Time Difference 時差展 VOL.2 SEATTLE ‒ NEW YORK ‒ TOKYO ‒ KOBE
会期:2016年6月1日(水) ~ 2016年6月5日(土)
会場:兵庫県立美術館 ギャラリー棟 (〒651-0073 兵庫県神戸市中央区脇浜海岸通1-1-1) 入場料: 無料
■NY Tokio Kuniyoshi(写真、インスタレーション)・浅井翔(ミクストメディア)・mattuo(ドローイング)・中山誠弥(絵画) ■シアトル Ko IRKT(絵画)・中村ユキ(インスタレーション)・駒田ポール(ニッティング、映像)
■東京 曳野真帆(ビデオインスタレーション)・北村早紀 / 中村花絵(合作・シルクスクリーン)・安永則代(ミクストメディア) ■神戸 黒田真由(企画補助)
「Time Difference(時差)」をテーマに、ART BEASITESのメンバーからシアトル・NY・東京・神戸の4都市で暮らす11人の日本人アーティストが 参加する企画展です。11人のアーティストは、国内外から実際に兵庫県立美術館会場に集まり、合同で展示会場の設営を行います。「時差」に 対しての考察をそれぞれの手法で表現した作品展示とともに、4都市を繋ぐリアルな時差に着目したコラボレーションワーク等の作品によって「、 時差」という大きなストーリーをもった展覧会を構成します。単に時刻が違うということでなく、時刻と場所が異なることで生まれる感覚の“ズレ” を、ペインティング、映像、写真、木版画、ファッション、インスタレーションなど、グループだからこそ可能である各アーティストの強みを生かした多 角的な視点で表現していきます。また出展アーティストによるイベント(アーティストトーク等)も企画します。
兵庫県立美術館で行われる本展覧会は、NYをベースに活動してきた私たち”ART BEASTIES”にとって日本初となる展示となります。初めて日本 に「帰る」こととなる“ART BEASTIES”の作品たち。私たちの姿勢や創造性が作品を通して日本の会場や鑑賞者の目にどのように映るのか。そ れは私たちのひとつの帰着点への挑戦であり、そして同時に新たな出発点となるはずです。
この「Time Difference(時差)展」は2015年4月にシアトルで第1弾が開催されています。この第1弾はギャラリーの企画公募に選出されたことに より、1ヶ月という長期展示にくわえ会場費の免除と制作補助費のもと開催されました。オープニングには約700人の来場者を集め、さらに現地メ ディアでの紹介や、美術関係者も多く来場し盛大な成功を収めました。
今回、兵庫県立美術館で行われる「Time Difference(時差)展」第2弾では、これらの経験から得た自信と新たなテーマの発見を生かし、より挑 戦的でかつ完成度の高い、貴重な展覧会になると自負しております。
私たち ART BEASTIES のメンバーは、住む場所はもちろん、年齢も経験値も作品スタイルもバックボーンもすべて異なります。メンバーは別々の 国に暮らし、Eメール、LINE、Skypeなどでコミュニケーションを取りながらグループの活動を続けています。距離、時差がある以上、オンラインの やり取りで活動のほとんどを進行させる、それは私たちの活動において、長所とも短所ともなる、大きな特徴です。普段直接会わない(人によって は会ったこともない)アーティストがEメールでコンセプトをやり取りし、グループとしての企画を立ち上げ,スカイプでミーティングをし、展覧会を ひらく、それは特殊なことです。
私たちの間にはたくさんの疑問やズレ、共鳴や共感といったものが生まれては流れていきます。 この「時差」というテーマは、単に時刻の違いだけでなく、相手や世界との「差」を常に見つめ、互いに問い続けることで、自分自身を捉え直し、私 たちの制作活動に刺激と革新をもたらしていく鍵となっています。
このようなコミュニケーションは、実は現代社会においても切実なテーマではないかと感じています。私たちは今や、高度な通信技術や交通手段 によって、いつどんな時でも、容易に誰かとつながり、知りたいことや見たいものを検索・共有することができます。しかし、そうした瞬間的・同時代 的な世界とのつながりは、時に私たちの「差」を露呈させ、孤独や危機感を感じさせることもあるでしょう。
私たちの生きる「今」とは何なのか?国を超えてつながり、そして出会った日本人であるART BEASTIESだからこそ得ることのできた表現は、展 示会へ来場された方々に「今」という時間を問いかけ、生活や居場所、自分の存在といったものを改めて再考するきっかけを提供できるのでは ないかと考えています。さらにそれは、世界へに対する新しいアプローチ、想像力を生み出すはずです。
SEATTLE PUBLIC UTILITES
CULTURAL PARSPECTIVES, PART 1
Seattle Municipal Tower Platform Gallery
700 Fifth Avenue, Level Three Concourse
April 8–June 29, 2016
The exhibition Cultural Perspectives features Seattle Public Utilities recent artwork purchases for their Portable Works collection. Much of the artwork relates to the experience and social concerns from communities of color. The exhibition will be presented in three separate installations and features a total of 66 contemporary artworks ranging from carvings, paintings, ceramics, photography and prints by 45 artists.
