EXHIBITION
Exhibition
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- Current
de-sport: The Deconstruction and Reconstruction of Sports through Art * Postponed
2020.4.29(Wed.) - 2020.9.27(Sun.)
With an eye on the Tokyo 2020 Olympics in the offing, this exhibition sets out to reexamine the significance of sports from an artistic perspective. The title, de-sport, is a newly coined term derived from the French word desport (to enjoy) and the idea of deconstructing sports. In tracing the etymology of the word “sport,” one finds that it originally meant “an enjoyable diversion from routine labor,” and included artistic pursuits such as music, theatre, painting, and dance. In contrast to contemporary sports – a parade of consummate physiques and skills, and a commodification of competition as entertainment – this exhibition returns to the roots of sports and adopts an artistic viewpoint in order to reconsider these activities as a social structure that reflects various issues of the day (play, the body, the state, war, and non-verbal communication, etc.). This exhibition title was named after Eugene Kangawa’s solo exhibition in 2014, “Desport”.
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Rei Naito: Mirror Creation * Postponed
2020.5.2(Sat.) - 2020.8.23(Sun.)
Stretches of earth extend in places where tiny people stand and water falls, swaying threads and ribbons spawn breezes, beads and glass invite the light inside. While engaging in a dialogue with space, Rei Naito combines natural elements with delicate motifs, and layers faint colors on canvas to evoke primordial scenes of life. In this solo exhibition, Naito, an artist who has consistently endeavored to “transcend what people (I) make,” deals with “creation” for the first time. Naito suggests that this will be an act of becoming a person while acknowledging the fact that people are the main constituent in creation. This process involves moving back and forth between human beings and nature, you and I, life and death, inside and outside, and people and art as well as copying, reflecting, and altering these things. In developing a sense of unity with the anima and compassion that emerges from these mirrored images, a moment of creation arises as one attempts to face life. The exhibition venue will consist of galleries of various sizes, light courts, and the spaces created by the corridors that connect them. In the daytime, natural light, varying according to the weather and time, will fill the spaces. After the evening, the works will be illuminated. There, visitors will find creations made by the artist, some very small, and each person’s perceptions will be freed by the sense of resonance with the act of human creation that they see and feel. Visitors can move back and forth between the corridors and the galleries, and in and outside of life. And as they repeatedly see and are seen, they are certain to grasp a vision of life.
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Aperto 12
ANZAI Tsuyoshi Poly- * Postponed
2020.4.29(Wed.) - 2020.9.27(Sun.)
ANZAI Tsuyoshi (b.1987) received his Master of Film and New Media degree from Tokyo University of the Arts in 2011. As his primary medium Anzai uses everyday objects, above all cheap plastic products consumed everywhere around the world. Removing their original function and meaning, he displays the plastic items as objects and compels us to question our interpretations of them and relationship with them. This exhibition explores our relationship with plastic products from many angles through a selection of Anzai’s artworks ranging from his kinetic works of recent years using the mechanism of camera obscura to new works employing plastic ocean waste, a growing threat to the world’s environment.
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Lab.4 Space Syntax *Suspended
2019.10.12(Sat.) - 2020.6.14(Sun.)
“Spaces” are where we live. We perceive spaces, by various means, and if a space changes, so does our behavior. Thus it would seem spatial layout and human behavior are closely related. Where might we find the key to illuminating that relationship? This fourth exhibition in the “lab.” series will search for this key, via research and analysis from the perspectives of connections and relationships. The important term here is “space syntax”: syntax referring to a system for deriving meaning based on the relationship between words. Space syntax is the name given to a thesis developed in the 1970s by Bill Hillier, a professor at The Bartlett (Faculty of the Built Environment) of University College London, and to the eponymous global firm engaged in its practice. The theory and practice of space syntax, which incorporates a scientific approach to analyzing spatial layout, and contemplates the relationship between human perceptions and behavior, has attracted growing attention in recent years as a new technique for the design of urban and architectural spaces. While showcasing this space syntax theory and practice, for the duration of the exhibition we will also be undertaking two research/analysis projects at the 21st Century Museum of Contemporary Art, Kanazawa. The first will be a study of indoor behavior. A video analysis technique employing new technologies such as machine learning will be introduced to observe the flow of people around pathways inside the museum, and when and where people stop, and sit, to analyze the relationship between spatial layout, and human perception and behavior. The second will target the museum’s Exhibition Zones, surveying the routes taken by visitors. The idea will be to identify new possibilities for the 21st Century Museum of Contemporary Art, Kanazawa, by analyzing features of the museum’s spatial layout, and exploring their potential. These research activities will be undertaken by enlisting help from the research supporters who also took part in the “lab.1 OTON GLASS” and “lab.2 Sight” exhibitions, with outcomes being collated and updated in the Design Gallery, venue for “lab. 4.” Perhaps that key illuminating the relationship between spatial layout and human behavior will be found in our transparent glass laboratory.
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