness when I was young. In other words, can it be said that the combination of stone and red gala revived the sensibility of the old man through my personal sentiment? [Production] 2000 Yonago Sculpture Symposium [Session] July 22nd -August 30th , 2000 [In response to Yonago's lyricism] Every day I went back and forth by bicycle from my hotel Wakow to the symposium venue in Minatoyama Park. It was pleasant to go through the old-fashioned alleys, the appearance of old dozo along the Kamo River, and the small city area. Yonago was a cozy city. The work "Rebirth" produced at this Yonago symposium has been a series of works for the past few years, and is usually produced by coloring black granite with red gala. However, the work of this symposium was set up on the promenade along the Shinkamo River just before going out to Nakaumi, so I think that bright stones are more suitable than black granite for narrow roads. I did. Therefore, for the first time in the "Regeneration" series, we chose Chinese granite with a soft pink color. The size is also set so that people who come and go while taking a walk on the green road can stroke it. As a result, I think we were able to produce an effect of a friendly atmosphere that is different from black granite. For writers, the most attractive thing about creating works at the symposium is that various exchanges with local people and participating writers produce invaluable experiences and valuable results. Also, living in a land that I have never lived in for a month or so is to live in a cultural climate that is different from the usual environment, and elements that cannot be embodied in the usual atelier production are the background of the work. I feel like it will be added. Every day of production in Yonago, there were many fun summer scenes around us. The highlight of the Mantokai of the Gaina Festival, the fireworks display at Minato, and the sentiment of the sink. In addition, the quiet beauty of Nakaumi, where young people slide their boats flexibly in the morning and evening, and the greenery on the Shimane side of the opposite bank. The cool breeze brought from the Nakaumi made my daily nap the most pleasant. The deliciousness of the seafood from the Sea of Japan and the deliciousness of local sake that I occasionally mentioned. Oyama's relaxed brave figure and the sharpened blueness of the Sea of Japan. The unique charm of Yonago that encloses them was strongly impressed in my heart, and my work was produced while responding to that lyricism. As long as my work stays here, and Yonago is Yonago, my work will repeatedly witness the happiness of this summer that I shared with me. This joy was the most memorable thing at Yonago's symposium, and it was a feeling I had never felt at other symposiums so far. The selfishness of the writer would have caused a great deal of inconvenience to Yonago in places we did not think of. Thank you very much for your help. Thank you very much. Next time, I would like to visit Yonago in the snow and share the winter atmosphere with my work. Return to photo

国内外の彫刻家を招き、1988年から2006年まで隔年で開催された米子彫刻シンポジウムで制作された36体の彫刻は、米子市文化ホールから湊山公園までの新加茂川沿いの遊歩道約3キロにわたり設置されています。米子彫刻ロードは「美しい日本の歩きたくなるみち500選」のひとつとして選ばれるほど美しく、情緒に満ちています。 [Title of work] ⑩ Time of the earth TORU YOKOYAMA Born in Shiga prefecture 1954- [About the work] This work works on the theme of light and time. If you go to the quarry, you can meet the huge rock surface cut out by dynamite. The rocks that have been sleeping for hundreds of millions of years are exposed to the sun by human hands, which is a nuisance to the stones. This time, it is composed of cracked stone skin and artificially modified parts, but I wonder what kind of facial expression will change in the flow of the day and the seasons. I'm looking forward to myself. [Production] '92 Yonago Sculpture Symposium [Session] July 19 -August 27 , 1992 [Participating in the '92 Yonago Sculpture Symposium] I think of the Yonago Sculpture Symposium In my memory, the sculpture symposium began to be held in various places after the first symposium in Manazuru in Japan. Especially recently, it has been taken up in local cities as part of "City planning with sculpture". I think the attraction is that the theme of the Yonago Sculpture Symposium is "encounter contact", and strangers beyond their position can talk about art through their works. However, there are many issues. It includes problems that cannot be solved by a single artist, such as the environment in which it is installed, financial problems, the understanding of citizens' works of art, and maintenance of works. The Yonago Sculpture Symposium takes a private-sector-led format, which is one of the few in Japan, and we hope for dynamic development, including cooperation with the government, in exploring the future direction of the historically young symposium. .. Finally, the installation of my work was done in the rain, which was a lie in the heat of the past. It is the most tense moment as a writer whether the hard work of 40 days will become a bubble of water. After the installation was completed safely, at the closing ceremony, I wanted to shout "Heaven looks at Yonago" while looking up at the work that stood up in the newly built cultural hall with a clear blue sky. Looking back on the past summer of Yonago, I would like to express my heartfelt gratitude to all the people who have taken care of me so far. Return to photo

