2005.11.5 (Sat.) - 2006.3.5 (Sun.)
Alternative Paradise is a thematic exhibition featuring new expressions, in an attempt to redefine a value notion of “Kogei” – a genre that has been considered somewhat peripheral from the perspective of the 20th century western modernism – by looking at their artistic attributes. The exhibition is comprised of two sections; an artistic space by eleven Japanese and international artists, all known for their specific mode of expression and the materials they use, and T-ROOM, a collaborative effort of KUMA Kengo (direction), IWAI Toshio, HARA Kenya, and FUKASAWA Naoto, where a tea-ceremony room is reinterpreted in a contemporary sense. All expressions here take a certain stance that capitalizes on “nature” as well as “other,” which was in a variety of ways believed to discover in another type of utopia – alternative paradise – different from the one that western modernism, dominant in the 20th century looked to. The idea is developed so as to use the gallery spaces almost to the full extent.
AT HOME dot, 2004 / HOMELIKE II, 2005
Photo: SAIKI Taku
2005.9.3 (Sat.) - 2005.10.26 (Wed.)
Gerhard Richter is one of the most important artists of our time. This solo-exhibition will show Richter’s works from the past forty years of his artistic career, since the 1960s. This is the first time in Japan to have an exhibition showing more than fifty major works of Richter, including the ones loaned by the artist himself.
Gerhard Richter was born in Dresden, in former East Germany, in 1932. He moved to Düsseldorf, in former West Germany, right before the Berlin Wall was erected to separate his country. He now lives in Cologne. In 2002, he had a retrospective at the Museum of Modern Art in New York and a solo exhibition in Kunstsammlung Nordrhein-Westfalen at the beginning of 2005, which had as many as 110,000 visitors. Richter is considered to be one of the most important artists in the world.
Richter has an astonishing variety of artistic styles: Photo-Painting, where he precisely reproduces photographic images from newspapers and magazines and gives the finishing touch of a delicate blur, the Colour Chart Series, geometric arrangements of square and rectangular colourful chips, the Grey Painting Series and Landscapes that remind us of German Romantic paintings, Abstract Paintings with vibrant colour combinations, and works that use transparent and painted glass and mirrors.
These works seem to be incompatible as far as common artistic goals. They, however, have in common Richter’s consistent philosophy to pursue potential in paintings. Through his original two-dimensional works that blur the borders between “photography and paintings,” “figurative and abstract,” “reality and virtual reality,” Richter continues his pursuit of “vision.” His works can be perceived as “mirrors” to reflect upon our world where reality and image are equally present in our contemporary life dominated by media such as the Internet.
Most of the works in this exhibition will be shown in Japan for the first time, including six new oil paintings. This will give us a very good opportunity to explore different aspects of Richter’s art, which continues to evolve.
Wolken [443a] , 1978
Kunstsammlung Nordrhein-Westfalen, Düseldorf (Leihgabe des Landes Nordrhein-Westfalen)
© Gerhard Richter
2005.7.2 (Sat.) - 2005.8.25 (Thu.)
The exhibition is constructed with DRAWING RESTRAINT 1 to 8, comprised of video, photographs, and sculpture; and the new DRAWING RESTRAINT 9, consisting of sculpture, photographs, video, and films. Using the differently proportioned gallery spaces of 21st Century Museum of Contemporary Art, Kanazawa, Barney designed a bold exhibiting construction connecting between galleries. His other work, the Path, representing three elements of "condition" "situation" and "production", which is the origin of the DRAWING RESTRAINT series, will be also exhibited.
Drawing Restraint 9, Production Still 2004
Photo: Chris Winget
Courtesy Gladstone Gallery, New York
©2004 Matthew Barney
2005.4.29 (Fri.) - 2005.5.22 (Sun.)
Many of museums constructed in recent years are materialized in shape with a pure vision of the architect, and can perceive the reduced drawing of a present age architectural culture by taking a general view of them. The reflection of the flow of a cultural frame over the museum of today, a city planning idea, and the society can be clearly read there. This project be to apply the focus to the museum construction at the 20th end of the century, and to try to offer the view concerning the museum construction and the museum activity that do the bird's-eyeview, and the world is excellent, and to search by a new museum image of the 21st century as for the trend of today's architectural field.
Center for Contemporary Art Cincinnat
Courtesy Zaha Hadid Architects, London
2005.4.29 (Fri.) - 2005.5.22 (Sun.)
In this exhibition of SEJIMA Kazuyo and NISHIZAWA Ryue, the architects of 21st Century Museum of Contemporary Art, Kanazawa, we will exhibit their realized architectures and unrealized ideas, so that we can show the concept of their architectures, including our museum. Also, we will show their attitude to the architectures and cities today, which we can see in their plans of architecture and cities. Through this, we can reconsider the situation of architecture and city today.
Photo: Walter Niedermayr
OPENING EXHIBITION The Encounters in the 21st Century :
2004.10.9 (Sat.) - 2005.3.21 (Mon.)
This exhibition, which will mark the opening of the 21st Century Museum of Contemporary Art, Kanazawa, encompasses 40 artists from 17 countries, and includes 80 works from the Museum's collection. 20 of the 40 artists represented will be creating new works specifically designed for the Museum space. This exhibition represents works that are fragile and delicate, and also, those that are open and resonant with the world while emanating their very own "sound." The works spill out from one exhibition space to another and scatter, expanding out into the encompassing circular space; a current reminiscent of a neural network. Within this circuit, the spatial orientation such as front and back, above and below, and linear progression of time, and even, gravity are all lost. Instead, an unknown sensibility will be extracted. The design of this museum itself reprograms individual experiences into something unique.
2004 (CG image)