Warren Khong Solo Exhibition - Sleeping Sun –

Warren khong 

日時
9.26(Wed) 20:00 – 22:00 アーティストトーク & オープニングレセプション
9.27(Thu) – 30(Sun) 16:00 – 20:00 ※お時間にご注意ください。

Date
9.26(Wed) 20:00 – 22:00 Artist Talk & Reception Party
9.27(Thu) – 30(Sun) 16:00 – 20:00 ※Please be careful to the opening time.

Sleeping Sun

A solo exhibition by Warren Khong

Sleeping Sun is Khong’s sixth solo exhibition, and his first in Tokyo. Taking its title from a song, Sleeping Sun references neither the song itself, nor any other poetic imagery. Rather, the title alludes to the sun as a source of light. Historically, light has been a common subject for painters and the investigation of light as a material is an integral aspect of Khong’s practice, as reflected in the works presented. Thus, Sleeping Sun may advert to the absence of light and, ironical to the title, in the cessation of light, the works cease to exist.

This exhibition presents three works – #085, #096 and #100, which follows from his enquiry into the constituents of painting, and the contexts in which it occurs. #085 comprises of aluminum plates white washed on the surface and mounted on the wall. This minimalist wall installation emanates a subtle hue that appears to be composed by light but is in fact executed through concealed paint. Painted yellow and green on the reverse, the interplay of reflection and shadow manifests a striking physicality in each work, magnifying the presence of the small rectangular wall pieces. Shadow becomes form, and paint transforms into light. The strength of this illusion stems in part, from how color and light have the power to alter the perception of a work’s status. For once the gallery lights are switched off, the artworks cease to exist, becoming white washed objects instead. Taken in such light, the bias of color as a legitimising factor to what makes a work a piece of art, is being raised.

#096 is conceived as a site-specific painting installation. Here, it is not paint that is taken as the medium but the very color yellow itself that acts as the material for art making. The employment of paint is merely as the vehicle to convey, to allow the color Yellow to happen. Executed in a bright, reflective yellow, #096 allows also for the reflection of the yellow through the presence of light to fall onto and interact with or influence the light and colour of the space itself, as well as with the work #100 installed within the gallery. The execution of #096 is via a specific set of instructions transmitted to the owner of the gallery and physically created by proxy. It is devoid of the artist’s hand, allowing for the work to be made without needing the presence of the artist. At the end of the exhibition, #096 is to be painted over/destroyed and the work continues to remain only through its idea and in its documentation.

Yet, the conjecture of the bias of colour as a legitimising factor as raised in #085 is challenged by making White a subject matter in #100, which examines White as material itself. It also looks at the notion of the wall and its significance as surface and/or site in painting and the history of painting. In a previous work, #095, Khong presented an empty, white gallery space with the floor painted over in a white water based gloss paint. Here, in #100, the same ‘floor’ is transferred onto the wall of the gallery and the wall reclaims its rightful place as the site for painting, as well as the surface for painting. #100 invites viewers to see, to observe, to engage with the wall and the presence of the wall itself.

The painting happens in the painting of the wall, the application of White onto the surface. In the glossy reflectivity of the White, image making occurs and one remembers that walls are seldom painted gloss, reflective. In the supposed subtlety of White on white we instead have gloss on matte and a myriad variety of images are allowed, given the setting and frame to occur. Here, the wall is both painting and frame, at once infinite, at once absolute.

 

 

Warren khong 

Born and based in Singapore, Warren Khong situates his practice in the investigation of materiality in art to push the possibilities of representation in painting and drawing, as well as their reception. His primary research explores concepts of painting and its relation to surface and materiality – from selected metal surfaces to light, colour and reflection, he also explores spaces and site specificity as well as the intangible or immaterial, proposing for material as Idea. This interest in engaging in the intangibility of materials in art-making, as a way of challenging the ontological status of art and art objects allows for Khong to continue questioning notions of painting in art making.

Khong graduated with a Master of Arts, Fine Arts from Goldsmiths, University of London, U.K., in partnership with LASALLE College of the Arts, Singapore. He has had five solo exhibitions – Light-Space (In collaboration with Urich Lau) at Objectifs – Centre for Photography and Film, Singapore in 2016, Whitewash at the Institute of Contemporary Arts Singapore, LASALLE College of the Arts, Singapore in 2016, Same Same But Different at Reading Room, Singapore in 2013, A Collection of Shapes in Red, Blue, Green, Yellow, Black and White at Marcuard Asia, Singapore in 2011 and Warren Khong: A Solo Exhibition at the Hôtel Salomon De Rothschild, Paris, France in 2011. Selected group exhibitions include In Praise of Shadows at the Art, Design and Media (ADM) Gallery at the Nanyang Technological Gallery, Singapore in 2017, Supernatural at Gajah Gallery, Yogyakarta, Indonesia, in 2017, Turn Loose The Mermaids at iPreciation Gallery, Singapore in 2016, Dear Painter at Sundaram Tagore Gallery, Singapore in 2015 and Vernacula_ at the Nanyang Academy of Fine Arts, Singapore, in 2015.