国内外の彫刻家を招き、1988年から2006年まで隔年で開催された米子彫刻シンポジウムで制作された36体の彫刻は、米子市文化ホールから湊山公園までの新加茂川沿いの遊歩道約3キロにわたり設置されています。米子彫刻ロードは「美しい日本の歩きたくなるみち500選」のひとつとして選ばれるほど美しく、情緒に満ちています。 [Title of work] Hermit crab KAZUHIKO NISHIMAKI Born in Kanagawa prefecture 1959- [About the work] It is a work with the theme of the sea and the motif of hermit crab. Even though it is called the sea, Japan's territory is surrounded by the sea on all sides, and there are various characteristics depending on the land. In participating this time, I asked my friends and seniors about the environment and climate of Yonago from the map, and by actually visiting them, I warmed up the concrete image of the work. I created this work with the image of the sea, such as the calmness of Nakaumi and the cradle where fish leave their nests. Adjacent to the sea, it is also an installation location where you can see the work and the sea at the same time. This was a great pleasure for me. I hope that my work will continue to live with the citizens in this place like a lighthouse, sooth the viewers, have dialogues, and create various stories every day. [Production] 2004 Yonago Sculpture Symposium [Session] July 17 -August 28 , 2004 [Participating in the Yonago Sculpture Symposium] It is said that it was the help of Chairman Tomomatsu, the secretariat, the executive committee members, and the volunteers who were able to successfully complete the 43-day session and set up the work. Not even. It was a very hot summer this year, but my atelier is in a more harsh condition (under the scorching sun, no tent). Perhaps it was good to work in such an environment, it seems that it was a good training for production under different circumstances like this time, and it was a paradise for me. I think there is nothing more happy for a writer who can spend his energy only on producing, with the kindness and cooperation of the people around him, such as eating and washing. So what can I give back to the people who support me and those who visit every day? That is, not only the work, but also how much energy a person named Nishimaki faces the stone every day to create the work. I wondered if it would be a good idea to see and feel the process of going, and I intend to spend every day with the determination to put out everything I have in the last 43 days. When I recall now, I was working so much that I wondered how long I slept in the hotel. When I was a kid, when I went to catch insects in the summer, I spent every day resembling the feeling of being sowed and excited from the dim light. As the word "encounter / contact" suggests, I was able to meet and communicate with many people, including encounters with other participating artists. During the day, I was surrounded by the kindness of the volunteers, and at night, I was surrounded by the kindness of the people of Asahi-cho, and it was a wonderful environment day and night. This is my number one treasure. We would like to take this opportunity to thank all the local residents' associations for their warm support and understanding in setting up the work. Also, as one of the participating artists, I strongly hope that this symposium will be more rooted in the community and will continue in the future. And I sincerely hope that my work will be loved and loved by the citizens for a long time from the land of Hadano, Kanagawa Prefecture. Fall 2004 Return to photo

国内外の彫刻家を招き、1988年から2006年まで隔年で開催された米子彫刻シンポジウムで制作された36体の彫刻は、米子市文化ホールから湊山公園までの新加茂川沿いの遊歩道約3キロにわたり設置されています。米子彫刻ロードは「美しい日本の歩きたくなるみち500選」のひとつとして選ばれるほど美しく、情緒に満ちています。 [Title of work] ② Clouds go HIROSHI IWAMA Born in Toyama prefecture 1956- [About the work] When I visited the installation site in March to select stones, I thought that the size of the planning was not enough. You need the size of the content, but you also need the actual size. When I consulted with Chairman Tomomatsu, who accompanied me, he said, "I think so too." Then go straight to Mr. Sanseki, a stone material. Mr. Nagasawa will be the partner. I searched for granite at first, but it didn't come out very well. I think I was looking for something decisive. I met a serpentine there. The stone, which would have come to this area from Greece long ago, was pale and even awesome, coupled with the overall volume. Mr. Nagasawa said to himself, who was spinning around the stone, "If you can make a good work, you can use it." I thought "I did it". Thank you. Carving a stone that has never been carved means finding a different self. It may look the same, but it's a little different. Searching for unknown things beyond what you know in the interaction with the material. How far can you go? It was the beginning of a thrilling and enjoyable time. Summer is coming and the actual production. Because it is a standing shape, I want to stand it up and carve it, but considering time and other restrictions, I lie down and roll it to form a shape. Believing that there is always a shape that cannot be carved upright from the beginning. And when it comes up, I take in what I can take in, break what needs to be repaired, feel a large space, and cut more in order to stand up. I hoped that my breathing and rhythm at the time of production would be transmitted as it is. When the work leaves the author's hands, he walks alone and embarks on a journey of time with his own destiny. It's a work that was born from meeting many warm people while breathing in the air of Yonago and feeling the clouds and mountains, so I hope you can take a breath in the light and wind of the four seasons. ing. [Production] 2006 Yonago Sculpture Symposium [Session] July 15 -August 26 , 2006 [Message from the writer] In the fall, my face, which was tanned in black, is finally returning to its original state, and I miss the symposium. The four members who love work were not injured, had no accidents, did not have to take holidays, and were able to devote themselves to the production, and each of them was able to make their best work by coming to the venue. Thanks to the passion and warm support of many people, volunteers who really improved, Chairman Tomomatsu, the executive committee, and the people involved. Thank you from the bottom of my heart. I often heard from senior sculptors and friends who participated in the event that Yonago's symposium was good. I feel that I really understood the meaning of the word when I came by myself. The system for accepting participating artists, which has probably been established over and over again. Volunteers who take turns taking care of us every day regardless of the weather. And the number of people. The members of the executive committee had regular meetings and meetings during the session. The people in charge of the foundation and installation also spared no effort and visited the meetings over and over again. Mr. Onishi, the director of the installation site, and other staff members of the prefecture often came to see us and consulted about various locations. Chairman Tomomatsu came to the venue every day by bicycle on both rainy and hot days. With a stretched posture that doesn't make you feel old at all, I can't say much, but he gives me a humorous and loving word every day. I bought a new straw hat because I was about to get a doctor's stop because I was a little bit sick of it. We apologize for the inconvenience. There were many precious encounters and contacts that I couldn't write. The symposium is at a crossroads, but I believe that the connections between people and the wealth of our hearts that have been cultivated through the ten symposiums will never disappear. Rather, I think it has the fate of propagation. I think the hardships of the executive committee and everyone involved are tough, but I look forward to new developments after the tenth session. Miho Bay, Yumigahama, Nakaumi, and Oyama were beautiful and magnificent. Also, I thought that each name was suitable and beautiful. When it comes to Oyama, the eyes of Yonago people shine brighter. I thought it would be nice if the words of the land that weren't covered were warm. I would like to meet again with Yonago, who loves nature and loves art, culture and people. Return to photo

国内外の彫刻家を招き、1988年から2006年まで隔年で開催された米子彫刻シンポジウムで制作された36体の彫刻は、米子市文化ホールから湊山公園までの新加茂川沿いの遊歩道約3キロにわたり設置されています。米子彫刻ロードは「美しい日本の歩きたくなるみち500選」のひとつとして選ばれるほど美しく、情緒に満ちています。 [Title of work] ⑰ '96 work in YONAGO HIDEO TOSAKA Born in Tokyo 1948- [About the work] The stones used in the symposium produced locally were awakened from a long sleep and brought to the surface. The mud-covered megaliths make me feel the climate of this region just by their existence and are beautiful. The landscape with the river at the installation location has a private house on the opposite bank, a mountain with the Nakaumi in the background, and it overlaps with the mountain of the castle ruins, and the valley makes you feel the infinite expanse following the Sea of Japan. After the installation, the purpose of this symposium is to encourage the viewer to accumulate the memory of the landscape and to include the memory in the stone itself. I hope that the stones will begin to breathe with Yonago's life time, and that people will be ticking with the stones. 