Rhythms -その向こうに-

#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

S.Y.P Art Space is pleased to announce this group exhibition. 
It will install four artists’ works.
Artists:Mina Kikuhara, Hiroshi Suzuki, Takeshi Fukuda, Shoko Miki
Duration : 27th April – 5th May  ※ Open all day
Time : 12:00~19:00 (on 27th April : open at 13:00~, opening party start 17:00~)
About “Rhythms- Beyond” Exhibition
This is a photographic exhibition by two contemporary artists, a photographer 
and an environmental artist.
We are aiming for an atmosphere which the artist’s individuality clearly resonates, while utilizing the space and characteristics of the venue.
We look forward to your visit!

 


The Way of Flowers – Monica Takvam

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


森下 絵里奈 –点線のパノラマ–

森下 絵里奈 個展
Erina Morishita Solo Exhibition
点線のパノラマ

会期 201922()―210()
時間 13:00–20:00     *月曜、火曜休廊 最終日は17:00まで
オープニングレセプション: 22() 1800–2000

 

『雨』
地球では時々雨が降りますが、出かけた先から家に帰ろうと普段乗らないバスに乗ったその日も、一日中雨が降っていたので、バスの窓にはたくさんの雫が付いていました。バスの中からそれを眺めているとある瞬間、雫が皆ほとんど同じ波の模様になりました。どこまでも細密なそれは、隣を走るトラックの荷台のしましまでした。これだけ雫があれば、一つくらい間違ってしましまを逆さまにでも映していないものかな、と思いながら終点でバスを降りると、するとあの雫の中には、空から落ちてくる途中にすれ違った鳥の顔を映したままだったり、実は半分は違う日のトラックを映していた、なんてものも本当になかったのかな?と、なんとも気になってきたのでした。

森下 絵里奈
1987年東京都生まれ
東京藝術大学院博士後期課程在籍

 

Erina Morishita Solo Exhibition
– Dotted panorama –

Date: From 2nd to 10th February
Opening hours: 13:00-20:00 (closed on Monday and Tuesday. 10th February until 17:00)
Opening reception: Saturday 2nd February 18:00 20:00

 

“Rain”
On Earth, sometimes it rains. On one of those rainy days, I rode the bus back home, even though I usually don’t. On the bus window there were many raindrops and, for a moment, there all were forming a wavy pattern.
The truck running next to us was transformed into a stripped pattern by the raindrops, so if there were many more of them they may project a hole landscape.
I kept on thinking on these things until I run out of stops.
How different would it appear the face of a bird from the inside of a falling raindrop in the middle of the sky? Would it be possible to mix it with the stripped projection of a truck from the other day?
I ended tangled up with those thoughts.

 

Erina Morishita
Born in Tokyo in 1987
Doctoral degree at Tokyo National University of Fine Arts and Music


高木沙織 Saori Takagi 「めいめいきれいにひかってゆれる」

-Please scroll down for English texts-

この度、
S.Y.P Art Space では高木沙織の個展 めいめいきれいにひかってゆれる‒を開催します。

会期 2018128日(土)−1216日(日)
時間 13:0020:00  *月曜、火曜、水曜は休廊 最終日は17:00まで
オープニングパーティー : 128日(土)17:00 – 20:00

展示について
学生時代に学んだ版画の制作では、どんな版であっても、何版あっても、1つの紙に絵が集約されることに面白さを感じていました。それは「様々なものが同列の次元にある」というコンセプトに変化していき、大学卒業後はそのコンセプトに重きを置いた作品を、コラージュやインスタレーションの形で制作してきました。今回の展示では表現方法を油彩に絞り、より深く自分の制作について考えたいと思います。

展示のタイトルであるめいめいきれいにひかってゆれるというのは、宮沢賢治の「ソックスレット」という詩の一節です。 詩の中で光っているのはフラスコの中の溶液ですが、作品と、自分と自分以外の他者がそれぞれに光って揺れるようなイメージを込めて、展示を構成します。                          

高木沙織

 

Saori Takagi Solo Exhibition « Mei-mei kirei ni hikatte yureru »

2018.12.8 Sat. – 12.16 Sun.   Close at Mon,Tue,Wed.
13:00-20:00
Opening Party : 12.8 Sat  17:00 – 20:00

During my training at the art university, I learned the technique of woodcut print that I found fascinating because of the fact that one paper could contain as many different prints as you want. This idea of  woodcut reliefs being transformed and leveled off into a flat surface as paper led me to come up with the concept of « different things on the same dimension ».