His works have been commissioned by La Maison du Whisky for their Artist range and Karuizawa selected by La Maison du Whisky limited edition whisky labels as well as Velier for their Warren Khong range. He is a draughtsman in the Sol Lewitt foundation and worked on both Sol LeWitt wall drawings at the Marina Bay Sands, Singapore. His works have also been collected by the Singapore Art Museum, La Maison du Whisky, Velier and various other private collections.

EDUCATION

2014 – 2015 2008 – 2009 2002 – 2006

MA in Fine Arts, Goldsmiths, University of London, U.K, in partnership with LASALLE College of the Arts, Singapore

BA (Hons) in Fine Art: Painting and Drawing, University of Huddersfield, U.K., in partnership with Nanyang Academy of Fine Arts, Singapore

Diploma in Fine Art, Nanyang Academy of Fine Arts, Singapore

SOLO EXHIBITIONS

2016 Light-Space (In collaboration with Urich Lau), Objectifs – Centre for Photography and Film, Singapore

Whitewash, Institute of Contemporary Arts Singapore, LASALLE College of the Arts, Singapore

2013 Same Same But Different, Reading Room, Singapore
2011 Warren Khong: A Solo Exhibition, Hôtel Salomon De Rothschild, Paris

A Collection of Shapes in Red, Blue, Green, Yellow, Black and White (I still don’t remember the name of the girl I saw that day), Marcuard Asia, Singapore

SELECTED GROUP EXHIBITIONS

2018 Alma Matter, Chan + Hori Contemporary, Singapore
2017 In Praise of Shadows, Art, Design and Media (ADM) Gallery, Nanyang

Technological University, Singapore

Supernatural, Gajah Gallery, Yogyakarta, Indonesia
2016 Turn Loose The Mermaids, iPreciation Gallery, Singapore

GELB, Zwischenzeitraum, Luzern, Switzerland
2015 Celebrating NAFA’s Fine Art Legacy, Lim Hak Tai Gallery, Nanyang Academy of

Fine Arts, Singapore

Portable Art Week, iPreciation Gallery, Singapore

Dear Painter, Sundaram Tagore Gallery, Singapore

Half Past, Art Wood Space, Singapore

Drawing as Draft, Dialogic, Singapore

I Wasn’t Everything, Galleries 1 and 2, Institute of Contemporary Arts Singapore, LASALLE College of the Arts, Singapore

Vernacula_, Galleries 1 and 2, Nanyang Academy of Fine Arts, Singapore

2014 idreamofmona, Praxis Space, Institute of Contemporary Arts Singapore, LASALLE College of the Arts, Singapore

  

A Dozen and then Some, Eminent Plaza, Singapore
Tropical Lab 8: Port of Call, Institute of Contemporary Arts Singapore,

LASALLE College of the Arts, Singapore
2013 Urban Sensations, Goodman Art Centre, Singapore

Kampong Goodman, Goodman Art Centre, Singapore
2011 Coincidence – A two man show with Max Balatbat, Renaissance Art Gallery,

Manila

2009 Necessary Extravagance: The Elephant in the Room, Lim Hak Tai Gallery, Nanyang Academy of Fine Arts, Singapore

Too Far Edna We Wonder Afoot, Wilkie Edge, Singapore 2006 Bottoms Up, Instinc Gallery, Singapore

2005 Not a Black Tie Affair, Front Room Gallery, Singapore Project L403, Unit L403, Telok Kurau Studios, Singapore

ESSAYS ON ARTIST

2017 In Praise of Shadows, Michelle Ho Supernatural, Michelle Ho

2016 Light-Space, Seng Yu Jin
Beyond The Frame: Painting Post Painting, Michelle Ho

Whitewash, June Yap 2015 Dear Painter, June Yap

I Wasn’t Everything, June Yap
2011 The Colour of Experience, John Low

ARTIST TALKS AND WORKSHOPS

2018 Guest Lecture to Srinakharinwirot University, Thailand, Nanyang Academy of Fine Arts, Singapore

2017 Artist Talk, School of Art, Design and Media, Nanyang Technological University, Singapore

2016 Artist Talk, Objectifs – Centre for Photography and Film, Singapore Artist Talk, iPreciation Gallery, Singapore

Artist Talk, Institute of Contemporary Art Singapore, LASALLE College of the Arts, Singapore

Artist Talk, Yale National University of Singapore College (Yale-NUS), Singapore

  

Workshop, People’s Association, Singapore
2015 Artist Talk, Korean National University of the Arts, Seoul, Republic of Korea

Workshop, People’s Association, Singapore
2014 Artist Talk, Royal Melbourne Institute of Technology, Melbourne, Australia

Workshop, Ministry of Education Singapore Teachers’ Academy for the Arts, Singapore

MEDIA REVIEWS

2017 2017 Review, Ten Best Shows in Asia, CoBo https://www.cobosocial.com/dossiers/2017-review-10-best-shows-in-asia/ In Praise of Shadows, web review, Art Republik http://www.luxuo.com/culture/art/in-praise-of-shadows-exhibition-at-adm- gallery-ntu.html