96 work in YONAGO himself ticked the time for 45 days in Yonago. [Production] '96 Yonago Sculpture Symposium [Session] July 13 -August 25 , 1996 [After the '96 Yonago Sculpture Symposium] [April preview meeting] Yonago visited for the first time. In discussions with the executive committee members and planning committee members, we asked them to guide us to the production site and installation location, and in the discussions with the executive committee members and planning committee members, we had a vague and fantastic culture, and a large scale, beautiful stone with a strong presence, texture, etc. There was an encounter with the committee stone that gave me a strong impression of color. [Image planning] How can we incorporate the situation of the installation location, the scenery and the people of Yonago into that beautiful stone (work) with a strong presence? An attempt to fuse Yonago, which has a long history in the past, with Yonago, which is transformed by city planning, with a timeline. I want to create a point of contact between the time of life and the accumulation of memory for self-formation. The concept of symposium production becomes transparent. [Work planning] Architectural basic scale 1m, basic volume 1m. Create a strict space of 1m at the point of contact of the three stones, and make it an experiential space that strikes a wedge to the time axis of self-formation. For the main body stone, which is the core, open a window to breathe between this bank and the equinoctial week (or the past and the future) in consideration of the installation along the river. The stone (work) contains a new fragment of history in the memory of the existence of the self that is seen from the window. People and works (stones) are constantly changing and interacting with each other in a diverse manner. The stone that just came out of the ground and woke up from sleep is dignified and majestic. It will not lose its appearance, and it will blow up its breath, blow in the existing wind, and wrap up the history of people and build it! [Open production for 45 days] Embracing the above-mentioned concession, interacting with many people and having a lot of fun, continue production day and night. Initially, a strict 1m space was assumed, but it changed to a fluid and lively space in the relationship with people. As a result of many help crystals, a big stone was safely erected in Yonago, and a stone was also erected in my heart, and I was able to receive many acquaintances and the energy of the great Yonago. Now I am very refreshing and full of blue sky. Thank you very much. We would like to thank all the people who helped and cooperated in various ways for 45 days, and the friends who worked together and talked about their suffering. We would also like to express our sincere gratitude to all of Yonago for giving us such a wonderful opportunity and encounter. gradually. Return to photo

国内外の彫刻家を招き、1988年から2006年まで隔年で開催された米子彫刻シンポジウムで制作された36体の彫刻は、米子市文化ホールから湊山公園までの新加茂川沿いの遊歩道約3キロにわたり設置されています。米子彫刻ロードは「美しい日本の歩きたくなるみち500選」のひとつとして選ばれるほど美しく、情緒に満ちています。 Yonago Sculpture Symposium Trajectory August 25, 2006 Professor Katsumi Ida, Tokyo Zokei University The world's first sculpture symposium was proposed in 1959 by a writer named Karl Plantel of Austria. In fact, in 1957, when he was asked by the government at the time for a stone monument to determine the position of the border between Austria and Germany, he wondered if he could make use of it in university classes based on his experience of carving stones outdoors. I was struggling, but it seems that it changed to what I should do if I invited writers from each country to make works in Japan. At that time, 11 writers from 7 countries are certainly participating. Since it was 1959, it was 1959, and the participating artists at that time returned to Japan and started symposiums in each country. A symposium was held in the former Yugoslavia in 1961, and Japanese writers came to be called at several times. With that as an opportunity, there will be a movement to hold a symposium in Japan as well. The first event held in Japan was in 1963 in Manazuru, Kanagawa Prefecture, in anticipation of the Tokyo Olympics, hosted by the Asahi Shimbun. Since then, it has been held in various places such as Shodoshima, Hachioji, and Hagi. Yonago will hold it at Minatoyama Park in 1988 and 1988. In a sense, I thought it would be almost impossible to do just by raising funds, but it was just around the time when Japan was about to enter the booming economy of the bubble, so from the outside, there was a historical background. I think I was lucky to start. From the outside, it was suggested by only young people from the private sector, so there were various mistakes, and