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    현대예술 전시회 2020.02.02까지

    이벤트 설명・조건 보기
    • 개최 기간 2020.01.10 11:00 - 2020.02.02 19:00
    • 이벤트 상세 Art Front Gallery is pleased to announce the exhibition of Takahiro Hayakawa.
      Hayakawa has studied about the myths and the religions around the world. He was motivated by the images and the concepts of the research, and reconstructed them into the artworks. Especially the artist focused his research on Buddism and Shintoism. He got inspired by the origins of myths and religions, and expressed in an abstract way about the gods which was the origins of myth and religions.

      Hayakawa, fascinated by the cave painting, found out that the concept of the animation already appearing in the eight-legged animal on the wall of the cave. The verb form of the word ‘animation’ is ‘animate. ’The word ‘animate’ does not only mean ‘making animatin’ or ‘giving (a film or character) the appearance of movement(1)’ but also means ‘bringing to life.’ Thus, ‘animation’ can be also the act of giving life to those do not have life. This act of ‘animation’and the animism, which is the religious belief that objects, places and creatures all possess a distinct spiritual essence(2), are possible to be considered as similar meaning in the fact that they both try to understand creatures and objects without distinction. It is not by accident to think in that way since both ‘animation’ and ‘animism’ came from the same origin of a word, anima, meaning ‘life; soul.’ Hayakawa paid attention to the relationship between these three words, ‘animation,’ ‘animism’ and ‘anima.’ He has been creating his artworks based on the inspiration he got from the relationship among them. Massive amount of layers of elements is another characteristic of Hayakawa’s artworks. Each element is in small unit and simple, but applies different movements and shapes. Those are replicated, multiplied and entangled in a complex manner. The act itself is very analog and simple, but the computer and the current technology make the overlap unusual and enormous.
      The animation done by Hayakawa does not have a specific story. It is a combination of elements of colors and shapes, and also a composition of them. This may be because the original creations of Hayakawa was based on painting. Therefore, animation was painting in motion for Hayakawa in other words. He used computer to add movements to the colors and shapes which were the elements of painting, and this gave the elements a time. The motion made via computer becomes super-multilayered, and objects are beginning to show organic aspects. Hayakawa may have caught the expression that could not be showed through static painting by mixing High & Low technologies. Will Hayakawa be able to genuinely create anima by going beyond the stage of a painting in motion?
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    현대예술 전시회 2020.02.02까지

    이벤트 설명・조건 보기
    • 개최 기간 2020.01.10 11:00 - 2020.02.02 19:00
    • 이벤트 상세 Art Front Gallery is pleased to announce Taro Yasuno’s solo exhibition.
      A local bar called Mukumuku is on a street corner in S City, a suburb of Tokyo. Artists are said to gather here every night to discuss their thoughts and ideas. One chill night with a north wind blowing,two middle-aged men were sitting there talking for hours on end about art. It seemed they were debating major artistic events of the year – probably not that special in a bar like this. Similar conversations probably occur in joints across the country.

      ‘By the way, Yasuno,’
      murmured Ozawa toward Yasuno who was picking up the last piece of beef and potato stew that had gone cold,
      ‘is it true you’re composing theme music for the Olympics?’
      ‘Oh no! It’s supposed to be a secret!
      How did you find out about it?’
      Ozawa went on, as if not hearing this reply,
      ‘I thought you were dead against that kind of national project…’
      Yasuno answered now in a different,
      calmer voice.
      ‘I’m serious about this.’
      Ozawa was taken aback,
      ‘Not only for the Olympics, I’ve started composing for Osaka Expo 2025 too.’
      ‘Sorry, but I can’t catch up with you….
      Does this mean… you’ve been commissioned?’
      ‘Nothing has been offered, but I’ve started on my own, just in case I get a request in the future. ’
      Ozawa emptied his highball, choosing his words carefully:
      ‘I see, so you’re composing as an act of criticism, is that right? I can see that music offers critiques…
      Is it going to be a player-less composition,
      some kind of automatic performance?
      I get what you mean…’.
      ‘Hang on,…’
      Ozawa noticed Yasuno’s hands were trembling with annoyance. This looked like a trouble.
      ‘Let me get one thing straight with you.
      My composition has nothing to do with whether I’m offered the commission or not.
      Do you get what I’m saying?’
      ‘I understand. Don’t get upset.’
      Ozawa called across the bar into the kitchen to the lady who runs the place,
      ‘Can we have some water?’
      For some reason a glass of ice cubes came up together with an i-pad.
      said Yasuno, taking the i-pad as if it was a natural thing, beginning to use it.

      ‘Wake yourself up!’
      said Yasuno, because Ozawa had now drunk two flasks of hot sake and was on the verge of nodding off. The liquid crystal monitor dazzled his eyes.

      This is how ‘ ’ will be presented in the gallery. Incidentally, at the point when Ozawa handed in this manuscript, no official
      commission has been offered.
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