2016 WHITEWASH, print and web review, Today Newspaper http://www.todayonline.com/lifestyle/how-two-artists-use-white-vinyl-and- ikea-type-furniture-re-examine-world-around-us

2015 Dear Painter, web review, Art Asia Pacific http://artasiapacific.com/Magazine/WebExclusives/DearPainter

Top 5 Shows to See for Gillman Barracks’ Third Anniversary, web review, Blouin Artinfo http://sea.blouinartinfo.com/news/story/1239754/top-5-shows-to-see-for- gillman-barracks-3rd-anniversary

鸿辉和叶德晶 为吉门营房策展本地新锐作品, Lianhe Zaobao http://www.zaobao.com.sg/node/535100

WORK EXPERIENCE

2015 – Present Adjunct Lecturer, Nanyang Academy of Fine Arts, Singapore 2015 Adjunct Lecturer, LASALLE College of the Arts, Singapore

SELECTED ACTIVITIES

2017 Commissioned to create a series of artworks for the rum labels of the Warren Khong limited special edition series.

2015 Commissioned to create a series of artworks for the whisky labels of the ‘Karuizawa selected by La Maison du Whisky’ limited special edition series.

            

2014 Commissioned to create a series of artworks for the whisky labels of the ‘Karuizawa selected by La Maison du Whisky’ limited special edition series.

2013 Organizer and curator for The Under 100 Show group exhibition at the Goodman Art Centre Gallery

2011 Commissioned to create a series of artworks for the labels of the ‘Artist’ range limited special edition whiskies by La Maison du Whisky.

2010 Draughtsman for Sol LeWitt wall drawing at the Marina Bay Sands Integrated Resort

COLLECTIONS

Singapore Art Museum, Singapore La Maison du Whisky, Paris, France Velier, Genova, Italy
Various private collections


Assemble 田中昌樹 Masaki Tanaka

この度、S.Y.P Art Space では田中昌樹 個展 -Assemble- を開催いたします。

Assenble | 田中昌樹 Masaki Tanaka

会期 2018年9月14日(金) -9月24日(月) 時間 13:00~19:00  ※18(火).19(水).20(木) 休廊
オープニングレセプション  9月15日(土)

(Fri.) September 14 – (Mon.) September 24 , 2018 13:00-19:00
Close: Mon.Tue.
Opening Reception : (Sat.) September 15

 

ぼくらは何者でもないんだ

完璧でも最高でもない

だから何にだってなれるし その権利もある

だってなんにも持っていないんだ

だからこそ集まれば何かすごいものになれるかもね

We are not nobody.
We are neither perfect, nor special.
That’s why we can become anything, that’s our right
Because we have nothing.

And, if we gather, something amazing might happen.

略歴
1996年 神奈川県出身
2018年 東京造形大学 美術学科 絵画科 在籍
個展
「ZONE」     東京造形大学P301
「シケイン」    東京造形大学P301
「Assemble」    SYP Art Space
展示企画
「New Rag」 田中昌樹 石田遥花 島田かな
「When a Student Becomes an Artist」 齋木克裕 展示mime アーティストトーク CS‐LAB


安達裕美佳 個展 - 散歩するエメラルド –

安達裕美佳 個展―散歩するエメラルド
solo exhibition Yumika Adachi―Emerald taking a walk

-Please scroll down for English texts-

2018.8.25 Sat.ー9.2 Sun. 月・火休廊
14:00-20:00
最終日は17:00まで
Opening Reception :8.25 Sat.18:00-20:00

散歩の記録

2018年7月31日火星が地球に15年ぶりの大接近。
チロリアンドレスの作品が大方完成した。
夕方、少し修正したい部分があるので、薬局へ綿棒を買いに行く。
記録的な猛暑で外へ出るのも億劫な日々だが、日が沈む頃表へ出て少し散歩をするのは気持ちがいい。
帰り道、南東の空にひときわ輝く赤い星が見えた。
そうか、今日は火星と地球が最も近くなる日だ。
ふと、不思議な思いに駆られた。
地球という星は、偶然太陽との関係が適切で、生命が誕生し、人間という生き物が生まれ、便利な道具を発明し、AIを作り、より楽な行き方を追求し、地球環境を壊し、小さいことで悩み、生活習慣病になったりしている。
偶然できた星で作ったり壊したりを繰返す人々。
人間とは不思議な生き物だ。
様々なことに好き嫌いがある。
物を触った質感や色の組み合わせに気分が左右される。
なぜ、花や風景を見て美しいと感じるのか。
それは何通りもの色や形の組み合わせでしかないのに。
あるいはその人の記憶や思い込みによって美しいか美しくないかが判断されていく。
無目的で歩き回ることを散歩というが、散歩をする生き物は他にいるのだろうか。

1987 東京都に生まれる
2012   東京造形大学大学院美術研究領域 修了
      東京造形大学修了制作展『 ZOKEI展』にてZOKEI賞受賞
     パフォーマンス『行為かじょうが』 blanClass
           個展『アリス時計、ポストカードそしてレコードジャケット』Woodberry Coffee       
2014   グループ展『撤収展』ハンマーヘッドスタジオ
2015 世田谷区芸術アワード“飛翔”2015受賞
     第5回世田谷区芸術アワード“飛翔”受賞記念発表(世田谷美術館区民ギャラリー)

English:

Opening Reception :8.25 Sat.18:00-20:00
(Sat.) August 25 -(San.) September 2 , 2018
14:00-20:00
Last day : ~17:00   Close: Mon.Tue.

