2014.9.13 (Sat.) - 2014.11.24 (Mon.)
“Aperto,” a new series, takes a solo exhibition format to highlight up-and-coming young artists and examine new trends in the making. “KIM Mitsuo: White light White heat” is the inaugural exhibition in this series.
Kim Mitsuo employs silk-screen techniques to explore the relationship between serial images and the image they produce as a total effect. Spreading a thin layer of paraffin wax on a board, he transfers an ink image to the wax using silk screen. He then exposes the surface to heat and melts the wax, halting the process to let it harden just before the image disappears entirely. The ink portions that melt along with the wax return to an unfigured state and remain as spaces of emptiness. Although a two-dimensional work, its surface is disturbed by projections of the wax and shows the traces of Kim’s own physical actions.
The indistinct, broken lines of a fence or chair form an ambiguous boundary, causing us to sense another world of light beyond. While giving play to the qualities of his materials and techniques, Kim implies that opposing phenomena exist in the same world and gives visual embodiment to a situation in which the essential spirit of what we expect to see is missing.
Yumiko Tatematsu (Curator, 21st Century Museum of Contemporary Art, Kanazawa)
2014.9.13 (Sat.) - 2014.11.24 (Mon.)
"This reminds me something else," we often wonder to ourselves. The technique of representing one object with another is called mitate. Yasuhiro Suzuki likens a boat’s wake to a zipper or the ball of a kendama cup-and-ball to an apple and, in this way, rediscovers familiar objects and phenomena from his own perspective. The artworks he creates using this technique help open up our perceptions of the world. This autumn, 21st Century Museum of Contemporary Art, Kanazawa is holding a "project exhibit" of mitate theme. The exhibit will occasion a fresh look at the art museum and around Kanazawa.
Awazu Kiyoshi : Makurihirogeru（EXPOSE）1
2014.9.13 (Sat.) - 2014.10.13 (Mon.)
The laws of causality in landscapes and objects, chance encounters. Chance operation. That is what I
think people are seeing.
“Art Running Wild,” Awazu Kiyoshi (from Zokei Shiko Noto, p.112)
After World War II, in a Tokyo that had turned into a wasteland, Awazu Kiyoshi (1929-2009) taught himself painting, using films and art magazines as his textbooks, by sketching passengers on the Yamanote Line trains and people in the street. In 1955, after winning the Japan Advertising Artists Club Award for his poster Umi wo Kaese (Give Our Sea Back), he adopted and expanded the reproduction and mass production of images through design and printing technology as the object of his expression, saying, "In all expressive fields, I resolve to remove not only the boundaries among forms of expression; I will remove class, category, disparity and the hierarchies that have appeared in art," and crossing a variety of genres,
continued to challenge himself to experimental forms of expression. Awazu’s work appeared in posters, publications and architecture, and spread throughout the city. He participated in "Metabolism" in 1960, and in Expoland and the Japanese pavilion concept plan for Expo ’70 in Osaka. The font design for Japan’s motorway signage is also attributable to Awazu.
Some 2,786 works by Awazu Kiyoshi have been gifted to the 21st Century Museum of Contemporary Art, Kanazawa since 2006 from the Awazu Design Room. The exhibition "Graphism in the Wilderness" held at the museum in 2007 presented 1,750 works, but there are a large number of previously unshown works, materials and notes, among other things that provide clues about his creative process and experimental activities, which even now are being researched and studied.
Starting this year, a series titled "Makurihirogeru(EXPOSE)" will present the world of Awazu Kiyoshi, from a multi-dimensional perspective, including work never shown before. The first exhibition will focus on
transcended or disconnected from social systems and global significance is the single thing art can boast about. When this is denied, it makes me want to fight. For me, it is because the whole thing is synonymous with performance." * This exhibition will be staged from this perspective and put into practice the pioneering spirit of Awazu Kiyoshi who dismantled the existing hierarchy, together with artists who are active in various fields today.
KITADE Chieko, Exhibition Curator
21st Century Museum of Contemporary Art, Kanazawa
* "Interview with Hamada Goji, Guzen wo torikomi, katachi no nai mono no chikara wo shinjite" (Capturing chance and believing in the power of formless things); Kitagawa Fram, Aato no chikaku hendo (The diastrophism of art), Bijutsu Shuppansha, 2013, p. 116.
Taste of Curiosity ― Museum of Curiosity food creation + The University Museum, The University of Tokyo
2014.4.26 (Sat.) - 2015.3.31 (Tue.)
21st Century Museum of Contemporary Art, Kanazawa will mark its 10th anniversary on October 9 this year. On this occasion, we are holding "Taste of Curiosity – Museum of Curiosity"—a program to create a "banquet" site for celebrating our 10 years with everyone. The program is being led by food creation / SUWA Ayako—a project to propose new values for the enjoyment of food—and The University Museum, The University of Tokyo, which will create a "The Chambers of Curiosities." The program will be an unprecedented art museum event, taking "taste" as a theme in harkening back to the original impulse behind the museum concept—curiosity.
Already, more than 50 "Foodstuffs of Curiosity" have been gathered, and over 400 people will take part in "Experiences of Taste." The program will develop in stages toward an exciting climax as a "banquet."
Ayako Suwa, Scent of Woman 2014 Photo: Hiroshi Iwasaki +cow skull (The University Museum, The University of Tokyo)
2014.4.12 (Sat.) - 2014.9.21 (Sun.)
"Collection Exhibition I TRANSPARENCY | REFLECTION" looks at the properties of "transparency and reflection" in the context of their use in artworks, such as sculptural works that employ materials transparent to light or light reflecting, a self-portrait in the form of the artist's reflection, or photographic images acquired through a lens.
Transparent materials and highly polished surfaces have fascinated people since ancient times. As concepts, "transparency and reflection" repeatedly come up in art, as well, such as when artworks are likened to windows or mirrors. The physical effects produced by highly transparent materials and mirror techniques can greatly surprise us or be a source of fun and enjoyment, and what we see when peering through these artworks or gazing into their reflections can change our visual channel and induce new thinking.
Later, after viewing this exhibition, when you walk through our museum once again, what kind of images do you see reflected in the museum’s circular glass wall or large transparent doors? What scenery opens to you from beyond them?
(NAKATA Koichi, Curator, 21st Century Museum of Contemporary Art, Kanazawa)