The Boston Globe from Boston, Massachusetts • 94

i Ul1 aU" uj iifgj, ij ay1 tf "mi Hp 'i 94 THE BOSTON GLOBE WEDNESDAY. MAY 18, 1983 Report from Cannes: The sins of the flesh 'Sculptor of the invisible5 readies new work LIVES Till ARTS By Dan Yakir Special to The Globe CANNES. France Every year, a number of journalists including this one solemnly promise never to return to the orgy of film, cocktails and sunshine called Cannes. That these vows remain universally ignored is ample proof that the festival is nothing less than a contagious malady. Aside from cinephiles and businessmen, the ranks of the afflicted include stargazers and dilettantes.

Elderly people doze off in the sun. Florida-style, while others rush from screening to reception, trying in vain to be everywhere at once. The moody weather tends to change as capriciously as the festival selections seem to have been chosen. To this, the 36th festival, add a grotesquely ineffectual new headquarters or Palais des Festivals and you get something straight out of Kafka, i These days, demonstrating students in search of wide press coverage spill red paint on the concrete walls of the Palais; gendarmes try to prevent the gangs of pickpockets from doing their job; and journalists and film-lovers wander helplessly in long corridors that never seem to lead where they want to go. But braving the long waits, the missing the faulty projection is nevertheless worthwhile.

The point, after all. Is watching movies and movies abound. 'Its a religious experience." says J. D. Pollack of the Boston-based Pollack Thornhill advertising and public relations agency, an avid festivalgoer.

"It's an annual pilgrimage to the mecca of films. Where else can you see so many films in such a short time? All the American distributors and art' house exhibitors are here, and they do business simply by socializing." While Pollack's business angle is simply watching movies that may later appear on the local screens in the United States, Joel Tranum. who with his wife, Henrietta, owns the Nickelodeon Theaters in New England, attempts "to find the sleepers and avoid the unpleasant surprises. We try to get a feel for what will appear In the States and then make specific deals. We tell our booker In Boston to look out for these movies.

It's a way to avoid some expensive mistakes." Tranum may be alluding to the disappointment most felt with the festival's most highly anticipated entry, "The Moon in the Gutter," Continued on next page By Robert Taylor Globe Staff Susumu Shingu. a 46-year-old artist from Osaka. Japan, is one of the leading international sculptors of the invisible. He collaborates with the wind, taps vibrations and echoes, captures the shimmer of the seasons. Other sculptors, of course, use movement and space and the materials of the natural world, but none contrasts a poetic haiku-like dimension of things implied, things ephemeral, with a stronger sense of-things made, the tensions and balances of engineering structure.

July 6 a new Shingu wind sculpture, commissioned by Mr. and Mrs. David Bakalar. will be dedicated on the front plaza of the Boston Aquarium. At rest the sculpture, called "Echo of the Waves." is 45 feet high and the principal elements are steel and transparent tempered Teflon.

Two upper arms, abstract in form, will rotate In relation to each other. The solid metal, rooted to the plaza, counterpoints the delicate openness of the vanes. The base Is tubular and slender, articulated like the legs of a water-walking Insect and painted a hue Shingu refers to playfully as "International Orange." He is excited by the prospect from the plaza, and hopes the piece, moved by the breezes of the "II 111 II I in i Model of 45-foot "Echo of the Waves," to be installed at the New England Aquarium plaza on the waterfront TONITE AT 8PM I li 1 L'l 1 3 FATHER'S DAY SPECIAL' DAD'S TICKET fPpfc. ocoooi SHAWf SUSUMU SHINGU "A new kind of landscape" harbor, will shine with the marine reflections of sky and water. "In my sculpture I do not wish to disturb the natural environment," he says.

"I feel I am creating a new kind of landscape, adding to what is already there rather than rearranging it to suit myself." Harmony between humanity and the energies of nature is commonly associated with traditional Japanese art, but Shingu's career actually commenced in Rome. "When I graduated In 1960 from the University in Tokyo I was a painter In oils. The Italian government then offered me a scholarship to the Accademia. For several years I studied Renaissance art, Piero. Michelangelo, the others.

What impressed me about frescoes so much was the wall, the fresco influencing its public setting. So I started to take the direction of three-dimensional pictures, shaped canvases. Next I did three-dimensional objects and my first show took place at Galleria Blu in Milan. "One day into my studio In Rome walked an art-dealer from Japan. 'You are alone he.

said. 'Why don't you come back to All at once I realized I was weary of heavy marble European sculptures. Late In 1966 I went home and took a job in a shipyard. MRS. WARREN'S PROFESSION 9 FINAL WEEK! "A KM 101 OFFICE 1617)426 5225 group SJIti 6444 Qmim Tc kounlhr 487111 WAJQR CH()iT CWDS 742-8703 Group Theatre Charge 482-3424 4M-81M THE WED.

MAY II I P.M. BOSTON At the same time I studied traditional Japanese folk arts. I stayed at the shipyard four years, picking up Industrial techniques, but the following year I had an Osaka one-man show titled 'Wind "The wind sculptures were supported by steel rods and hung on trees like chimes. My first widespread recognition, however, came' when I was one of eight competition winners with my 'Floating Sound' sculptures for EXPO 70 in Osaka. These were brightly painted triangular constructions which floated on the EXPO Lake of Progress.

At the peak of each construction was a balance with a large metal spoon at one end and a painted counterweight on the other. Every work had Its own. rhythm. When the metal spoon slapped the surface of the water the sound it made was as musical as It had been orchestrated." Subsequent projects consolidat-v ed Shingu's international reputa-i tion a "Path of the Wind." "Message from Across the for the square in front of the Kobe railway station. In 1971 he came to the US and lectured at the Carpen-t: ter Center for the Visual Arts at -A Harvard, and in 1973 the art-book publishing firm of Harry published "Shingu," de- voted to the sculptor's art.

For the past month he has dl-( vided his time between Boston andt a factory in Ohio where the fabrication of his sculpture is taking, place. "It's a tremendously involved process," he explains. "I've been fine-tuning the site in Continued on next page Wed. Sat. 8 p.m.

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