Record of the walk

31 July 2018  Mars is the closest to Earth it’s been in 15 years.
The Tyrolean dress painting has been largely completed.
In the evening, I went to buy cotton swabs because there is a place I want to fix a little.
It’s troublesome to go out in record heat wave lately. But I feeling good when I walk out in the evening.
On the way home, I saw the red star which shines conspicuously in the southeastern sky.
Aha, Mars is at its closest approach to Earth today.
I was seized with mysterious thought incidentally.
The star called the Earth was relations with the sun are appropriate accidentally, Life was born,The creature called the human being was born,They invented the convenient tool, They made AI, They were In pursuit of a more comfortable way,
They destroyed global environment,They are troubled with a small thing and They suffer from a lifestyle disease.
The people who repeated production and destruction in the star born accidentally.
A human being is a mysterious creature.
we have various likes and dislikes.
Some people who has feeling of ups and downs by texture and combination of colors.
Why do you feel that it is beautiful to see a flower and scenery?
It’s nothing but several color and form combination,
Perhaps beautiful or not is decided by memory and preconception in some cases.
“Sanpo” is walk with no apparent aim.
Will there be the creature doing “Sanpo” elsewhere?


1987  Born in Tokyo
2012  MFA, Tokyo Zokei University
          Winner, Zokei award
    Performance,“KOUIKAJOUGA”blanClass Yokohama,Japan
    Solo exhibition“Arice clock, post card and record jacket” Woodberry Coffee Tokyo
2014  Group Show“Withdrawal exhibition” Yokohama,Japan
2015  Winner, Setagaya art award
          Solo exhibition“Yumika Adachi” Setagaya art Museum ,Japan


小林琴美 個展 「 静止 / 引き伸ばし / 凝縮 」

Kotomi Kobayashi
solo exhibition  “ stillness / enlargement / condensation ”

-Please scroll down for English texts-

2018. 8.11(Sat) – 19(Sun)   13:00 ~ 19:00
小林 琴美 の個展「 静止 / 引き伸ばし / 凝縮 」を開催いたします。
会場の外に設置された噴水に映し出される景色と室内でのインスタレーションを発表いたします。是非、ご高覧ください。

展示について

《ファウンテン》 という作品を展示します。

展示会場のそばで噴水を稼働させ、写真で記録しそれを描いたものと立体物を合わせた作品です。

メモ

・窓の外の景色を眺めるときのように、静かなようにみえて思考は次々と移り変わっていく。

・子供の頃に、自然や生き物、働いている大人を何を考えるわけでもなくじっと見つめ観察していたときのことを思い出す。歳を重ねてからはそのような純粋な観察はしにくくなったように思う。取材のため、とか社会的に役割があることを求められているように感じるからだ

about exhibition

 This exhibition shows the work fountain.
The drawings were made from pictures taken of a fountain in operation near the s.y.p.《fountaincontains the drawings and the small object.

 memo

When I look absently at the view through a window, I look calm. But for a moment, various thoughts appear in my mind.
I remember observing nature, lives and man at work in my childhood; looking without thinking, just looking. I think that it’s difficult to do that after growing up. Because I feel the society expects my actions to be meaningful.

訳協力:Christof Dubs


Hervé Humbert solo Exhibition “take”


Hervé Humbert

solo exhibition  “take”

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フランス出身のアーティスト、エルベ・アンベールはデザインや建築、美術史などに見られる既存の「古典」を再生産する。複製をつくる過程で彼は、対象物と対話し、原型から見えてくるものを手作業でなぞることを繰り返す。素材やサイズの選択、またディテールや文脈を置き換えることを通じて対象を読み込み、可能な限り全てを自身の手で制作する。そのようにして制作される「レプリカ」が、対象と同一に見えるのは初めのうちだけだ。作者の主観と固有の手つきから生まれる作品は、工業的に反復不可能な、唯一無二の存在となる。

日時
6.15(Fri) – 24(Sun) 13:00 – 20:00 金土日のみの開廊
6.15(Fri) 17:00 – 21:00 オープニングレセプション

Hervé Humbert is a french artist living in Berlin.
He just finished his residency at Paradise Air in Matsudo, Chiba.


