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  • Satoshi Uchiumi: squid

    Satoshi Uchiumi: squid From 27 November 2020

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    • Dates 27 November 2020, 12:00PM - 27 December 2020, 5:00PM
    • Event Details Yukiko Shikata, curator & art critic

      Paintings are generally considered a two-dimensional medium. Yet once you get up close, painting reveal their texture, their three-dimensionality. In a painting’s space, different aspects of the work may emerge depending on your distance and angle, its two-dimensionality connecting with the third spatial dimension. How would an ant experience a painting? Grasping the artwork itself may be an impossibility, but if an ant walks across a painting, does it experience the ups and downs of its two dimensions?

      In Superstring Theory, there is an analogy in which the tightrope in the circus tent appears one-dimensional to the clown walking across it and two-dimensional to an ant doing the same. We humans experience the universe in three spatial dimensions plus time, as a four-dimensional spacetime. However, space actually consists of ten dimensions*, the other six dimensions curled up so small they escape our experience.

      But this four-dimensional spacetime as we experience it may not exist in the same way for other beings. The world and its experience of it differs for each being according to their senses. This is an idea based on the “Umwelt” theory of Jakob Johann von Uexküll**. According to Uexküll, we humans, who are capable of self-reflection, live in “umwelts” (also called self-worlds; surrounding-worlds) that are different from those of other beings. Following this thought, must this not mean that each individual human also lives in their own personal umwelt?

      Satoshi Uchiumi says that he had the idea of “umwelt” on his mind for this exhibition. He worked under the premise that paintings emerge from individual perceptions and relationships, and structured the exhibition in order to make the audience aware of this idea.

      From the outside, through the gallery’s window, a painting can be seen occupying the exhibition space at an angle. Entering the venue, you find another painting of the same size installed on its back. These two paintings, each with a different panel division, together form a single image (its lower part displayed on the outside, the upper part on the inside). The full image would exceed the height of the gallery space; it is therefore folded in half, the audience incapable of experiencing it at once in its entirety.

      Uchiumi wanders back and forth between two “umwelts” of his creations. The artwork emerges from mutual interchange between the act of painting dots (two dimensions) – a process of spontaneous order, similar to how an ants nest is formed – and an imaginary overview of the scale and structure involved (three dimensions). Uchiumi has come to use creativity and composition to question the self-evident nature of paintings, and in this exhibition he encourages the audience to mobilize such powers in themselves.

      The humorous title references Uchiumi’s desire to create an idealized whole (squid/painting) that can be assembled from differently prepared squid parts (fragments) – including paintings in various shapes and configurations.

      * There are also theories suggesting 26 dimensions
      ** Baltic-German biologist born in Estonia (1864-1944). “Perceptual and effector worlds together form a closed unit, the Umwelt” (Jakob Johann von Uexküll, “A Foray into the Worlds of Animals and Humans: With a Theory of Meaning” (transl. Joseph D. O’Neil), University of Minnesota Press)
  • DAIKANYAMA T-SITE anjin cafe Special Exhibit in Memory of Kana kou

    DAIKANYAMA T-SITE anjin cafe Special Exhibit in Memory of Kana kou Until 29 November 2020

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    • Dates 8 September 2020, 2:00PM - 29 November 2020, 11:59PM
    • Fees Free
    • Event Details We announce the exhibition at Anjin café, Special exhibition in Memory of Kana Kou, who passed away in this spring.

      Kou had produced her artworks, putting herself in the midst of nature through her own action of mountain climbing or diving in the sea. These bodily experiences, together with the feelings and the memories, unease or awe for the nature have been crystalized in her works, through deep understanding, to recognize the places as beautiful places.

      Kou participated in the Artist in Residence at Shodoshima Island in 2011. Fascinated by the charm of the nature as well as by the generous community of local people, she worked and based at the place to create her works. The Secret of Hanasuwajima Island, conical installation created in Shodoshima in 2013 was the most impressive work of Setouchi Triennale, attracting much attention in the whole world of art.

      Her serious illness could not prevent her passion to continue the artistic activities. Kou continued to live as herself with bright heart, while she had even integrated her own disease into the motif of her creative vitality.
      We are pleased to exhibit her works featuring mainly the seascape and mountain which include the precious pieces from Shodoshima island.
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