After graduating from the university, I focused on developing this concept through collages and installations. However, for this exhibition, I decided to use the oil painting technique, that I haven’t used since university, in order to think further of this concept.

The title of this show « Mei-mei kirei ni hikatte yureru » refers to a passage of a poem called « Soxhlet » by the Japanese writer Kenji Miyazawa. It describes the image of a liquid inside a flask where its particles shine and vibrate independently but giving the impression of an unity. This image is what I try to accomplish with this exhibition.

 


Keisuke Masuda – ghost portraits –

#English is below

増田恵助  「ghost portraits」

2018.11.23 ( Fri ) – 12.2 ( Sun )

14:00~19:00 金土日祝のみオープン

 

作家コメント

“絵の中の絵”

2017年1月にこの場所で行った「絵の中の絵」という展示では、僕がそれまで取り組んできたいわゆる人物画に「画中画」(絵の中に描き込まれた絵・図像、例えば古典絵画などで絵の中の壁などに掛けられた絵など)の要素を加えて制作したものでした。

その後6月に日本橋三越本店で行った同じく「絵の中の絵」展ではそこから展開して静物を組み合わせ、一つの画面に画中画・模様・図像・鏡面などを含めた作品となりました。

“ghost portraits”

そして今回の展示ではこれまでの展開を引き受けつつ、あらためて「肖像画」というジャンルにクローズアップしています。

人物画を言い表すときに “portrait”(ポートレイト)という言葉を使うことがあります。この英単語を調べてみると「肖像(画)」や「肖像(人物)写真」と出てきます。

これまで私が制作してきた人物画はほとんどがある種の時代性を代弁する為のモデルやアイコンでしかなく、「肖像画」として捉えることはありませんでした。

そもそも肖像画というジャンル自体は、写真が登場して以来おそらく描かれることも必要とされることも少なくなっている印象があります。逆に人物をモティーフとして捉え、表現の媒介として扱うような作品の方が圧倒的に多いのではないでしょうか。

今回展示されている何点かの肖像画は誰からも頼まれていないのに僕が勝手に描いたものです。しかも写真や模様を組み合わせて描いているので、元の図像としてはそもそも存在していません。

そういうものを肖像画と呼んでもいいのか分かりませんが、少しだけそのあたりも踏まえてご高覧いただければと思います。

増田恵助

 

Keisuke Masuda “ghost portraits”

2018.11.23 (Fri) -12.2 (Sun) 14: 00 ~ 19: 00
Open on Friday, Saturday, Sunday and on public holidays

Artist’s comment:

“Painting inside a painting”

For the exhibition “Painting in a painting” that was held on January 2017 on this very space, I explored the idea of applying to my portraits the concept of Picture on a Picture: a picture drawn into another picture; for example, in classical paintings is not unusual to find an interior space in which walls we can see hanging other paintings.

Afterwards, in an exhibition held on June at the Nihonbashi Mitsukoshi’s gallery, the concept of “painting in painting” was expanded through a combination of still objects, including paintings, patterns, figures, mirrors, etc. depicted inside the painting.

“Ghost portraits”

This time, and connecting with the previous exhibitions, I will be focusing on the portrait genre once again.

When talking about this genre, we may use the English word “portrait” or use the Japanese word “jinbutsuga”(人物画), that literary means “picture of a person”. When we examine the English term, it comes out as both portrait-painting and portrait-photograph.

Most of the so-to-speak portraits that I have produced are depictions of models and various icons that were meant to represent a certain generation and not to be a descriptive portrait of a specific person.

