Chulalongkorn University, Bangkok, Thailand 1994

On November 1994, when I was invited as one of guest artists to the Japan Month for Contemporary art Movement, I installed the first "Waterhenge" in the campus of Chulalongkorn University, Bangkok.


Ikeda proposed a new concept "Waterhenge" for re-thinking of an energy source of Asian culture.
If the stonehenge symbolize the stone civilization, the waterhenge make us recall energy circuit of what is called the water civilization.

Exhibition:
Nov.15-25, 1994 Princess Building, Chulalongkorn University
Opening & Performance:
Nov.14, 18:00 Princess Building, Chulalongkorn University
Symposium on "Water & Art"
Nov.15, 9:30 Faculty of Fine and Applied Arts
WATERHENGE/Bangkok/Ichi Ikeda

WATERHENGE
Join together at 'Waterhenge'


"Mizu-no-Hon (Water Book)" is floating on each water pillar.
'Waterhenge' is the origin of our imagination.
'Mizu-no-Hon' was made from the power of two kinds of vectors in nature.
One is the macro dynamism of the breath of the earth which brings to mind the circulation of water, such as rivers and rain.
The other is micro dynamism by microbes I the soil which mark the incidents under the ground.
'Macro Organism' and 'Micro Organism'
Letıs travel between the macro cosmos and the micro cosmos.
The artist who through the art is seeking the aesthetic value and implication might be moved by a
'centripetal' force, whilst transmit beyond these borders he/she might be moved by a Œcentrifugalı force.
'Waterhenge' was composed of the water which flows under the ground in Bangkok. A day when the centrifugal force of your mind amplifies at 'Waterhenge', the limits of art shake and the 'imagination of water' overflows.
I want to have a complete picture of the water, from under the ground to the water which is circulating through theearth. I want to listen to the 'artery of the earth' as I can listen to the breath of a human being.
A day when art and action cross paths and come together, we might become those who can trip freely between the water which circulates through the earth and the water which makes up 70 % of our body. If the water in our bodies is vital, then the water in the earth is vital.
This movement in Bangkok will be a stepping stone and provide centrifugal energy to continue to the international project 'Watermarks' at Santa Fe in the U.S.A. in 1995.
drawing of waterhenge in Chulalongkorn University
collecting several kinds of soils characteristic of Thailand
At first I collected several kinds of soil in various area of Thailand;
red soil in town of old ruins,
brilliant vermillion clay for the earthenware,
yellow soil in orchards,
blue clay in farms and etc.

In the field of Art, we first need to smash the lens that observe man from unmoving point to discover the issues of "sharing" among the various human environments. We wish to focus our lens on the new focus of seeing "the human environmental cycle" as a dynamic moving being."

Waterhenge is just a lens for exploring opportunities to "share"
and "collaborate" towards dynamic possibilities moving intothe future.

Four water poles was put on circles made by soils
showing each histories of sites.

Through collaborative performance with Thai artist, Kamol Phaosawasdi, this device for activating energy was amplified and we shared the question with audience, "Where is it flowing into?".
It was "Waterhenge" which was activated at the connecting point of Thai culture and Japanese culture.

"Waterhenge: Bangkok" as a new concept for re-thinking of an energy source of Asian culture

size/ 11 meters by 11 meters 1.8 meters high
medium/acrylic tanks, copper sheets, soil, canvases,air-pumps, sound


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