SUITCASE – Curator: Daniele Di Lodovico
Opening Reception: April 7th, 2015 5 – 8 PM
Gallery 110 (110 3rd Ave S, Seattle, WA 98104)
The project: Suitcase is an ongoing art exhibition founded with the goal of bringing together artists from different countries around the world. The project aspires to get to know new artists and places and then recount this journey through the various languages of contemporary art.
The first manifestation of Suitcase was the New York Public Library’s Art Collection Galleries on April 13, 2005 and included only ten American artists and ten Italian artists. Only after this first step did I realize how experientially powerful this project had the potential to be. It was the perfect vehicle for enhancing my knowledge of contemporary art, bringing international exposure to talented artist and my own personal growth as a curator.
The reason I chose to take this project abroad was so that I could compare a multitude of experiences of the artists I had come to know with an ever growing quantity of experiences of artists from other countries.
With no guidance and only a desire for exploration I decided the best way to accomplish my goal was to work with small pieces of paper that were easily transportable in a suitcase for international travel. Therefore, I chose Fabriano paper, a special kind of paper from native Italy, with dimensions of 11,5 x 17 cm.
I have been pleasantly surprised in that every time I have contacted the artists and explained my intentions, all of the artists have felt challenged by the limited size of the paper and have been enthusiastic about the “growing” art exhibition.
There is no specific theme that I require of the artists and I send the sheets of paper asking for an original drawing or artwork, without further directions. I want only that the artists express themselves following their personal artistic aesthetic.
This project has been exhibited in a Public Art Library (New York – 2005), in museums (Italy 2005 and Denmark 2006), in a former school turned into an art gallery with studio artists (Israel 2005), in a cultural center (Poland 2006), in an art gallery (Belgium 2007) in the Italian Center of Culture (Germany 2008), the Jacob Lawrence Gallery Art Gallery – University of Washington (Seattle 2010). I really like the idea of connecting different places with different backgrounds throughout this project and, above all, art.
Kukai (2013) was selected for BELLINGHAM NATIONAL 2015 ART EXHIBITION & AWARDS
Juried by Scott Lawrimore, Director of the Jacob Lawrence Gallery, University of Washington
May 31 – September 6, 2015, Lightcatcher Building
Bellingham National 2015 is a juried exhibition featuring artworks in a variety of media, including video, photography, ceramics, mixed media, paintings and more. Representing artists from 16 states, including Washington, the exhibition will include 101 pieces from more than 60 artists. Juried by Scott Lawrimore, Director of the Jacob Lawrence Gallery, University of Washington, the exhibition attracted more than 600 artists who submitted works to be considered. Lawrimore selected pieces that inspire not only a sense of wonderment, but also curiosity and reflection about the meanings of art. “There is a strong undercurrent of social justice, gender identity, ecological, human rights, and other political issues running throughout the exhibition,” says Lawrimore. “While this represents some of the societal concerns of artists working in the 21st century, I also wanted there to be pure aesthetic reflection and contemplation ‘breaks’…of art with more formal concerns.” The top three artists will receive cash awards–$2000 first prize, $1000 second prize and $500 third prize. The exhibition will also include a popular choice award of $500, offering the community an opportunity to give their feedback on the artworks.