French artist Hervé Humbert reproduces preexisting “classics” from design, architecture and art history. In his process of building a replica, he engages in a dialogue with the object, traces and manually repeats what is visible in the model. He interprets the precursor by his selection of materials and sizes, by transposing details and contexts, making everything, wherever possible, by hand. The replica is only identical to its precursor at first glance. It becomes an industrially unrepeatable unique through subjective perception and Humbert’s specific handwriting.

date
6.15(Fri) – 24(Sun) 13:00 – 20:00 open at Fri, Sat, Sun
6.15(Fri) 17:00 – 21:00 openning reception


Martina Kändler “topology” Video Installation

Martina Kändler   “topology” (位相幾何学)
ビデオインスタレーション、写真

-Please scroll down for English texts-

Martina Kändlerは、さまざまなメディアの空間の外観を作り変える方法として光を調べています。彼女は、厳格な構成と感情的な影響、厳格な概念的思考と実験的なアプローチとのコントラストの中で、重要性と重要でない哀愁のある作品との対比の中で彼女の仕事を進化させます。
そのインスタレーションは、異なる建築作品間の移行のテーマを反映した一連の写真によって補完されています。
Martina Kändlerは、現実を表現する手段として写真の媒体に疑問を呈し、人工幻想空間を作り出す可能性を調査しています。

日時
5.11(Fri) 17:00 – 21:00 オープニングレセプション
5.12(Sat), 13(Sun) 13:00 – 20:00

www.martinakaendler.de

Martina Kändlerは、さまざまなメディアの空間の外観を作り変える方法として光を調べています。彼女は、厳格な構成と感情的な影響、厳格な概念的思考と実験的なアプローチとのコントラストの中で、重要性と重要でない哀愁のある作品との対比の中で彼女の仕事を進化させます。 

さまざまなメディアで、彼女はさまざまなスケールでこれらの側面を調べます。レーザー光の壁は建築のボリュームに新しいリズムを与えます。キネティックライトオブジェクトは、凝視穴を持つ小さな箱に小さな宇宙を作り、光、色、動き、音で探索し、遊びます。小さな紙のモデルで写真的に記録された状況での実験は、一見アクセス可能なスペースと容積の印象が異なることにつながります。天空の自然光の観察や自然界の一時的な生活の様子は、ドキュメンタリーフォトシリーズのテーマです。

履歴
美術修士、美術アカデミーニュルンベルク
“Meisterschülerin”、Eva von Platen教授
美術教育、美術史、心理学の修士号、アウグスブルク大学
ミュンヘンと東京に在住

 

Martina Kändler “topology”
video installation and photography

Martina Kändler uses the means of projection to alter the experience of space. The architecture of the gallery is virtually extended, the view into an intangible and perpetually changing illusionistic volume opens up. The conventional perception of built structures is inverted. In the installation the spectator remains immobile whereas the virtual walls and voids produced by the projection undergo a constant transformation.
The installation is complemented by a series of photographs reflecting the theme of transition between different architectural volumes.
Martina Kändler questions the medium of photography as a means to display reality and investigates the possibilities of producing artificial illusionistic spaces.

日時
5.11(Fri) 17:00 – 21:00 Opening Reception
5.12(Sat), 13(Sun) 13:00 – 20:00


artist

www.martinakaendler.de

Martina Kändler examines light as a means of creating and changing the appearance of space in different media. She evolves her work within the contrast between strict compositions and an emotional impact, stringent conceptual thinking and an experimental approach, working with materiality and the immaterial ephemeric.

In various media she investigates these aspects in different scales. Architectural volumes are given a new rhythm through walls of laser light. Kinetic light objects produce little universes in small boxes with peek holes, exploring and playing with light, color, motion and sound. Experiments with photographically captured situations produced in little paper models lead to various impressions of seemingly walkable space and volume. Observations of natural light in the sky and forms of temporary housing in nature are the subject of documentary series of photography.

cv

diploma of arts, Academy of fine arts Nuremberg
„Meisterschülerin“, Prof. Eva von Platen
master of arts in art education, art history, and psychology, University of Augsburg
lives and works in Munich and Tokyo


Alisa Berger “Three Borders” Video Installation

Alisa Berger
“Three Borders”

Video Installation

-Please scroll down for English texts-

Three Bordersは、Chris MarkerLaJetée1962年)を思い起こさせる55分の長さの映画ファウンドフッテージフィルム※1です。 それはアーティストの家族写真と他の匿名の家族写真から成っています。 マジックリアリズム※2のという手法の中で、このビデオはAlisa Bergerのユダヤ人の父親と北朝鮮人の母親という家族からの逸話を語っています。 彼らは、3世代にわたる内・外の境界の克服または構築に取り組んでいます。

※1第三者によって発見された 未編集の映像 や、既存の映像をコラージュして作られた映像など。
※2日常に存在するものが、日常には無いものと融合した作品に対して使われる芸術表現技法

会期:2018年4月19日(木)13:00 – 22:00  (スクリーニングパーティー)
2018年4月20日(金)13:00 – 20:00 ※時間が異なりますのでご注意ください。

会場:S.Y.P Art Space(〒162-0065 東京都 新宿区住吉町10-10)

企画・協力:Alisa Berger, ゲーテ・インスティトゥート, “DIE GRENZE” by Inke Arns,Thibaut de Ruyet

 

<アクセス>都営新宿線 曙橋駅A2出口から徒歩3分 https://goo.gl/maps/qsUnjnbxci22

このフィルムは、ゲーテ・インスティトゥート(Geethe Institute Moscow)にてInke ArnsとThibaut de Ruyetによってキュレーションされた “DIE GRENZE”というグループ展の一環として、制作されました。今回の展覧会は、東ヨーロッパ、ロシア、中央アジア、ドイツの12カ国で、2017年〜2018年に開催されます。
そしてこの作品は、ゲーテ・インスティトゥート・モスクワ(Geethe Institute Moscow)が国境を主題として委託したインスタレーションの一部でした

