2013.9.28 (Sat.) - 2014.3.16 (Sun.)
We differentiate between the internal and external in many different situations. Our interior is formed on the basis of common rules such as language, physical characteristics and memory, and friction and discord frequently arise between inside and out. Yet we find new rules for the internal and external, negotiating on the boundaries, which are continually being updated. Thus we could describe a border as a territory harboring the potential to expand the interior. This year's Collection Exhibition is an attempt from this standpoint to change our view of borderlines from one of division, to one of connection and expansion.
"Borderline Collection Exhibition I" took as its basis that which is most familiar to us – the body – and pondered the relationship between inside and out. "Borderline Collection Exhibition II" expands this to include social borders, in a showcase of works from the Museum’s collection.
Having come to possess through the evolutionary process a massive cerebrum, homo sapiens also acquired the inner realm that is consciousness. Various borderlines exist in our society: between the self and others, national borders, and gender, to name just a few, but in most cases no actual line has been drawn. Rather a line has been drawn by people in their consciousness, and subsequently become institutionalized. Through the work of eight artists, at times confronting the borderlines created by human consciousness, at times traversing them, this exhibition explores the potential for people to expand the inner realm that is the self through contact with the outside, via borders.
YONEDA Seiko, Curator, 21st Century Museum of Contemporary Art, Kanazawa
2013.8.3 (Sat.) - 2013.11.10 (Sun.)
Fiona Tan was born in 1966 in Pekan Baru, on the island of Sumatra in Indonesia. She now lives and works in Amsterdam.The daughter of a Chinese father and an Australian mother, she lived in Australia before moving to Europe. Having lived in different cultures as a child, she recognizes within herself a multilayered complexity rooted in that history. Her 1997 film May You Live in Interesting Times depicts the flight of her own family from anti-Chinese violence in Indonesia and highlights her identity as an artist who is herself a symbol for multicultural lives. Tan’s tranquil images reveal the continuing pursuit of difference in works with wide appeal around the world. In recent years she has turned to the use of fragmentary images, articulating a variety of meanings through techniques of montage and restructuring that convey the ambiguities of memory. While each photograph and video image is shot with a steady hand, their failure to convey the true meaning or facts of what they portray compels viewers to speculate, probing deeply into their own memories, and making the images themselves unforgettable. In this exhibition, we present works that range from Linnaeus’ Flower Clock (1998) from Tan’s early period to the more recent Rise and Fall (2009) and Seven (2011), in which lines and voices intersecting in discontinuous time are woven together to create one of art’s most compelling stories.
2013.8.3 (Sat.) - 2013.11.10 (Sun.)
In-Habit by Maria Isabel Gaudinez-Aquilizan and Alfredo Juan Aquilizan is a large-scale installation: a home made of cardboard, caught up in the flow of production and consumption. It is modeled on the
homes of the Badjao, a people who live on the coast of Sabah, located on the island of Borneo. Traditionally, the Badjao live on boats or on houses built on high platforms in coastal shallows. They spend their floating lives in intimate connection with the sea. In recent years, however, waves of globalization have led to visible changes in their way of life. Via the Badjao, the artists provide an overview of life in contemporary Asia, as new values sustained by both economic and cultural globalization have led to a growing awareness of the danger that Asia confronts a critical turning point. Maria Isabel Gaudinez-Aquilizan and Alfredo Juan Aquilizan were born in the Philippines and now live and work in Australia, but have now returned to their roots with their project Another Country, in which they pose the
questions, “Where do we live?” and “How do we live?” This exhibition provides an opportunity to reconsider how our once taken for granted freedom to live where and how we like is threatened by rapid
2013.7.12 (Fri.) - 2013.11.24 (Sun.)
"Philosophical Fashion"—a series inquiring into the meaning of clothing today, when trends change with dizzying speed, driven by the phenomenal rise of "fast fashion." Featured in this series are creators who consistently propose new fashions on the basis of an enduring concept. Our second exhibit of this series looks at "ANREALAGE," a fashion brand that has captured attention with conceptual designs reflecting a truly unique vision of the body and clothing, distinguished by scrupulous attention to detail in the making.
