Yuko Mohri per il Giappone

 Per il Giappone ci sarà Yuko Mohri, famosa per le sue opere dinamiche all'ambiente. 

CS

La Japan Foundation è lieta di annunciare che l'artista Yuko Mohri rappresenterà il Giappone alla 60. Esposizione Internazionale d'Arte – La Biennale di Venezia che si terrà dal 20 aprile al 24 novembre 2024, a cura di Sook-Kyung Lee.

Born in 1980 in Kanagawa, Japan, artist Yuko Mohri lives and works inTokyo.

She approaches installation and sculpture not to compose (or construct) but to focus on “phenomena” that constantly shift according to various conditions such as their environment. In recent years, she has also explored this idea through video and photography.

She has participated in numerous international group exhibitions including

14th Gwangju Biennale (2023), 23rd Biennale of Sydney (2022), 2021 Asian Art Biennial (National Taiwan Museum of Fine Arts, Taichung, 2021), 34th Bienal de São Paulo (Ciccillo Matarazzo Pavilion, 2021), Glasgow international 2021 (The Pipe Factory, 2021), The 9th Asia Pacific Triennial of Contemporary Art (Queensland Art Gallery | Gallery of Modern Art,

Padiglione Giappone

Takahiro Iwasaki was born in the Hiroshima Prefecture where he is also currently based. This solo exhibition presents a selection of three-dimensional works created using everyday familiar objects including towels, books, and plastic rubbish. Characteristic of Iwasaki’s works is his fine handiwork by which he transforms his materials, such as creating steel towers from the threads pulled out of towels and construction cranes from bookmark strings attached to books. His use of these everyday objects draw influence from the numerous artifacts housed in the Hiroshima Peace Memorial Museum, conveying the instant changes in the forms of daily necessities as a consequence of the atomic bomb. Furthermore, his use of “figurative representation” can not only be described as a traditionally “Japanese” technique, but is a conscious decision that is based on the significant turnabout in Hiroshima’s position before and after the war, from a military city into a city of peace. Iwasaki’s method of making small interventions to have a remarkable impact on a large scale is that which also relates to Hiroshima’s experience of the atomic bomb, and how the power of microscopic atoms had resulted in the annihilation of the city.

For his works Iwasaki has selected motifs of both old and new buildings in the coastal regions of Japan, including a traditional shrine built above the sea, chemical plants that stand along Hiroshima’s coast, as well as oilrigs. Reflection Model (Ship of Theseus) is a new work based on the motif of a shrine reflecting on the surface of water, however since the reflected image is conveyed without fluctuation, it appears as an unrealistic representation that captures a fleeting and stationary moment in time and space. The fact that the shrine is depicted in its broken state after the typhoon is a conscious decision on Iwasaki’s part, who focuses on how its structure is made to protect its important areas by enabling sections of it to be intentionally destroyed when inflicted with external force, thus eluding any substantial damage. This method of elusion by accepting the circumstances presented is one that can be said to illustrate the Japanese way of confronting nature.

From issues of nuclear energy and the development of resources, to chemical plants that despite supporting the high growth of the postwar economy had been a serious cause for pollution, Iwasaki’s works shed light on the various challenges and situations confronted by Japan’s rural regions, and through them present an image of Japan from a different and distinguished perspective. The exhibition’s title, “Turned Upside Down, It’s a Forest” is in reference to a text written by Venetian novelist Tiziano Scarpa, describing how the city of Venice is built on an infinite number of stakes driven into the lagoon. The exhibition communicates the importance of changing one’s perspective, and invites the viewers to embrace different ways of looking.

Meruro Washida (Curator)

Takahiro Iwasaki per il Giappone

Il sito http://www.eca.ed.ac.uk/ segnala che l'artista Takahiro Iwasaki rappresenterà il Giappone, articolo 

Takahiro Iwasaki, a graduate of the Art, Space & Nature – MFA programme at Edinburgh College of Art (ECA), has been selected to represent Japan at one of the world’s most important visual arts events. 