there was a time when the government did not receive any assistance and there were only two executive committee members. There are only two people. When I was at a loss because no one listened to me, I was able to meet Mr. Iwasaki, the late president of Sanin Shinpan, and when I consulted, he said, "Do it!" Then I have a deficit, so do it. " I felt like I could do something about it, but I realized that we couldn't do anything alone in creating an organization, so we had to have someone who would be the core of the organization. I was asked to become the secretary general with the feeling of deceiving Professor Tomomatsu because there must be someone who can talk properly with the government (laughs). Finally, I was able to stand at the starting point for holding the symposium. As for the material of the stone, 50 tons of granite will be provided free of charge from Mr. Mitsuda Stone of Okayama City, and it is good to get it for free, but at that time it was decided how to transport it from Okayama to Yonago. Thanks to Mr. Tomomatsu's efforts, Mr. Hatsuma will be able to carry the fare for free. When it comes to what to do with the crane when unloading it, I felt that it was free because Mr. Hattorishima had it (laughs), so I asked him to do it almost for free. Is that the good thing about Yonago people? I think that everyone was very supportive of the start, as they were interested in things that seemed interesting. However, for about two weeks after it started, I try hard to raise funds, but I don't collect. Only about 30% of the planned amount was collected. So it was in front of Obon, but Mr. Tomomatsu called me and let me go to a private room and said, "I'm going to do it." I thought that Mr. Iwasaki would be able to do something even if I was told that, but Mr. Tomomatsu seemed to think that he would not cause any inconvenience, so he paid the insurance money. I was told to sell the land because I am a farmer because I will cancel the contract. In other words, I felt that I was responsible for that much, but I thought that if Mr. Tomomatsu canceled the insurance money, the person who was deceived could not help selling the land (laugh) ), When the Obon festival was over, money suddenly started to collect, and the amount of money raised was much larger than planned, which was too much to run the symposium. In some cases, boys donated coins in bottles, and in some cases, an old woman over 80 brought rice balls for the writer. The spread of such support continued until the last day. I was physically distressed during the symposium, and I was honestly wondering if it would end early, but in a sense it feels like the best symposium. The signboard of the Yonago Sculpture Symposium was also hand-written by the members of the executive committee. We repaired the abandoned tree, painted it with white paint, and wrote it together. I haven't placed an order with a vendor. We did it all together. I wonder if someone was watching that kind of figure. In such a nice atmosphere, the works were completed with good momentum from the writers, but I explained to the writers in advance how to set up the works and where to set them up, but the final step is unclear. I started as it was, so in the worst case, I couldn't install it for about half a year after the work was completed. In some cases, we couldn't get an agreement with the artist about the place we wanted to install, we couldn't get an agreement on the receiving side, and it was extended for about half a year. That was a great lesson, and at the time of the second (1990), it was necessary to clearly decide where to install it before doing it. This is the only example of the 10 symposiums, but the pedestal of the work was decided first. From the writer's point of view, I thought it was a pretty terrible environment, but since I was doing it under the initiative of the private sector, it would be extremely difficult to install it, so I installed it a second time in a fairly forcible manner. Did. As a result, the current sculpture road plan came out. From the 3rd time (1992), there was an opinion that it would be a good idea to put it on a pedestal like a square box, and I decided to get rid of it because it was justified. At this time, the sculptor and the secretariat probably did the most clearly in the 10 symposiums (laughs), or I think that there were the most discussions. As a result, it is now possible to place the sculpture on top of the interlocking as it is now. At that time, the sidewalk next to the Cultural Hall was made with a national subsidy, and the completion inspection had not been completed yet. Therefore, it would be a problem for the government office to get rid of the plants without permission or to peel off the bricks. However, from the standpoint of the artist, it is natural that if you want to set up