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I find it particularly interesting when  I put Vibrant Matter, the book by Jane Bennet,  side by side to Mono-ha Artists work. I think it helps understand Mono-Ha artist and vice versa. One works as a visualised theory of vibrant matter and one becomes textual explaination of some of the art works.


For example Nobuo Sekine’s work demonstrates the vividness and the force of things that draw attention to one, in his flying rock piece that is phase of nothingness, He use the illusion of flying rock to awake Human's imagination, In Phase- Mother Earth the illusion of earth topology hints the vitality of earth.


In Koji Enokura’s Symptom series, he illustrates the tendencies of one self to become one in the world, as a part of the whole, the flow of vitality, to merge with the world, a part of the assemblage.  Where he urges to fit to the column, and when he is  drawn to the water, the floor, as if it's tension drawn him to it.


And Suga Kisho shows the relational factor using simple materials and demonstrate how one situation (or in Chinese word Shi) is created, the potential that results from the very disposition of things. In Law of Multitude, the relation between the pole and the film and the stones creates a assemblage, a phenomena of illusion of floating stone. In the Law of Peripheral Units, the stones tied to the rack by strings demonstrates dependency of things and different factors,  and the meaning that emerges as a whole by each actants relations to each other.


"Phase—Mother Earth", 1968
Earth, cement
Cylinder: 220 x 270 (diameter) cm, hole: 220 x 270 (diameter) cm
Installation view at 1st Kobe Suma Rikyū Park Contemporary Sculpture Exhibition 
Courtesy of the artist
Photo by Osamu Murai


"Phase—Sponge", 1968
Steel plate, sponge
130 x 120 x 120 cm 
Installation view at 5th Nagaoka Contemporary Art Museum Prize (first prize), Seibu Department Store, Tokyo, November 16–27, 1968.
Courtesy of the artist
Photo by Eizaburō Hara


hase of Nothingness 
1969 / 2012

Granite, stainless steel 
450 x 420 x 130 cm 
The Rachofsky House, 2012-, Dallas.


“Symptom - Floor,Hand (P.W.-No.51)”, 1974, gelatin silver print, image size: 25.9 x 22.7 cm, paper size: 30.5 x 23.8 cm


Koji Enokura,

Symptom - Column, Body (P.W. series),



Gelatin silver print,

44.5 × 56 cm (image); 45.6 × 56 cm (paper),

Photography Gala Fund,



Installation view at the 7th Paris Youth Biennale "Wall" 1971
Concrete-blocks, mortar
Courtesy of the Estate of Koji Enokura


"Law of Multitude (Tabunritsu)", 1975
Dimensions variable overall, vinyl, stone, cement blocks
Courtesy of the artist and Blum & Poe


Law of Peripheral Units, 1997
周位律 (Shūiritsu)
Steel pipes, stone, rope
Dimensions variable
Installation view, Kishio Suga, Hiroshima City Museum of Contemporary Art, Hiroshima, 1997
Courtesy Hiroshima City Museum of Contemporary Art

Some  Quotes from Vibrant Matter (Jane Bennet, 2010)

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Bennett, Jane. Vibrant Matter a Political Ecology of Things. John Hope Franklin Center      Book. Durham: Duke University Press, 2010.

Suga, Kishio. Kishio Suga: Situated Latency, He He, Tokyo, 2015

Enokura, Koji, Symptom: Kōji Enokura Photo Works 1969-1994, Tokyo Publishing House, Tokyo, 2015



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