Save the date! Walk through the exhibition with juror Scott Lawrimore on Sun., May 31, 1pm at the Lightcatcher Building. More info here.
The Lightcatcher at Whatcom Museum in Bellingham, Washington / Olson Kundig Architects
Time Difference時差: Seattle–New York–Tokyo
Upcoming Exhibition at SOIL
April 2 – May 2, 2015
Opening Reception: First Thursday, April 2, 6–8pm
Seattle: Paul Komada, Akiko Masker, Yuki Nakamura
New York: Kakeru Asai, Ko Irkt, Tokio Kuniyoshi
Tokyo: MAHO HIKINO, Saki Kitamura, Mayu Kuroda, Noriyo Yasunaga
Special Thanks (Music Installation)
Seattle: Sunyata (Yuya Izumi), Blake Ryan
New York: COPUT (Ken Arii, Hiroki Oshiro)
Tokyo: Muku Kobayashi, Taiga Hirabayashi
ART BEASTIES is a Japanese artist collective based in New York City. Time Difference is our first collaboration between the members exploring time, locations, and surroundings from various perspectives. We live in different time zones, countries and cities; we communicate online and some of us never met in person. Starting off from experiencing somewhat counter-intuitive and awkward moments created through Skype communication between three time zones, we explore the gap in our perception of time in the different time zones. The Art Beasties members investigate new discoveries and possibilities that real-time, time lag, digital glitch and cultural and linguistic context would create the process. The projects include live music performance, photography, installation, video, and painting.
SOIL Collective and Artist-run Gallery
112 3rd Ave S, Seattle, WA 98104
Hours: Noon – 5 pm, Thurs – Sun
206 – 264 – 8061
ART BEASTIES: Japanese Artist Collective Pop-Up Exhibition at Prole Drift
April 2 – April 4, 2015
Opening Reception: Saturday, April 4, 6–9pm
Seattle: Paul Komada, Akiko Masker, Yuki Nakamura
New York: Kakeru Asai, Ko Irkt, Tokio Kuniyoshi
Tokyo: MAHO HIKINO, Saki Kitamura, Mayu Kuroda, Noriyo Yasunaga
Thursday, April 2, 6–8pm
Friday, April 3, 12–5pm
Saturday, April 4, 12–9pm
Reception Party: Saturday, April 4, 6–9pm
Prole Drift Gallery
523 S. Main St.
Seattle, WA 98104
PARTY IN THE PARK
Friday, June 27, 2014
Olympic Sculpture Park, Seattle Art Museum, Seattle, Washington
Fluid Destination, Art Beasties
Opening reception Thursday March 20th, 7pm – late.
Open 18th March to 22nd March upon appointment, contact firstname.lastname@example.org
Yuki Nakamura and Robert Campbell, Saki Kitamura, Ko IRKT, Tokio Kuniyoshi and Maho Hikino. Curated by Sessa Englund.
Art Beasties welcomes you to join us at Culture Fix for our second show, Fluid Destination. The effects of a global world and a global identity are prevalent in our daily lives; we live half of it online, and many of us spend the other half in flux between two countries or two cultures. In order to establish ourselves as members of a global community we must constantly flow and change; deciding whether to take the shape of our surroundings like water in a vase, or whether to extend our identity to contain new ideas of who we are and our live, constantly leaving traces of ourselves as we travel, and leaving things behind to discover new experiences. For this show we ask our participating artists to meditate on the fluidity of their work and their experiences, bringing forth a personal and inspired expression of the implications of living globally.
Art Beasties seeks to broaden and deepen the understanding of contemporary Japanese art, promoting individuality and diversity of aesthetics separate from dominant exported Japanese pop-culture. We offer the audience a view into the works of artists whose practice centers on the individual and academic exploration of self-identity; artists brought together by a common goal of expanding the context of what it means to be a Japanese Artist in a global world. Through hosting pop-up shows around the city and curating an online registrar of Japanese artists, Art Beasties Collective seeks to create alternative roads for audiences, artists and critics to discover and share in critical discussion about Japanese contemporary art.
