Author: syp

2019.8.11(Sun) 17:00~

Temporary Interface
Performance by Belle Shafir

The opening scene is of the artist sitting on the floor with her back to the audience, her full red hair is the prominent feature. Next to her is a table on which there is pile of cut hair – horse hair.
Hair is one of the elements that attracts Belle Shafir to create art. It attracted her since her childhood in the family horse farm in Germany. Now it is a key motif of her art making.
In the past years hair became a part of her art as a intimate object through which she tells her story. The horse hair is the lines with which she draws on the floor; she caresses the hair and herself, welcoming the soft touch and the physical sensation of the art.
The hair lines are part of the body movement lines she performs very slowly, drawing attention to all the life movements one does not usually notice. The art of the hair line is now the narrator of Belle’s story.

About Belle Shafir (http://belle-shafir.com/)

In the early 2000s, I began dealing with issues that concern man’s interference with the natural order through genetic enhancement and cloning. The tiny pieces I created during that period address man’s inability to notice disruptions and deal with the harmful consequences of his actions. This artistic move has led me to examine my own identity, split in many ways and ridden with conflict, oscillating between cultures. Looming above it all, like a dark cloud, was the fact of my being the daughter of Polish holocaust survivors, who had immigrated to Germany at the end of World War II. Dealing with identity brought up some alarming memories which, previously silenced, were now piling one on top of the other. The essence and deceptive nature of memory became central motifs in my work. Knitted chains made from horse-hair taken from the family farm in Germany, reminiscent of damaged DNA sequences, were the first appearance of this theme in her art. I later used the same hair to knit tiny spiders that resonated with Louise Bourgeois’ “Maman”.
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During the recent year, I began to process the family collection of photographs, which has since become a Pandora’s Box for me. I recover images from its depths and confronts them by placing them on sheets of parchment, hoping to retell the story of my own life, and try to come to terms with the interrupted story of my family.
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As a multimedia artist, I translate all those issues through drawings, paper cuttings, video art, animation and performance.

展覧会会期 : 7月29日(月)－８月3日(土)
時間 : 12:00ー19:00 (初日29日は午前中搬入のため14:00ー19:00)
クロージングパーティー： 8月3日(土) 17：00–20：00

展覧会ステートメント

鉄が空間に置かれる。鉄と、空間、互いの存在を感じ、混ざり合う。 

制作に対するステートメント

自分は鉄で作品を制作します。鉄は現代社会を支える素材であり、重く、硬く、その存在感には強く引かれるものがありその存在感を感じることができる何かを制作することを目的に日々制作しています。

吉川 卓

齋藤 健一・廣田 紗也花
Kenichi Saito / Sayaka Hirota
– 今日の延長 –

会期 2019年7月5日(金)―7月7日(日)
時間 13:00–19:00     
オープニングレセプション&イベント：7月6日(土) 19:00 – 22:00
Artist Meetup (https://www.facebook.com/events/669867640092976/)

イベント「明日の食パン」7月7日(日) 15:00-16:00 Sun(参加費:500 円 )
パフォーマンス「地蔵のような人」(会期中不定期)

米山 由夏 個展
Yuka Yoneyama Solo Exhibition
– countdown –

会期 2019年6月28日(金)―7月4日(木)
時間 13:00–20:00     ＊初日は18:00から 最終日は17:00まで
オープニングレセプション： 6月29日(土) 17：00–20：00

私はこの個展を終えた2週間後に成人を迎えます。大人と子供の定義は曖昧ですが、私が日本の法律上「大人」という身分になるまでのカウントダウンがもう始まっています。私は普段から、日常の中で見えてくるもの、感じることを主に作品にしています。子供の私にしか見えない景色、感じられないこと、気づけないことはなにか。大人になって初めて見れるものはなにか。得るもの、失うもの、継承されるものはなにか。そういうことを考え、記録するための個展です。20歳の誕生日を迎えたその瞬間、突然何かが変わるなんてことはないですが、私にとっていい節目になりそうな予感と、かすかな期待を胸に、限られた時間を見つめ、私は10代を終えようとしています。

米山 由夏

I will be 20 years old after this solo exhibition soon. Although I think definition of adult and child is unclear, “countdown” is started,for I will be an adult on the basis of Japanese law.I always make artworks impressed by my life.There are so many things I can look,feel and notice with only current age.What are these?What will I get, lose and keep as an adult? I have this solo exhibition to consider and record these things. I feel that my 20 years old birthday will be good turning point.On the other hand,precious time which I can be child is limited. I’m about to finish my teen with expectations.

Yuka Yoneyama

#English is below

この度、S.Y.P Art Space では４名のグループ展　Rhythms　-その向こうに-　を開催します。

Rhythms　-その向こうに-
Artists：菊原未奈、鈴木比呂志、福田タケシ、三木祥子
2019年4月27日(土)～5月5日(日)
12:00～19:00(初日13:00～)
※27日、17:00～オープニングパーティ　※会期中無休

「Rhythms – その向こうに」展について 
2人の現代アーティストに加えて、フォトグラファー、環境アーティストによる写真展です。 会場の空間の特徴を利用しながらも、作家の個性が響きあう展示を目指します。 みなさまのおいでをお待ちしています。
※会期中無休

An exhibition about photography and flower arrangements, exploring nature, harmony and perception through Ikebana, the Japanese art of flower arranging.

Date: From 30th of March to 12nd of April
Opening hours: 13:00-19:00 (closed on Monday to Wednesday. )
Opening reception: Saturday 30th of Match 18:00 20:00

The exhibition explores how we see beauty and perceive images through the use of compositional rules, and our relationship with the environment.

Through my work, I explore the language of images and how we construct and perceive beauty. It questions our relationship with nature, in a time when the majority of the population in countries such as Japan live in cities and urban areas, removed from the rural and natural environment.

I am always interested in images, language and interpretation of information. In the Way of Flowers I look at the line diagrams used to instruct and create beautiful flower arrangement and how we translate information, from diagram to image, creating connections between the composition of images and of Ikebana flower arrangements.

The exhibition The Way of Flowers shows mainly photographs, including a series of images of the photographer’s own flower arrangements, diagrams, text, and a cityscape printed in a format vaguely resembling a hanging scroll in a tokonoma.

Monica Takvam is a visual artist and photographer from Norway, mainly based in London, UK. In her practice, she is often concerned with how we see, and she uses photography, text, illustration, video and sound to explore the language of images, sight, perception and blindness.

Her work has been published and shown in national and international exhibitions. She has been shortlisted for several awards and won the Celeste Visible White Photo Prize 2016. Takvam was the 2017 Artist-in-Residence at Watts Gallery, UK, working on a project exploring perception of landscape, with a solo-exhibition at Watts Contemporary Gallery, UK in October 2017.

She has been the managing director / director of Renaissance Photography Prize for over eight years and formerly the Assistant Editor of the journal Photography & Culture, published by Routledge. She divides her time between her own work, commissions, curating and lecturing photography at University of the Arts London, London College of Communication, City of Westminster College and  University of Hertfordshire.

www.monicatakvam.com

IMAGE CREDIT
From the body of work ‘The Way of Flowers’, 2019 by Monica Takvam