Takahiro was selected by the Japan Foundation to show the work entitled “Upside-down Forest” at the Japan Pavilion.

Since graduating from ECA, Takahiro has been based in his native Hiroshima developing a thread of works which began on the Art, Space & Nature programme. Takahiro often uses everyday objects that are found around us as materials for his works. These include items that are regarded as garbage, such as dust, cloth and hair. By overlaying another image onto these to create a figurative representation, he gives meaning to things that are seemingly chaotic. For example, he makes a stack of dust cloths look like the mountains of nature, and books appear like buildings, experiencing a change in the way we perceive things.

Takahiro’s work is characterized by his meticulous handiwork and labour-intensiveness, developing the language of the architectural model. He creates cranes and steel towers from the threads pulled out from dust cloths or the bookmark strings attached to books. The delicacy of the work being stunning features of his ongoing ‘ Out of Disorder’ series.

“When I looked at the cross-section drawing of the Japan Pavilion, I saw that the four pillars rising from the piloti on the first floor served as the walls of the exhibition room on the second floor, and the ceiling of the first floor was also the floor of the second floor. It felt just like a boundary separating the sea and land,” said Takahiro of the work he’ll be producing for the exhibition, “I wanted the visitors to observe Itsukushima Shrine in Hiroshima, which offers a different view depending on the tides.”

“By creating the different perspectives of looking upward and looking downward, I hope to create a multifaceted spatial experience.”

After completing his MFA at Edinburgh College of Art, he went on to a PhD in Art at Hiroshima City University.

Takahiro’s selection as Japan’s sole representative at this showpiece event for contemporary art is a significant achievement, in an already notable career. Takahiro has exhibited at the Asia society in New York, 2015, and has held solo exhibitions at the Kurobe City Art Museum and the Oyama City Art Museum in the same year. Group shows include the 10th Lyon Biennale (2009), Yokohama Triennale (2011) and the 2013 Asian Art Biennale in Taiwan.

The 57th International Art Exhibition of the Venice Biennale runs 13th May - 26th November 2017.

Chiharu Shiota per il Padiglione Giappone alla 56a Esposizione Internazionale d'Arte, Biennale di Venezia nel 2015

Below english

Pochi giorni fa è stato annunciato l’artista che rappresenterà alla prossima Biennale il Giappone, sarà Chiharu Shiota, con una mostra dal titolo "The Key in the Hand," (Chiavi in mano) curatore Hitoshi Nakano, curatore al Kanagawa Arts Foundation.

Info al sito  http://2015.veneziabiennale-japanpavilion.jp  

Comunicato stampa

The Japan Foundation is delighted to announce artist Chiharu Shiota's representation of Japan at the 56th International Art Exhibition – la Biennale di Venezia, to be held from May 9 to November 22, 2015, and will present the exhibition entitled "The Key in the Hand," curated by Hitoshi Nakano, Curator of the Kanagawa Arts Foundation.

Message from the Artist

I have been selected to show my work in the Japan Pavilion at the 56th International Art Exhibition of the Venice Biennale in Italy in 2015. It is a great honor for me to be given the opportunity to participate in the world's oldest exhibition along with the curator Hitoshi Nakano, who organized a solo exhibition of my work in Kanagawa in 2007. Using the second-floor gallery and the pilotis on the first floor of the pavilion, I will present a new installation titled "The Key in the Hand," consisting of two boats, red yarn, and a huge number of keys.

Keys are familiar and very valuable things that protect important people and spaces in our lives. They also inspire us to open the door to unknown worlds. With these thoughts in mind, in this new installation I would like to use keys provided by the general public that are imbued with various recollections and memories that have accumulated over a long period of daily use. As I create the work in the space, the memories of everyone who provides me with their keys will overlap with my own memories for the first time. These overlapping memories will in turn combine with those of the people from all over the world who come to see the biennale, giving them a chance to communicate in a new way and better understand each other's feelings.