a work, you want to make it the most environmentally friendly and regrettable form in the future, which is the conscience of the artist. Discussions about what to do in it continued like every night. It was a symposium where stones were carved during the day and installed at night. Among them, Mr. Matsuoka, who was the director of the urban development department of Yonago City at that time, said, "I'm not talking about this because everyone thinks it's bad. How can everyone be good for Yonago? I'm discussing whether it's okay, so as a result, it will be better here, so let's get rid of the planting, if it's okay to peel the bricks, that's better, I think it's okay, so I'm hungry if anything Let's do it with that. " I have met many government officials in both Tokyo and Nagano, but for the first time I have met those who have been told by the citizens. Thanks to this, the installation method has become ideal. Around that time, the "Yonago method" was formed, and the language was born and spread throughout the country. Therefore, I feel that the third Symbodium is a turning point in Yonago, or the initial completion stage. It was the 4th time (1994), and Mr. Tomomatsu has been managing it as the secretary general from the 1st time, but at the same time the way of collecting donations becomes very bad, there is no place to install it from the city planning section. So, the executive committee decided to put an end to it for the fourth time. So this time, I saw Oda Shoreler from Germany, as I was asked to call overseas writers, and if I wanted to call them, a beautiful writer would be good. -Since the symposium is over, we invited all 17 past writers to a forum. At the table, Mayor Yonago Morita asked me to continue, so the city later formulated the "Basic Plan for Town Development with Sculpture" and obtained the approval of the city council. In this way, under the initiative of the city, it was launched in a new form based on the know-how of the private sector from the 5th (1996). I think it started with a much better feeling than when I was doing it in the private sector on a budget, and it is environmentally better than before. The problem is that in the case of the private sector, audits are tentatively done, but it is not as strict as the local government, so it was relatively easy to collect funds, but it became difficult to do that, and there was a place for interaction between the general public and the symposium. I think it is a fact that it gradually shrank. Looking at the basic plan for town development with this sculpture, the year of completion was when I was 78 (laughs), in fact. So now I'm wondering what that is supposed to be. However, I was enthusiastic about it. After that, the supervisor moved to the Board of Education, and it is still up to now. In the meantime, he received the "Tottori Prefecture Landscape Award" in 1994 and was selected as one of the "500 Beautiful Japanese Ways to Walk" in 2004. In a sense, it can be said that it is a symposium that has been highly evaluated by other organizations and other parties. Also, although it is a rumor among sculptors, I have heard that attending Yonago's symposium will be the status of stonemason and sculptor. The writers you can see here are also those who have overcome considerable difficulties. A few selected from dozens of candidates. Perhaps in the early days, even the selected people didn't even realize that they were listed, but in secret, they spent six months to a year collecting materials, analyzing the writers, and selecting the writers. I did it. The other day, I met a cameraman named Mr. Fujita who has been shooting stone carvings all over Japan, and it was said that there is no other example that works as well as Yonago's carving road. You can't understand it without comparing it. Many Yonago citizens do not look at or compare the sculpture installation status in other cities, so I think that there are places where (Yonago's) sculpture road is not good. If you look at it without comparing it, you will see the problem first, but I have seen various places, but I think Yonago is quite good and the quality is high in terms of installation. .. I thought a little about the pause this time, but if I pause, who will maintain that sculpture? I think that it is a very important part whether it is a judgment that has been considered so far, so I hope that everyone will think hard about that. After that, there are many cities overseas where sculpture is familiar. Not only sculpture but also art is familiar, Kyoto is also a city, but there are many beautiful cities. Considering why it is such a city, I think it is all about the maturity of the city. Whether or not the city is mature, whether or not the city life is mature, and whether or not the symposium will be stopped or not, I think it will be one of the perspectives. As an example, there was a symposium that lasted for about 20 years in the city of St.-Wendel in the former West Germany, where one or two writers were invited to live for three months to a year, and while living, they worked. If you make it. There is a road leading to Rome, where the Crusaders also passed, but there is a project to put stone carved things from the side of that road, so there is a way to do that, so whether you do the symposium or not, the city If we don't think about whether we are mature and whether our lives are going to mature, it will be ridiculous, or the 20 years we have done so far will be wasted. I feel like. return