INTRODUCTIONS, ART BEASTIES
Brooklyn Fire Proof
119 Ingraham street Brooklyn
OPENING PARTY: 30th at 7pm – 10pm
Kittredge Gallery, University of Puget Sound
N. 15th St. & N. Lawrence St. Tacoma
Hours: Monday - Friday, 10 a.m. – 5 p.m.
Saturday, Noon – 5 p.m.
Closed during university holidays
By Deanna Duff
Northwest Asian Weekly
Women have taken over the Seattle Art Museum. Not through protests or demonstrations, but with a different type of exciting, artistic occupation. SAM’s new exhibit, Elles: Women Artists from the Centre Pompidou, Paris, features a century’s worth of female artists representing work from Frida Kahlo to Cindy Sherman. In honor of the local art scene, a companion show, Elles: SAM Gallery, spotlights Northwest women artists.
“Some are very established and some are more emerging artists,” said Jody Bento, SAM Gallery’s manager. “There are 15 artists represented and we included many different viewpoints and definitions of what it means to be a Northwest artist.”
Located a few blocks from the downtown museum, SAM Gallery’s mission is to provide a venue for regional artists to display and sell their work. The gallery’s Elles exhibit includes 50 pieces including photography, abstract paintings, three-dimensional work, ceramics, and more.
“Every artist has an uphill battle to get their work seen and to find an audience, but I think women still face unique issues. I don’t feel this exhibit is about settling a score with feminist-themed work. It’s a celebration of the women in this community,” said Bento.
The Northwest is also home to a vibrant group of Asian heritage artists. SAM’s founding collection was centered on Asian art and Bento believes it’s a natural evolution to spotlight the next generation. Seattle-based artists, such as Etsuko Ichikawa, Yuki Nakamura and Yuri Kinoshita, are included in the gallery show.
“They bring an Asian aesthetic. I think in all three cases, the artists are concerned with beauty. There is a meditative quality — from the fire Etsuko applies to wet paper to the fine detail of the porcelain work by Yuki or the light filtered through woven paper by Yuri. It’s intellectual on some level. They’re not just going for a visual “Wow!” They want to create a feeling concerning beauty,” said Bento.
From art aficionados to casual admirers, the SAM Gallery show is a must see. It’s a rare opportunity to view a diverse survey of Northwest, female artists.
Etsuko Ichikawa was born and raised in Tokyo, Japan, and works primarily as a glass artist. She came to Seattle in 1992 because of the dynamic glass arts community. She studied at Pilchuck Glass School and worked for Dale Chihuly.
“The Northwest has deep connections to Japan, Asia, and the Far East. I feel comfortable in Seattle. There is a strong Japanese American community and that encouraged me to stay and helped me survive the culture shock,” said Ichikawa.
While glass is Ichikawa’s primary medium, she also works with video, sound, fiber and creates both small- and large-scale installations. Three of her pieces are included in the SAM Gallery show.
A particularly interesting work visitors can view is a triptych piece conceived earlier this year during Ichikawa’s collaboration with the Calty Design Research/Toyota Design Studio in Newport Beach, Calif.
“The director challenged me to create a work inspired by the concept they were working on for a future car. The work was inspired by what I saw in their creative studios. If you really look at it, you can see some of the influences,” said Ichikawa.
Yuki Nakamura, born and raised in Japan, came to Seattle in 1995 to attend the University of Washington where she earned a Master of Fine Arts. Her chosen medium, ceramics, has expanded in recent years to include fashion design, printmaking, and multimedia projects.
“Like Japan, there are many little islands around the Pacific Northwest. There is a similar geography and that probably influences the Japanese community that’s been here for 100 years. It’s helpful as an artist,” said Nakamura.
In 2007, Nakamura was commissioned by Seattle City Light to develop a large-scale installation for their Municipal Tower office. She used hundreds of vintage, porcelain light bulbs and video projectors to create “Filament,” a thought-provoking look at light. The SAM Gallery show includes a smaller-scale version.
“It’s important to see museum shows with international artists and also gallery shows that focus on locals. It’s a different experience since this is a group showing (at SAM Gallery) with a variety of artists. It’s unique to have an overall feeling of what’s happening in the Northwest,” said Nakamura.
