Ryo Kajitani

This paper is a part of examination of the<br /> existence condition of masterpieces, authors and<br /> viewers in the exhibition space we have been<br /> continuing since 2016. The whole picture is<br /> penetrated by the framework of extenuated<br /> existence theory such as &quot;Der Ursprung des<br /> Kunstwerkes&quot; depicted by Heidegger, and<br /> developed in a way to overlay the framework of<br /> existence theory on the practical base. This<br /> section falls under the action research which is<br /> considered as the basis. Further we will verify<br /> the composition of outdoor exhibition by<br /> analyzing its difference with the indoor<br /> exhibition.<br /> In most cases, masterpieces are exhibited in the<br /> shape of indoor exhibits including galleries and<br /> museums. Even if they are not common as indoor,<br /> art exhibitions carried out outdoor are not rare.<br /> By verifying the formation of a rare outdoor<br /> exhibition compared to an indoor exhibition with<br /> the introduction as the foundation of the<br /> exhibition, we will try to understand the<br /> structural understanding of the outdoor<br /> exhibition with a higher threshold than the<br /> indoor exhibition. As an illustrative example, in<br /> commemoration of the 125th anniversary of<br /> Lipton birth, we will refer to &quot;Lipton 125th<br /> Anniversary TEA WAY ART<br /> COLLECTION&quot;conducted at Meiji Memorial<br /> Picture Gallery in the end of 2015.

Nowadays, it is not uncommon for artists to live in indoor spaces of art galleries where they hold their exhibitions. This article is an attempt to analyze conversations between viewers that result from artists living in art galleries and its impact on the production-viewer-artist theoretical phase, in accordance with and based on Heidegger’s book “Der Ursprung des Kunstwerkes”.Although exhibitions provide not only an opportunity for artists to gain social recognition,but also to present their artwork, heated discussions often occur at the venue at the risk of the exhibition being canceled.<br /> Given the situation, how can one integrate these circumstances? One can keep in mind that it is not uncommon for artists to live in galleries while participating in the organization of the production-viewerartist phase and putting this rearrangement to the test.