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  • Oscar Oiwa : Quarantine Series
    Sold here only

    Oscar Oiwa : Quarantine Series Until 7 March 2021

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    • Dates 5 February 2021, 12:00PM - 7 March 2021, 5:00PM
    • Fees Free
    • Event Details Quarantine Drawing Series
      Records from a Time of Social Distance
      Hiromi Kurosawa, Chief Curator, 21st Century Museum of Contemporary Art, Kanazawa

      What impressions will people have of Quarantine Drawing Series (2020) when they look back on it ten years in the future? If we have won the battle against COVID-19, they may remember past turbulence in a tranquil state of mind. But if not…? Currently each person worldwide is anxiously watching the competition between virus and vaccine.

      Oscar Oiwa lives in Manhattan, New York City. It is a rather theatrical place, full of the bustle and flamboyance of the world’s great cities. Life is dreamlike and unrealistic, but reality certainly can be present too. Shops are now closed and streets have lost their energy. Freedom of movement, and the pleasures of meeting people are severely restricted. Energy consumption has plummeted. Travelling has always been a major part of Oscar’s life, but the closing of borders has confined him for extended periods to New York. He even had to give up the daily routine of a trip to his studio in Queens. Instead, Oscar stayed at home, digitally producing Quarantine Drawing Series and publishing it on the Web. Oscar made some twenty monochrome drawings from March to early June, 2020, rendered in the style of a diary. He produced scenes of interiors by a window, or a park, landscapes of Osaka, or of his home country Brazil – which he might otherwise have visited. These are brought together with an accompanying text expressing his honest feelings at the time of composition. It goes without saying that as an artist, Oscar is equipped with an objectivity that allows him to comprehend things rationally and constructively. In this series, his analytical stance is enhanced by personal experience, which raises the work to a paradigmatic level. In this sense, the series is an excellent example of documentary reportage, capturing this special time. Oscar’s highly trained drawing skills and elaborate techniques of spatial composition are fully revealed via simple lines and monochrome palette. Oscar is nothing but positive about this. He states that digital tools are convenient and their only cost is data traffic, so perfect while physical traffic is difficult.

      As I look at Quarantine Drawing Series with my opening question in mind, I feel that they reveal the solid hope that humankind will advance towards a brighter future, after winning this battle. Oscar opens doors that have been shut by quarantine, allowing us to emerge into a more substantial space. Regardless of your geographical realities, this series will bring every one of you immediate experiences.
  • Tokuro Sakamoto
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    Tokuro Sakamoto Until 7 March 2021

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    • Dates 5 February 2021, 12:00PM - 7 March 2021, 5:00PM
    • Fees Free
    • Event Details okuro Sakamoto and his Era
      Satoshi Koganezawa (Curator and lecturer of Japanese Painting, Tohoku University of Art and Design)

      At the beginning of the Meiji era, Ernest Fenollosa and Tenshin Okakura of the Tokyo Fine Arts School — the predecessor of today’s Tokyo University of the Arts, Tokuro Sakamoto’s alma mater — aimed to establish Nihon-Ga (“Japanese Painting”) as an art form that could rival the art that the West produced. Compared to the loudness and grandeur of such goals, the motifs painted by Tokuro Sakamoto are of a humble nature.

      Nihon-ga and the other Japanese art that came into being as an inseparable part of Japan’s modernisation laid claims to magnificent greatness, but this way of thinking peaked during the Asia Pacific War and disappeared with Japan’s military defeat. Nowadays, these outdated ideas no longer have any foundation. The title of this exhibition, “gap”, on one hand represents Sakamoto’s attitude of observing gaps when creating his works, but it also hints at the gaps that divide the different eras of the Japanese painting.

      Having been freed of its duty to serve a greater (i.e., the country’s) good, the emphasis of modern art has moved towards self-expression — something that Sakamoto appears to have struggled with in his student days. He devoted himself to Balthus shortly after entering university, and later preferred Mark Rothko and Tokuoka Shinsen during his time at the Hayami Institute of Arts’ Department of Japanese Painting, and I heard that for a while after his second year at university, he layered the mineral pigment paints thick enough to create visible matière on his canvasses.

      However, he found no sufficient self to express. In resignation, Sakamoto at once abandoned the Nihon-ga, the contemporary art and the oil painting that had formed him during his time at university, and began instead to draw his motifs exactly how he found them, without a change to their colours, forms or shapes. Rather than expressing something from within,this approach lead Sakamoto towards a creative style that is anchored in discovery of the outside world. While Sakamoto made use of mineral pigment paint — an indispensable part of the identity of Nihon-ga — in his epochal piece “Daily Life” (2000), the works produced by Takashi Murakami and Hiroshi Senji at the time reduced his aversion towards acrylic paints, and thereafter Sakamoto began to establish his style of observing landscapes from his own point of view and expressing them with acrylic paints in flat images. In September 2000, monthly art magazine Bijutsu Techo published a special issue that was titled “Landscape’s New Dimension: Super-Flat Landscapes”, as if in search for a new form of the landscape fit for the 21st century era.

      In the background of Sakamoto’s paintings, which may appear like nothing special at all, we can find a reflection of the history of Japan’s fine arts as well as the thoughts of an artist who tries to face and depict the conditions and environments
      of today’s world.
  • Kazushi Nakada: My archaeology : Special Exhibition @ DAIKANYAMA T-SITE anjin café
    Japanese Culture

    Kazushi Nakada: My archaeology : Special Exhibition @ DAIKANYAMA T-SITE anjin café Until 28 March 2021

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    • Dates 6 January 2021, 11:00AM - 28 March 2021, 10:00PM
    • Fees Free
    • Event Details We are pleased to announce the exhibition of the artworks by Kazushi Nakata at Daikanyama T-SITE anjin cafe.
      We appreciate your interest in the exhibition and visit anjin café.

      Kazushi Nakada, is from a famous potter’s family in Ishikawa, Japan, graduated from the Royal College of Art in the United Kingdom in 1994. He has been based in Finland and has exhibited works using glass in various parts of the world, especially, from Europe and China. Meanwhile, his recent activities have focused on complex projects using motion images and photographs. In this exhibition, we would like to introduce one of Nakada's representative art projects in recent years, the "My Archeology" project. For this project, he was inspired by the interpretation of "time" and "end" of life, in Tibetan Esoteric Buddhism and the Buddhism from his home town.
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