国内外の彫刻家を招き、1988年から2006年まで隔年で開催された米子彫刻シンポジウムで制作された36体の彫刻は、米子市文化ホールから湊山公園までの新加茂川沿いの遊歩道約3キロにわたり設置されています。米子彫刻ロードは「美しい日本の歩きたくなるみち500選」のひとつとして選ばれるほど美しく、情緒に満ちています。 [Title of work] ⑨ Scenery SAKAE TERADA Born in Fukuoka Prefecture 1949- [About the work] Let's put a stone shape in the landscape of the city. The shape will give various thoughts to the viewers, and will evoke a nostalgic and familiar figure from a distant memory. Clouds in the sky, blue foliage trees, soothing forests and forests, and somehow delicious shapes. A space that gently wraps up such a person and the shape will appear as a new landscape. [Production] '92 Yonago Sculpture Symposium [Session] July 19-August 27, 1992 [Participating in the '92 Yonago Sculpture Symposium] One summer experience It's over for a summer. 2500km round trip to Yonago / Fukuoka / Sakura. Even if I was swayed by a luggage car and arrived at my house, the vibration still remained from the bottom of my body, and my body continued to run even when I was asleep. Mow the grass immediately after waking up. During the absence of 50 days, the surrounding area was covered with grass up to waist height. The sturdiness of the grass that regenerates many times even if it is cut. Just as a plant embraces the power of regeneration in its seeds, after a brief break, I will bud again and grow branches and leaves for the next project. What on earth is this when standing in front of a finished work? I can think of it. Seeds carried by the wind from far beyond the Sea of Japan from beyond the Eurasian continent have just begun to sprout. Is life deeply forgotten deep in the ground showing the sign of its resurrection on the earth? Various thoughts are recalled, and I go around in my head one after another. There is certainly something that is nothing more than a lump of stone standing in front of me. It must have been sculpted by me, but from the time I stood here, it has already jumped out of the category of my thoughts and created a new landscape. Did I really carve this? For the past few years, as soon as I finished installing the work, I wondered if it wasn't made by myself, but the great power of nature was erected here as a substitute for it, and I was just a technique. It seems that he was just a substitute for (the work). The curved surface of the mirror that reflects the surroundings may reflect the world one step ahead like a curved mirror. It gives us a glimpse of a moment to the future beyond the reach of human intelligence. It was hot. Forty days that ended up with only a round trip between the dormitory and the site every day. I've been waiting for my swimsuit. The next time you come to Yonago, let's take in more various scenery in your heart. And when you stand in front of the stone, will the kami be there? Return to photo

国内外の彫刻家を招き、1988年から2006年まで隔年で開催された米子彫刻シンポジウムで制作された36体の彫刻は、米子市文化ホールから湊山公園までの新加茂川沿いの遊歩道約3キロにわたり設置されています。米子彫刻ロードは「美しい日本の歩きたくなるみち500選」のひとつとして選ばれるほど美しく、情緒に満ちています。 [Title of work] ㉑ Yumejiri HIROSHI YABUNOUCHI Born in Kyoto 1943- [About the work] Some of the sculptures installed in the city speak by themselves and try to make the citizens understand their beauty, while others sit, lie down, hug and kiss in close contact with people, and the sculptures and people When it comes to scenery, I decided to set up a work that would bring life to life. The round, soft and cute eroticism-filled form of the butt-like shape expresses the dream space of the city lying on the bed. [Production] '98 Yonago Sculpture Symposium [Session] July 18th -August 30th , 1996 [After the '98 Yonago Sculpture Symposium] When I received a letter requesting participation in the Yonago Sculpture Symposium, I replied, "I am happy to participate." I have visited Yonago City three times in the past to exhibit my work at the Yonago City Museum of Art, but each time my friends from the local members visited the museum, Kaike Onsen, Sakaiminato, Adachi Museum of Art, Asahimachi. It was one of the cities I would like to visit again, touching on the kindness and warmth of the city. At the time of the local preview last fall, we had a discussion with four artists, and this time we decided to share a common