しかし、磯崎の活動は、建築にとどまらなかった。残りのスペースでは、そうした幅広い活動が紹介された。
1996年のヴェネツィア・ビエンナーレ国際建築展では、その前年に発生した阪神淡路大震災の実際の瓦礫や、写真などを展示して、最高賞を受賞した。
1990年代に、浅田彰やデリダらも参加した、Any会議の映像記録。
2011年に、福島原発事故を題材にしたフクシマ遷都計画案では、福島原発のすぐ目の前の会場に、国会や首相官邸、各省庁舎を置くなどの、大胆な計画を披露した。
磯崎がキュレーターとなって度々開かれた、「間」展の展示から、高松次郎の作品と、ふたたび廃墟となったヒロシマなど。
そうした展示を見ると、アヴァンギャルドな精神は、磯崎の活動の常に中心にあったことがよくわかる。
展示を見終わった後で、改めて、世界中の様々な建築からの引用を散りばめた、水戸芸術館の中、外を彷徨ってみた。
回顧展であるはずのこの展覧会で、来場者は果たして、磯崎新のことをどれくらい理解できるのだろうか。
その全体像を理解するのに、あと何回の回顧展を企画すれば十分なのだろうか。
This exhibition focused on Arata Isozaki as an architect and urban designer.
However, Isozaki's work was not limited to architecture. The remaining spaces showcased this wide range of his work.
At the 1996 Venice Architecture Biennale, he won the top prize for exhibiting actual rubble and photographs from the Great Hanshin-Awaji Earthquake that had occurred the previous year.
There was a video recording of the Any conference held in the 1990s, which also featured Akira Asada and Derrida.
In 2011, he unveiled a bold plan for the relocation of the capital to Fukushima, which was based on the Fukushima nuclear accident and included locating the National Diet, the Prime Minister's Official Residence, and various government ministries in a venue directly in front of the plant.
From the "Ma" exhibitions, which Isozaki curated many times, there were also works by Jiro Takamatsu and Hiroshima once again in ruins.
Viewing this exhibition, it becomes clear that the avant-garde spirit has always been at the heart of Isozaki's work.
After viewing the exhibition, I once again wandered around the inside and outside of Art Tower Mito, which is peppered with references to various buildings from around the world.
How much will visitors actually be able to understand about Arata Isozaki from this exhibition, which is supposed to be a retrospective?
How many more retrospectives will it take to understand the whole picture?
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