展覧会「Die Grenze」は、以下のようなさまざまな種類の境界と境界を反映し探求しました。
・「領域」と言うもを含めた形または除外した場合に、文化的、個人的、社会的な分割線として「我々」を「他人」と区別するための手段。
・「境界線」はここでは、常に変化する見解ではあるが、ロシアと旧ソ連共和国、そしてドイツとヨーロッパにとって非常に現代的な問題である協定と変更のメタファーと理解されるべきである。
・ヨーロッパとアジアの地理的、文化的境界が共通の糸となっており、プロジェクトはこのテーマを芸術的観点からアプローチし、純粋に政治的経済的視点を超えて文化的次元に導いている。

Artist biography / info:
Alisa Berger is a german-korean-jewish artist and filmmaker, born 1987 in Makhachkala (Republic of Dagestan, Russia) and raised in Lviv(Ukraine) and Essen(Germany), currently lives and works in Cologne (Germany) and currently Tokyo (Japan). Alisa studied film and fine arts at Academy of Media Art Cologne (KHM) and Universidad Nacional de Colombia Bogotá and finished with Master of Arts (M.A.). During her studies she received Best Super8 Award with her experimental film „Island Story“ at Calgary Artifact Filmfestival. With “The Astronauts’ Bodies“, her diploma film at Academy of Media Art she was invited to the renown german film festival Max Ophüls Prize, nominated for germans debut award FIRST STEPS and awarded New Directors Best Film award at the International Film Festival Uruguay and Best Screenplay at Kinofest Lünen. Her latest video art piece „Three Borders“ became part of traveling exhibition “The Border” by Goethe Institut, and was shown in several art venues in Russia, Georgia, Ukraine and Eastern Asia. Her artistic works have been presented in a wide variety of venues, festivals and museums worldwide, among them the History Museum Tbilisi, BACC – Bangkok Art & Culture Centre, MMOMA Moscow, Anthology Film Archives, CCA – Center for Contemporary Art, European Media Art Festival EMAF, San Diego Underground Film Festival, Dovzhenko Film Centre, Kunsthalle Düsseldorf.
Since 2014 Alisa is centering her artistic work around the human body and while preparing to make a new feature film with Butoh-dance, she currently researches in Tokyo, studies at Kazuo Ohno Dance Studio and other butoh-teachers.

Alisa Berger Website

 

Alisa Berger
“Three Borders”

Video Installation

Three Borders is a 55 minute long found footage film reminiscent of Chris Marker’s La Jetée (1962). It consists of family photos of the artist and of other anonymous found (family) photos. In the style of Magic Realism the video narrates anecdotes from the families of Alisa Berger’s Jewish father and her North Korean mother. They address the overcoming or the construction of inner and outer borders which span three generations.

 

Date & Time: 19 April 2018 at 13:00-22:00 (Video Screening Party)
20 April 2018 at 13:00-20:00 

Venue: S.Y.P Art Space (10-10 Sumiyoshi-cho, Shinjuku-ku, Tokyo 162-0065)

Admission Free

Support: Alisa Berger, Geethe Institute Moscow, “DIE GRENZE” by Inke Arns,Thibaut de Ruyet

“Three Borders” was produced as part of the “DIE GRENZE” group exhibition, curated by Inke Arns and Thibaut de Ruyet and initiated by the Goethe Institute. The travelling exhibition will be held in 2017 – 2018 in 12 countries in Eastern Europe, Russia, Central Asia and Germany.

The work was part of an installation, commissioned by the Goethe Institute Moscow on the subject of borders.

The exhibition „Die Grenze“ “explores and reflects boundaries and boundaries of various kinds: as a territorial inclusion or exclusion, as a cultural, personal or social dividing line, as an instrument for distinguishing” We “from the” others “or creating this dichotomy through borders. “Border” here is to be understood as a metaphor, a figure which is not static, but an object of agreements and changes – a highly contemporary issue for Russia and the former Soviet republics as well as for Germany and Europe. The geographical as well as the cultural border between Europe and Asia serves as a common thread. The project approaches this theme from the artistic point of view and directs the view beyond a purely political and economic view to the cultural dimension.