theme. The work that blends into the landscape does not reject people, but interacts with people, and people can sit, lie down, hug, and experience the warmth of stones. I decided to set up a work that would be integrated with. The Yumejiri-zu (Yume series) produced this time is a work that has been carving the buttocks with stones for 30 years. The Kamo River, where it is installed, is also located in Kyoto, and although the scenery, water quality, and flow are different, I felt it was very close to me. In such a scene, the beds and pillows that should be in the room and the round, plump and smooth buttocks are placed on the side of the road. It is a sculpture of a scene that reproduces the scenery of Kyoto's home in Yonago. Looking back on the 45 days of production under the scorching sun, I feel like "45 days in Yonago in the midst of youth." Every day I was taught, eating, drinking, laughing, laughing, talking, exchanging opinions, talking, exchanging opinions, aiming only for perfection, just shaking fleas, polishing stones, and just like being away from the world without digging into my face. Not only was I blessed with good writers, staff, assistants, executive committee members, and volunteers, but I was also exposed to the humanity of the local people, and such a fun symposium was a lifelong treasure for me. I heard that the Yonago Sculpture Symposium is a new basic plan based on a long-term perspective of the public and private sectors as part of the city's city planning, and aims to aim for a sculpture road that connects the Kamogawa Green Park promenade to the sea as a cultural project. We are here. However, there may be cases where the sculptures are set up under administrative guidance. If you hold a sculpture symposium and set up only the works, you can smell the culture and that's fine. I would like to ask the executive committee members and the government to discuss well and create the most important place that is loved by the citizens and the environment that the citizens can be proud of. I have formed a group called Kyoto Art Council with my friends, and with the slogan of human gusset art, I am working to protect and further develop Kyoto with the theme of "creating a bright city with art". That's because everyone loves Kyoto. Now, I can see the faces of each person I met in Yonago. I love YONAGO Fall 1998 Return to photo

国内外の彫刻家を招き、1988年から2006年まで隔年で開催された米子彫刻シンポジウムで制作された36体の彫刻は、米子市文化ホールから湊山公園までの新加茂川沿いの遊歩道約3キロにわたり設置されています。米子彫刻ロードは「美しい日本の歩きたくなるみち500選」のひとつとして選ばれるほど美しく、情緒に満ちています。 [Title of work] ⑫ Life '92 RYO SAKAI Born in Nagano prefecture 1950- [About the work] I started sculpting because I was interested in living things, especially humans. I'm more interested in images such as "twist", "elongation", and "pressure" that start with applying force, rather than superficial unevenness. I'm trying to confirm its existence. [Production] '92 Yonago Sculpture Symposium [Session] July 19 -August 27 , 1992 [Participating in the '92 Yonago Sculpture Symposium] Miscellaneous feelings It's been a month since the symposium was over, but I'm still so full and tired that I can't put it into words. It was my first time to visit Yonago, so I wanted to enjoy the Sanin climate to some extent, but I was chased by the round trip between the inn and the venue without fail for a day, and on the final day I was only for my own production. I thought that I came to Yonago. It seems that it was hot everywhere this summer, but the heat of Yonago has come. On the second day of production, I started to have blister on my arm, and I was in a hurry to wear long sleeves. The work is delicate. From the perspective of a third party, you may think that the work is only for the artist, but the work never reflects only the artist who created it. The work at the symposium will meet various people, especially during the production period, and will be created through the interaction with those people, so if there is no encounter with those people, the work will never exist. In particular, my work is to work while talking to stones, so the shape of the work changes steadily depending on the environment at that time. "Nama LIFE 92" is a form that was made possible because I met many people at the symposium and received help. We would like to thank all of you who have worked hard toward the common goal of installing sculptures in front of the Cultural Hall, although they are in different positions. I couldn't do any sightseeing trips, but I think I received more joy and gifts. The last day was probably sentimental, and thank you to the inn's aunt who took the trouble to see me off even though I left the inn in the middle of the night because of my selfishness to go home while looking at the starry sky. It was a symposium that was supported by people's feelings until the end. Return to photo