Eginhartz Kanter studied Fine Arts, Cultural Studies and Photography at the University of Arts and Design Linz, the Academy of Fine Arts Vienna and the École Nationale Supérieure des Beaux-Arts in Lyon. He works with video, photography and installation, mainly in the context of public space. In his artistic approach he questions the boundaries and conventions of everyday life and living environments. His (sub)urban interventions negotiate aspects of the public and often have a direct relation to architecture. He showed his artworks in Gallery 5020 in Salzburg, Peresvetov Pereulok Gallery in Moscow, S.Y.P. Artspace in Tokyo and at the 18th Media Art Biennial Wroclaw.
Eginhartz Kanter is a visual artist who works with installation, sculpture, film, video, photography and text. He mainly works in the context of public space. His (sub)urban interventions negotiate aspects of the public and are mostly related to architecture.
On long forays through the urban space and the periphery, he traces situations and places to which he refers in his subtle to slightly humorous works. The starting points for the projects are local architectural conditions or the historical context in which the locations are embedded.
Due to the ephemerality of his interventions, the media he uses to document his works play an important role as an intermediary. The boundary between the work and the documentation is blurred completely, making most of his works hybrids. They exist outside for a short time or only for a moment, and are also represented by means of video and photo documentation and can often be experienced through installation.
The light-footed interventions and projects are usually based on extensive research and preparatory work with a large number of failed attempts. External influences such as wind and weather can cause failure as well as be included in the artistic process. It is crucial for the mode of operation of many of his works that they are initially received by a random, unprepared audience. The artist exposes these works suddenly and without any further information in public space. Another goal of Eginhartz Kanters is to explore the limits of public space and to question valid conventions.
Also they have a group exhibition and lecture, talk event.
COLLECTION OF RECOLLECTION
Yotsuya Unconfirmed Studio, Tokyo, Japan
Fr. 7. February 2020, 6pm
Alison Nguyen (U.S.A.)
Eginhartz Kanter (Austria/Germany)
Furen Dai (China/USA)
Haruko Sasakawa (Japan)
Katharina Gruzei (Austria)
Mikhail Basov / Natalia Basova (Russia)
Minha Lee (Korea)
Mkrtich Tonoyan (Armenia)
Pied la Biche (France/Spain/Sweden)
Roya Eshraghi (Iran/Costa Rica)
Wang Ding-Yeh (Taiwan)
2020年東京。オリンピックを迎え、私たちは新たな時代の幕開けを予感しています。大きな波が押し寄せ るのを見すえ、かすかな思い出(Recollection)が、かき消されぬよう集めて(Collection)おこう。この呼び かけに応えた世界の現代アート作家による映像作品が集う画期的なイベントとなります。
1960年代後半に日本製ポータブルビデオカメラが誕生。個人のアイデンティティを表現するツールとなり、 約50年が経過した今、あらためて東京で上映されるべき作品をセレクトしました。過去の出来事の光と影が、 おのずと出身国のみならず他国との関係をも浮かびあがらせます。
会場となる四谷未確認スタジオは、かつて「蓬莱湯」と呼ばれた古い銭湯の構造を生かした新しいオルタ ナティブアートスペースとして、2018年6月に新宿にオープン。上映スペースのとなりのサロンでは、作品解 説カタログを見ながらゆったりとくつろぐことができ、来場者との対話が可能です。
Tokyo is standing at the milestone of a new era with the Tokyo Olympic Games in 2020. Anticipating the great waves of time washing over Japan, we call for artists to join our project to collect small recollections to prevent them from being swept away by the great current of change. This show will be a landmark event featuring video works by responding international contemporary artists from all over the world, including the USA, Armenia, Iran, Austria, Korea, Taiwan, China, Germany, Japan, France-Spain-Sweden and Russia.
About 50 years have passed since the birth of Japanese portable video camera in the late 1960s, during which the product has became a tool to represent/express personal identity, and we take this occasion as an opportunity to select works that should be showcased in Tokyo, to look back at past events and their light and dark sides to reveal relationships among the countries.
Inviting both domestic and international artists, regardless of nationalities, genders and ages, we will “collect” past events, including themes and topics based on the history of a specific place or personal experience of each artist. The project will consist of video works by the artists who explore various stories/incidents ranging from individual to large scale and conduct researches, facing the past through their artworks. This exhibition is expected to be a great opportunity to collect “recollections=memories” and explore the history of people of different values beyond geographical differences. It also aims to create a collected record for future generations in order to build a cross-border network of archives.
The exhibition will be held at a new alternative art space, which opened in 2018. Yotsuya Unconfirmed Studio used to be an old-style sento (a public bathhouse called Horai-yu) in Shinjuku. Its spacious salon next to the exhibition space allows visitors to enjoy related materials and catalogues, as well as interactions with others.