Artist biography / info:
Alisa Berger is a german-korean-jewish artist and filmmaker, born 1987 in Makhachkala (Republic of Dagestan, Russia) and raised in Lviv(Ukraine) and Essen(Germany), currently lives and works in Cologne (Germany) and currently Tokyo (Japan). Alisa studied film and fine arts at Academy of Media Art Cologne (KHM) and Universidad Nacional de Colombia Bogotá and finished with Master of Arts (M.A.). During her studies she received Best Super8 Award with her experimental film „Island Story“ at Calgary Artifact Filmfestival. With “The Astronauts’ Bodies“, her diploma film at Academy of Media Art she was invited to the renown german film festival Max Ophüls Prize, nominated for germans debut award FIRST STEPS and awarded New Directors Best Film award at the International Film Festival Uruguay and Best Screenplay at Kinofest Lünen. Her latest video art piece „Three Borders“ became part of traveling exhibition “The Border” by Goethe Institut, and was shown in several art venues in Russia, Georgia, Ukraine and Eastern Asia. Her artistic works have been presented in a wide variety of venues, festivals and museums worldwide, among them the History Museum Tbilisi, BACC – Bangkok Art & Culture Centre, MMOMA Moscow, Anthology Film Archives, CCA – Center for Contemporary Art, European Media Art Festival EMAF, San Diego Underground Film Festival, Dovzhenko Film Centre, Kunsthalle Düsseldorf.
Since 2014 Alisa is centering her artistic work around the human body and while preparing to make a new feature film with Butoh-dance, she currently researches in Tokyo, studies at Kazuo Ohno Dance Studio and other butoh-teachers.

Alisa Berger Website 


本間メイ Mei Homma

本間メイ Mei Homma
「忘れかけた言葉と、新しいアクセント(訛り)」 “Words are being forgotten and new accents.”

-Please scroll down for English texts-

本展では、九州やインドネシア各地でのリサーチトリップを通し、様々な境遇を生き抜いた女性たちについて思いを巡らせながら制作した2つの映像作品を2日間にわたって展示します。

インドネシア人小説家プラムディヤ・アナンタ・トゥールの歴史小説『人間の大地』『すべての民族の子』に描かれる日本人女性マイコに関するエピソードをきっかけに、本間は第二次世界大戦前に東南アジアで暮らしていた日本人移民の足跡を辿るため、2016年からリサーチと制作を続けてきました。今回はプラムディヤと日本人移民の接点を探るとともに、当時多くの女性たちが渡航に至った社会的・歴史的背景や来日外国人との関係を調べながら、作られた日本人女性のイメージについて考察します。

また、プラムディヤがマルク諸島にあるブル島に政治犯として流刑されていた時に出会った、日本軍によってジャワ島スンダ地方から連れてこられ、戦後も帰ることができずブル島で生活していたインドネシア人女性Siti. Fの記憶を、プラムディヤが他の政治犯とともに記録したダイアローグを元に、マルク諸島特有のムラユ語訛りを交えたナレーションによって再考していきます。

会期:2018年3月30日(金)、31日(土)

会場:S.Y.P Art Space(〒162-0065 東京都 新宿区住吉町10-10)

時間:13:00-19:00

入場無料

企画:本間メイ

協力:CAMP

助成:公益財団法人テルモ生命科学芸術財団

//////////

CAMPトークイベント:本間メイ「忘れかけた言葉と、新しいアクセント(訛り)」展をめぐって

http://ca-mp.blogspot.jp/2018/03/meihomma.html

//////////

北九州から福岡、長崎、熊本、そしてジャカルタ、バンドン、マカッサル、アンボン、ブル島、ブローラなど各地でのリサーチトリップで見聞きしたものや制作背景について作家が話をした後、参加者を交えてディスカッションを行います。

日時:2018年3月30日(金)19:00~21:00 *イベント中は展示を見ることができないのでご注意ください

場所:S.Y.P Art Space(東京都新宿区住吉町10-10)

定員:15人(当日先着順、予約不要) 参加費:無料

【 ゲスト 】

本間メイ(アーティスト)

【 スケジュール 】

19:00-19:45|上映

《Anak Anak Negeri Matahari Terbit -日出ずる国の子どもたち−》

《About a missing woman from Java found in the Buru Island(ブル島で見つかった、ジャワ島出身の行方不明の女性について)》

19:45-21:00|ディスカッション

<アクセス>

都営新宿線 曙橋駅A2出口から徒歩3分

https://goo.gl/maps/qsUnjnbxci22

【 プロフィール 】

▼本間メイ|Mei Homma
1985年東京生まれ。2009年女子美術大学芸術学部芸術学科卒業 ​。2011年チェルシー芸術大学MAファインアーツ修了。東京とバンドン(インドネシア)を拠点に活動。近世から現代にいたるインドネシアと日本の歴史的関係のリサーチを基点に、現在にも通ずる社会・政治的な問題や多国間関係を考察し、映像作品やオブジェ、ドキュメントを組み合わせたインスタレーションを発表している。

///Words are being forgotten and new accents.///

This 2-days exhibition shows 2 video works of Mei Homma. She has been doing research trips in several places in Kyushu, Japan and Indonesia to know women who survived from different circumstances.

Since 2016 she has been researching and making artworks about Japanese immigrants in Southeast Asia before WW2, inspired by a character of Japanese woman Maiko in Indonesian novels “Bumi Manusia (This Earth of Mankind)” and “Anak Semua Bangsa (Child of All Nations)” by an Indonesian author Pramoedya Ananta Toer. For this show, she has explored what the point of meeting was between Pramoedya and Japanese immigrants, and researched on the reason why many Japanese women went abroad at that time to investigate how the image of Japanese women was formed.