ANREALAGE takes "real," "unreal" and "age" as its concept. MORINAGA Kunihiko, the brand’s designer, analyzes the "real" of everyday life we are ordinarily unaware of. Abstracting the "unreal" from that reality, he applies unreal fantasies to his conception of clothing.
Morinaga’s methods are astonishing and time-consuming—a suit sewn with 5,000 buttons or a patchwork jacket made of several hundred fabric pieces. His approach is distinguished by conceptual "form"—clothing fitted to spheres, triangular pyramids, squares, and human bodies of odd proportions. He works, then, in a spirit of experimentation using cutting-edge technologies—exceedingly sensitive "laser cut" fabric cutting, for instance, and threads and dyes that change color in response to sunlight.
Morinaga pursues the essence of fashion within close observation of his age. Although his designs are always met with surprise, his aim is not to produce Morinaga "creations." Rather, by reducing "creations" to wearable "products" of the ANREALAGE brand, he draws consumers into involvement and seeks to penetrate society and the times.
Morinaga’s theme this time—A COLOR UN COLOR. His inquiry into color, as a fashion designer, he will unfold in the space of a transparent gallery.
HIRABAYASHI Megumi, Curator
2013.4.27 (Sat.) - 2014.3.2 (Sun.)
Shimabuku travels the world, creating artworks that examine how people live and communicate. For this long-term project lasting one year, Shimabuku is traveling to Noto to satisfy his curiosity about its unusual customs and products. Then, based on what he discovers there from his unique artistic perspective, he is creating new artworks. The project is the 7th undertaking of the “Kanazawa Youth Dream Challenge Art Programme,” which offers young people from Kanazawa and other regions opportunities to work together with artists. As such, it has already (since April) seen some 28 “volunteer members” visit Noto with Shimabuku and return to recreate their discoveries there, in a museum gallery. From September 28, the artist is exhibiting the new works he has created with the members. Workshops and other events are also being held with Noto and this museum as a stage. Visitors to the exhibition will be freshly moved by Shimabuku’s unique perspective on Noto, so that they look anew at things all around them.
2013.4.27 (Sat.) - 2013.9.1 (Sun.)
Our organs contain life memory and life rhythms from the far distant past, according to anatomist MIKI Shigeo (1925-1987). Miki’s observations of human behavior, senses, and emotions have profoundly influenced diverse fields. This exhibition will ponder Miki’s views and take “visceral sensation”—the most primeval and fundamental of the human senses—as an aid to appreciating contemporary artworks that converse with the voices of life within us and induce new perceptual awakenings.
Featured will be 13 artists and artist collaboratives from Japan and abroad: Louise BOURGEOIS, CHO Shinta, Nathalie DJURBERG & Hans BERG, KATO Izumi, KUSAMA Yayoi, Ana MENDIETA, NAKAGAWA Yukio, Saskia OLDE WOLBERS, OLTA, Pipilotti RIST, SHIGA Lieko, Bill VIOLA, and WATANABE Kikuma. All, as artists, consciously or unconsciously explore the sensations, perceptions, and emotions emanating from our primordial physical embodiment, or respond to the life rhythms resonating silently in our organs, the axis of our physical being. Working in painting, sculpture, photography, video, picture books, architecture, installation, and performance, they manifest these inner voices in their artworks.
Today, when our fears of environmental and socio-economic collapse are becoming real—as demonstrated by the anxiety and discomfort we have known, concerning radiation, since the 2011 Tohoku Earthquake and nuclear power plant disaster—what do we feel in our bodies; what are our bodies saying? This exhibition will be a place where visitors, prompted by the sensations they experience in their encounter with each artwork, will tune into, feel, and ponder the “voices so far, so near” that speak within and around them as people of an uncertain age.
YOSHIOKA Emiko, Curator
21st Century Museum of Contemporary Art, Kanazawa