2018.10.6 (Sat.) - 2019.3.24 (Sun.)
NISHIMURA Yu (1982- ) complexly overlays commonplace scenes and actions, and fragments of “fulfillment” in everyday life to construct a single unified scene in a painting. His approach resembles that of a novelist assembling words and forming paragraphs to weave a narrative. While personal and small in scale, Nishimura says, the momentary scenes and pleasant spaces of our days lend us psychological support. While always concrete in nature, the phenomena Nishimura depicts appear as if occurring in a place remote from reality, owing to his characteristic blurred brushstrokes and coloring. This exhibition’s title, “paragraph,” implies one complete unit. When we see each painting as a paragraph and move through the exhibition, reading and absorbing the pictures dispersed throughout the venue, the rich everyday moments and scenes they portray will congeal in a narrative and speak to us. Viewers will likely want to remain endlessly in the venue’s spaces, looking at Nishimura’s paintings and imagining, not one, but multiple narratives. Featured will be 13 new works of varying sizes, displayed so as to draw viewers deeply into the narrative.
scenery passing (reflected in the window) 2017
© Yu Nishimura
Courtesy of KAYOKOYUKI
Culture City of East Asia 2018 Kanazawa
2018.9.15 (Sat.) - 2018.11.4 (Sun.)
22 exhibiting artists decided ! Neighborhood encounters East Asian art
In our modern age, a “home” is structured as a social system. Although the architectural, physical “house” is easy to generalize, the meaning of “home,” which is entwined with emotions, customs and culture, is difficult to capture unless it is considered multilaterally. In particular, nowadays when mobilization has become permanent by means of globalization, can “houses” or “homes” be found anywhere – or possibly, nowhere? Based on this question, within some of the unused spaces of Kanazawa, contemporary artists from Japan, China, and Korea will present their works on the theme of “home.”
CULTURE CITY OF EAST ASIA 2018 KANAZAWA Cooperative Projects
2018.9.8 (Sat.) - 2019.3.3 (Sun.)
Through writing, primarily using the Chinese traditional calligraphy he learned as a child, QIU Zhijie has continually inquired into universal, primordial human existence. Fujian Province, where he was born, was once a vital center for seaborne trade, rich in cultural exchange born from commerce and immigration. Qiu’s works with their dynamic, free perspective are deeply influenced by the culture of his home region. This exhibition examines the art and expressive power of Qiu Zhijie, who sees the world comprehensively and merges his own existence with representation of the relationships between people and things.
Propagator in the Darkness 2008
© QUI Zhijie
2018.7.7 (Sat.) - 2019.3.24 (Sun.)
DeathLAB, founded by Karla Rothstein at Columbia University in 2013, is an interdisciplinary initiative exploring the space and social consequence of urban disposition and memorialization. Housed at the Graduate School of Architecture, Planning and Preservation, DeathLAB’s cross-cutting research engages diverse academic fields, including architecture, environmental engineering, religious studies and sociology. We will introduce the lab’s ongoing work, which intertwines sacred space and civic life.
Constellation Park 2014
©LATENT Productions and Columbia GSAPP DeathLAB
2018.7.7 (Sat.) - 2018.10.21 (Sun.)
As a repercussion of the conceptual and stoic art of the 1970s, and in response to trends in Europe and the United States, Japan in the ’80s bore witness to movements that urged the reinstatement of the painting and sculpture media. What came to prevail as a result was “New Painting” characterized by vibrantly colorful and dynamic brushstrokes that reflected the flourishing economic circumstances of the times. In the ‘90s, art thrived on the energy of ’80s subcultures such as “otaku,” but as a consequence, ’80s art faded from art historical discourse. In recent years both in Japan and abroad, rapid progress has been made in research on Postwar Japanese art up until the 1970s including “Gutai” and “Mono-ha.” Hence, we now find ourselves compelled to examine Japanese art of the intervening decade— the ’80s. Looking back, over 30 years later, we will see that art forms and concepts fundamental to today’s art blossomed in the ’80s, such as the art installation, viewer participation in the artwork, valuing relationship with society, the concept of alternative space, media art, perspectives of relativizing the institution of "art,” and the sensitivity to find significance in mundanity and lightness. This exhibition reconsiders Japanese art of the 1980s through contemporary perspectives and introduces works that represent “Starting Points.”