She also tries to reconstruct the memory of a Sundanese woman Siti. F who was brought to the Buru Island in Maluku from Java by Japanese armies during WW2. Siti. F couldn’t go back to Java after the war, and Pramoedya met her when he was imprisoned in Buru as a political offense in 70’s. In Mei’s video work, a voice-over was made with a Melayu accent in Maluku using a dialogue that Pramoedya and other political offences documented.

Date & Time: 30-31 March 2018 at 13:00-19:00

Venue: S.Y.P Art Space (10-10 Sumiyoshi-cho, Shinjuku-ku, Tokyo 162-0065)

Admission Free

Support: CAMP

Grant: TERUMO FOUNDATION for LIFE SCIENCES and ARTS

【 CAMP Talk Event 】*Discussion is Japanese language only. The exhibition can’t be seen during the event.

The talk & discussion will be held in collaboration with CAMP.

Date & Time: 30 March 2018 at 19:00-21:00

19:00-19:45|Screening《Anak Anak Negeri Matahari Terbit -Children from the Land of the Rising Sun-》《About a missing woman from Java found in the Buru Island》

19:45-21:00|Talk & Discussion

<Access>

3 minutes walk from A2 exit of Akebonobashi station, Toei Shinjuku line.

<Map>

https://goo.gl/maps/qsUnjnbxci22

▼Mei Homma 

Born in Tokyo, 1985. Based in Tokyo and Bandung (Indonesia).

2009 BA Art Theory, Joshibi University of Art and Design, Kanagawa, Japan

2011 MA Fine Art, Chelsea College of Arts

With my research on historical relationships between Indonesia and Japan from the early modern period to the present times, I make videos and installations using objects and archival materials to explore social and political issues would happen in any period and multilateral relationships.


Sanae Yamada  山田 沙奈恵 「群れたち」

山田 沙奈恵   Sanae Yamada
– 群れたち –


会期
2018224()−310()
時間 13:0020:00   月・火曜日は休み
会場 S.Y.P Art Space
オープニングレセプション 2 24 ()18:0020:00

山田沙奈恵ウェブサイト http://sanaeyamada.com

本展では、ポートランド(アメリカ、オレゴン州)での滞在制作を通して制作された「Rhythms from Neighborhood」、新潟県の松之山の集落で、冬季に降雪から家を守るためのルーティンワークである「雪ほり」に取材した「With Friction, As Friction」など、山田自身が異なる環境に身を置くことによって作られた二つの映像作品と、並行して制作された小作品を展示します。

「滞在制作という形で各地に少しずつ滞在するなか、場所や個体の有限性に基づいて、マイクロな文化圏ともいえるような集団がそれぞれに形成されているのを見てきました。その中で人は風景のストラクチャーの一部であるかのように分かち難く機能していて、私はそれぞれの独自性に魅了されながらも、集団同士の別々さや動かしがたさに、部外者として触れがたいものを感じ、途方に暮れる思いがすることがしばしばありました。そのようなときに興味を惹かれることは、日常のルーティーンや労働などの振る舞いが、その個のなさゆえに個の有限性を超えて過去や未来へと結びつくこと、そうした無名性のもたらす領域や、あるいは視点のスケールや時間の縮尺を変えて眺めたときに、別々の集団とみえたものを編成しなおせるような可能性です。

そうした思考を制作の中でイメージへと比喩的に変換し、制作のうちに現れた予期しないものや、作品となった結果を現実のメタファーとして逆方向へ翻訳する。そのような往復する思考の通過するところとして、展覧会を構成します。」

山田沙奈恵

1987年群馬県生まれ、東京都在住。
武蔵野美術大学造形学部視覚伝達デザイン学科卒業、東京藝術大学大学院美術研究科デザイン専攻修了。

社会において共有されたイメージと、特定の場所に個別の身体を持って生きることとの摩擦をみつめること、それらが接続しうる瞬間/状況を見つけることを目的として制作する。アーティストインレジデンスなどの機会を用いて、自然と境を接する集落の周縁部や、都市開発の現場など、複数の視点がぶつかる場所を観察することを制作の起点としている。
インスタレーション、映像、ドローイング、写真など、作品に応じてメディアを横断し、組み合わせて使用する。しばしば物事の間の類似を比喩として用いて、生活のルーティーンや個人的な体験などの延長線上に、既にイメージとなって身体感覚から離れてしまったものを想起させるなど、制作行為の中でその連続を辿ろうとしている。


– sweet doughnut -  Shiori Watanabe 渡辺 志桜里

 

Exhibition
2017. 12. 22 (Fri) – 2018. 1. 14 (Sun) 13:00 ~ 20:00

Close at 12.31(Sun) – 1.5(Fri) and 1.9(Tue),10(Wed)

party
 12.22 (Fri) and 1.13 (Sat)

 

statement

都会の中心に人とは隔絶された場所がある。
そこでは私たちの世界とは断切され、生き物が完全な調和をもって存在している。
取り残された場所と移り変わる都市の風景、
その間には時空を超えた永遠の道のりがあり決してたどり着くことはできない。

中心の不在とユートピアをテーマに、都市の中心、外側、そしてその境目にスポットを当て、展開します。 週末のみの展示になりますが、 よろしくお願いします。

渡辺 志桜里