To begin with, I have the impression that the genre of portrait, as traditionally conceived, has lost its necessity since the development of the photography. Moreover, it seems that nowadays there are many artworks that treat people as mere motifs or as a mean of expression for the artist to use.

Some of the portraits presented in this exhibition are not painted by request but painted for myself. Moreover, since the paintings were conceived from a mix of photographs and patterns, the resulting image did not exist in the first place.

I am not certain if these paintings may be called portraits, but keeping this in mind, please enjoy the exhibition.

Masuda Keisuke


Eiko Hattori Solo Exhibition -Light and Shadow-

服部 詠子 個展

Eiko Hattori  Solo Exhibition

-Light and Shadow-

会期: 2018年10月5日(金)~ 8日(月・祝)

時間: 13:00~19:00 初日は17:00から、最終日は17:00まで

展覧会場: S.Y.P Art Space

・オープニングレセプション 10月5日(金)17:00~21:00

アーティストHP: https://www.eikohattori.com

作品制作のテーマ/About concept of artistic creation

作家として取り組んでいるコンセプトは、シンプルなモチーフの連続性で生まれる美しさ、幾何学的な表現です。私にとって芸術とは美の表現であり、美とは幾何学であり、幾何学とは宇宙です。美と幾何学、宇宙、この三つをコンセプトに作品を制作しています。

幾何学が表現する宇宙とは何か、人はなぜ、そしてどのように幾何学に美を感じるのか、という私自身が持つ問いに対する答えを求めているのです。

My all time concept is the expression of the geometric object which consists from repetition of the simple pattern.  Art is “beauty,” the beauty is “geometry” and the geometry is “universe”.  Then, the art is beauty, geometry and the universe for me.  My creative inspiration always comes from those three concepts.

I create art works to find answers to my question why people feel the beauty through the geometric art.

-Light and Shadow- 展示作品について/About Exhibition work

フィンランドにはヒンメリという伝統工芸があります。主にクリスマス装飾用とした工芸品で、藁を用いて多面体を制作するものです。かつて国が貧しかった時代、暗闇の中で金のように光る材料を求めて身近にあった藁を用いて作られていたといわれているそうです。

今年6月にアーティスト・レジデンスでフィンランドに滞在し、ヒンメリについて得た知見を元に、本展ではヒンメリの技法を取り入れた作品を展示します。

大きな光をイメージした正二十面体のオブジェクトによる、光と影をテーマにしたインスタレーションです。

オブジェクト自体と光を受けて生まれる影が幾何学的な空間を作り出します。ぜひご高覧いただけると幸いです。

Himmeli, a traditional Finnish art craft for mainly decorating in Christmas season is to create polyhedral object by straw of rice.  It is said that people were poor in Finland at a time in the past, they utilized the straw in substitution for gold.  However they couldn’t get the gold, they realized the straw could shine into the dark as like gold.

I investigated Himmeli in Finland where I participated in Artist Residency Program this June, and I show an installation art that I inspired from Himmeli in my solo exhibition.

A big regular icosahedron is exhibited under the theme of “Light and Shadow”.  I hope you enjoy the space of geometric.

作家 略歴/Artist CV

2013年3月 京都造形芸術大学通信教育学部芸術学部美術科染織コース 卒業

2017年6月 Metàfora International Workshop (スペイン、バルセロナ) 修了

2013年5月 第35回日本新工芸展入選 (国立新美術館/東京)

2013年9月 千代田芸術祭アンデパンダン展 (アーツ千代田3331/東京)

2016年8月 第4回JADIF公募作品選抜展入選 (世田谷美術館/東京)

2016年11月 Complete nothingness [グループ展](Untitled BCN/バルセロナ)

2017年3月 Art Lover Ground [アートイベント] (MUTUO/バルセロナ)

2017年9月 Nonesuch Art Of Paper Awards入選(カナダ)

2017年10月 7th International Biennial of Contemporary Textile Art入選(ウルグアイ)

2018年5月 International Biennial Textile Art Exhibition入選(ウクライナ)

2018年6月 Kristinestad artists’ residence [レジデンス](フィンランド)


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
9.29(Sat) – 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
9.29(Sat) – 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