I would be extremely grateful if you would consider giving me a key that you no longer need so that I can use it as part of this work. Then I hope that everyone will be inspired by the work, containing an accumulation of memories from all over the world, to reconsider what it means to be alive.

Chiharu Shiota

About Submitting Keys for Use

How to submit:  Submission deadline: All keys must be received by October 31, 2014.

* All keys must be no longer used for its intended purpose and will be provided gratis.

* Shipping costs will be borne by key providers.

* The names of key providers will not appear in the work.

* All keys need to be submitted by post or delivery service. (Please do not bring them directly.)

* All keys will not be returned after the exhibition has concluded.

* A receipt will not be issued for submission.

Shipping address:  [Japan]  Chiharu Shiota "Keys" Collecting Team Europe, Middle East and Africa Section, Arts and Culture Dept. The Japan Foundation

4-4-1 Yotsuya, Shinjuku-ku, Tokyo 160-0004

[Overseas]

To be announced in the following website

URL: http://2015.veneziabiennale-japanpavilion.jp/

[Contact]

The Japan Foundation

Europe, Middle East and Africa Section, Arts and Culture Dept.

Person in charge: Ohira (Mr.), Oyamada (Ms.)

Tel: +81-(0)3-5369-6063

Fax: +81-(0)3-5369-6038

Email: venezia?jpf.go.jp

(When sending an e-mail, please enter a half-width character "@" instead of a full-width character "?.")

http://www.jpf.go.jp/venezia-biennale/art/e/56/key_submission.html

Venerdì 3 Giugno – ho un sassolino nella scarpa!

Oramai la mente comincia a fare un poco di confusione, vacilla, tentenna …

L’opera di X era là o era dall’altra parte? Ma il quadro che ho visto era blu o rosso? E sì qui alla fine il paradiso si trasforma in un inferno...

Via troppa roba!

E' anche vero che non si deve vedere tutto (e infatti molte cose le ho lasciate... ).

Però mi domando anche fino a che punto tutto questo marasma di arte serva, visto che molta pare un piacevole piacere autoreferenziale e le cose veramente interessanti sono davvero poche.

Come sempre lasciamo spazio a tutti i gusti e idee.

Sicuramente i video sono tornati. Sarà la crisi ma sono ricomparse una marea di mediocri video, documenti e quant’altro che potrebbero essere messi praticamente su youtube evitando così inutili spostamenti e noiosissime code.

Forse in alcuni casi, con un minimo di allestimento come nel caso del padiglione Giappone con Tabaimo, si apprezza maggiormente l'opera.

Riassumendo però tante le code, a volte inutili, come quella della Gran Bretagna con Mike Nelson che ripresenta solo 8 anni dopo un padiglione interno/esterno simile a quello della Germania di Gregor Schneider nel 2001, che vinse il Leone, d’oro, o come quello americano che giocando con gli atleti mette sempre più in dubbio la capacità degli artisti di fare arte, lasciando grossi dubbi ed interrogativi se l'arte debba essere così vicina all'intrattenimento.

Esemplare a questo proposito il gruppo di padiglioni Spagna ed Olanda, in cui la parola detta o scritta è l'elemento dell'opera... ma allora non è sociologia spicciola.

Aspetto di ascoltare anche i commenti e le critiche, di chi come me, passerà (o è già passato) qualche giornata in questa sorta di "mirabilandia" di eventi, commentando quelli che più vi son piaciuti e che magari io mi sono perso.

Torniamo per ora a segnalare le cose più belle che ho visto oggi.

Sono ripassato ai Giardini e all’Arsenale così ho potuto rivedere certi lavori e apprezzarne altri, visti con più stanchezza ed un po' più di distacco.

Mi lascia un poco perplesso l’opera di Jan Fabre, che pare giocata troppo sull’effetto spettacolare.

Domani concludo con la Punta della Dogana e un giro a rivedere le cose che mi avevano affascinato di più.