A native of Kyoto, Japan, Yuri Kinoshita was an artist from a young age. As a child in her family’s kimono shop, she created a makeshift desk for drawing. As an adult, she fell in love with Seattle and it’s amazing views while visiting friends.
“In the second year, I understood more about the long Seattle winters, which gave me plenty of time to think. The fact that you don’t see the sun often is how the idea for my ‘Sunrise’ creations was born. I had always wanted to make creations that came from deep within and Seattle’s environment inspires my creativity,” said Kinoshita.
Kinoshita makes lighting pieces from natural materials such as linen paper, bamboo fiber, and Japanese silk textiles.
“I believe my light is not just an object of design nor a functional tool, but I want to make it beautiful like the sun and moon,” said Kinoshita.
Kinoshita’s 2007 “Moon Shine” woven light sculpture piece hangs from SAM Gallery’s ceiling. She was also inspired to create two new pieces, “Madoka” and “Tessen,” to complement the original. The pieces use Kimono textiles as well as bamboo and Japanese papers, which reflect her Kyoto roots.
“The power and influence of women in today’s world cannot be ignored,” said Kinoshita. “I believe the potential of female compassion are essential keys to solutions for the problems existing in the world. I am honored to be part of this historic exhibit.”(end)
Elles: SAM Gallery
Northwest Women Artists
October 25-December 1
Seattle Tower Building
1220 Third Avenue
Free and open to the public.
For hours and location, visit seattleartmuseum.org. Visitors should note, SAM Gallery hours differ from the downtown museum.
Deanna Duff can be reached at email@example.com.
A Body Like an Ocean
After Japan’s Tsunami: Porcelain, Animation, Sound, and Mylar
Review by Jen Graves, The Stranger
“Ravishing” was the word I had to use the last time I experienced a digital animation rising and setting over a tiny ceramic city in a darkened gallery by the artists Robert Campbell and Yuki Nakamura. That was in 2006, and a new installation based on a similar structure remains beyond the need for or quite the reach of description, especially the way it rolls through time, waves of light patterns passing across faceted and reflecting surfaces in a dazzling stream of constant change.
But certain pieces of information open up new associations. The artists live across Puget Sound from each other, on facing rocks: Campbell on Vashon Island and Nakamura (who is originally from Japan) in Old Town Tacoma. Their mutual view is like an infinite mirrored regress. The artists have written that since the tsunami hit Japan, when they look out at the ships and detritus drifting between them, they can’t help but think about bits and pieces of people’s homes—which are, in fact, making their way toward the American West Coast.
While the artists’ 2006 collaboration,Floating Plaster/City Motion, was founded on hard chunks of land—Nakamura’s sculptures, on which Campbell’s animations appeared, were shaped after the footprints of the Île Saint-Louis and the Île de la Cité in Paris—their new installation has no such anchor. Everything is unmoored. It is called Kūkai: Sea and Sky.
Neon colors animated the sci-fi urbanism of Floating Plaster/City Motion, but Kūkai (a reference to an influential 8th- century Japanese Buddhist monk) is sparkling white, black, and shadow only. The “show” of the animations passing across the porcelain sculptures is multiplied in three other flat surfaces: the pedestal, covered in Mylar, which creates a reflected underworld, and full-height walls built at both ends of the pedestal, where watery afterimages of the Mylar reflections jump and float. A soundtrack adds still another shifting dimension.
Naturally, there’s a memorial quality to Kūkai. It is at least the second wavelike installation incorporating video and sculpture—bringing together the tangible and intangible—by a Seattle artist about the tsunami. The first was I’m Sorry. Thank You. I Love You. by Rumi Koshino, also a native of Japan, with a video of the artist on the Washington Coast facing west, looking out at the ocean as the wind whipped her hair over her face, a large, ominous wave of dark linoleum flooring hanging from the ceiling behind the video screen. Koshino’s body was trapped in a system of repetitive motion that was both frightening and calming. InKūkai, the only bodies are the porcelain sculptures, small, refined monuments that are not monoliths but appear to be parts joined together at tight, neat seams—holding fast while their reflections shiver and mutate.