NEUES GLAS – art & architecture No.4/2024
My installation work is up on this book.
An introduction to the exhibition ≪WHEN YOU LOSE CONTROL≫ appeared in.
https://neuesglas-newglass.com/einzelhefte/?lang=
WHEN YOU LOSE CONTROL
Please join us to celebrate the opening of the exhibition ≪When You Lose Control≫ .
【Title of exhibition】
WHEN YOU LOSE CONTROL
【Exhibition period】
11 Dec.2024 – 9 Mar.2025
Open every day 10.00 – 16.00
【Exhibition venue】
glas – Museum of Glass Art
Strandvejen 8, DK-8400 Ebeltoft, Denmark
【Venue access】
https://www.glaskunst.dk/glasmuseet-i-ebeltoft
【Admission fee】
Free of charge
【Contact】
+45 8634 1799
info@glaskunst.dk
【Exhibition Overview】
Six artists from Japan and Denmark reflect on a world that feels increasingly fragile and out of control.
The world as we know it has become more uncertain and fragile. Covid-19, the war in Ukraine, despotic leaders, fake news and the climate crisis are just some of the challenges we face. It has opened our eyes to the fact that we are far more globally connected than we may have been inclined to believe. So how do we as individuals respond to an uncertain and fragmented world?
Curators Masahiro Saito and Mette Bielefeldt Bruun ask this question in the exhibition 無常 When You Lose Control. Together with Glas – Museum of Glass Art, they have invited six artists from Denmark and Japan to reflect on an uncertain world that feels increasingly out of control.
In the exhibition you can experience works by Runa Kosogawa, Hitoshi Kuriyama, Hidenori Tsumori, Maria Bang Espersen, Maria Koshenkova and Kirstine Roepstorff. Each in their own way, they explore feelings of loss of control, instability and fragility, change and connectedness.
Runa Kosogawa has created a poetic testimony to the fragility of life. In the installation ‘Weaving Life’, hundreds of mouth-blown glass spheres act as a kind of diary, recording her breath and making the invisible visible.
Hitoshi Kuriyama explores the opposing concepts of existence and nothingness. He creates an alarming atmosphere of unease with his work ‘Noise of the Void’, which consists of flickering, red glowing neon tubes.
Hidenori Tsumori mixes ceramic clay and glass into works that develop a contrasting expression when fired. The materials are stretched and the form opens up like a crack in the earth’s crust.
Maria Bang Espersen challenges the limits of the material by combining glass with incompatible elements. This creates a tension in the glass that causes it to crack. Her work explores concepts of vulnerability and strength, questioning what we allow to take up space and what is overlooked or invisible.
In Maria Koshenkova’s work, the vulnerable coexists with the brutal. The soft, organic shapes of the glass are supported or held by ropes and hard metal structures.
Kirstine Roepstorff’s work is both material exploratory and conceptual. For the exhibition, she has created an installation that encourages global dialog through glass ‘water microphones’ that can be activated and record future conversations. The glass elements of the installation were created in the museum’s glass workshop, where Kirstine Roepstorff has worked with glassblower Chris Lowry on several occasions.
In many ways, glass is a material that reflects the fragility of the world. It can break easily, just like the trust in systems we have taken for granted. But glass is also strong and resilient. It can be recycled and reshaped, pointing to the possibility of renewal and transformation even in the most difficult times. [Mette Bielefeldt Bruun]
The exhibition’s Japanese title 無常 (Mujö) means that nothing lasts forever. That everything is in perpetual change. It’s a reminder that change is the only constant and that our attempts to maintain control are ultimately impossible. But 無常 also suggests that change holds the potential for renewal.
https://www.glaskunst.dk/when-you-lose-control
https://www.glaskunst.dk
Scenery of the Emptiness, and Asia
≪Scenery of the Emptiness, and Asia≫ invites the audience to the garden of Imaginary Circle, Asia, so they can imagine the world beyond Asia.
【Title of exhibition】
Scenery of the Emptiness, and Asia
【Exhibition period】
Dec.23,2022~Aug.27,2023
(TUE–SUN) 10:00–18:00
(WED, SAT) 10:00–20:00
*Closed on Mondays
【Exhibition venue】
Asia Culture Center, Space 2
38 Munhwajeondang-ro, Dong-gu, Gwangju 61485, Republic of Korea
【Venue access】
https://www.acc.go.kr/en/contents.do?PID=090203
【Admission fee】
Free of charge
【Contact】
Asia Culture Center,
TEL : +82-1899-5566
【Exhibition Overview】
The exhibition ≪Scenery of the Emptiness, and Asia≫ seeks to expand the terrain of the world’s re-imagination of Asia by exploring thoughts, aesthetics, and spaces unique to the global region. Influenced by Confucianism, Buddhism, and Taoism, East Asian culture is founded on the holistic view that all worldly elements are interconnected in a cycle. East Asian formative principles also stem from the same idea. As such, Koreans have deemed not only form but also the style and sentiment derived from form aesthetic elements. Asians have conjured up imagery based on the imaginations sparked by form and filled the empty spaces uncovered by form with derivative sensibilities and fantasies to create an ultimate aesthetic. The East Asian school of thought, which emphasized relational harmony, served as the basis for linking the universe with the thread of imagination to complete a profound aesthetic. In this sense, it has been imagination that has integrated and transcended reality to create alternate and new forms of reality.
The exhibition is comprised of five themed sections : “From the Light,” which opens up the exhibition by exploring light as a nascent form of nature and a source of all creation; “Vibrant Energy,” which visualizes the ki (氣) inherent in all life forms; “Human Spirit and Nature,” which discusses the connection, communion, and symbiosis between humans and nature; “Coexisting Scenery: Inside and Outside Views,” which explores Asia as the source of the holistic worldview and a geological space that emphasizes human connection to nature; and “Breathing Garden,” which wraps up the exhibition by guiding the viewers into a meditative space. The creative works that make up each theme resemble certain images from both the past and the present, but the common message they share is that everything is interlinked and circulated. Since yore, Koreans have sought to become one with nature by fostering gardens in the empty yards around their residence. These empty spaces have served as subjects of enjoyment and discussion, allowing a re-perception of the world. ≪Scenery of the Emptiness, and Asia≫ invites visitors to befriend and contemplate the creative works that trigger new imaginations as they re-envision Asia and the world beyond.
https://www.scenery-asia.com/
https://www.acc.go.kr/en/exhibition.do?PID=0202&action=Read&bnkey=EM_0000006003
Nothingness is Fullness, Fullness is Nothingness
Memorial Exhibition for Grand Opening of Fujii Gallery. Hitoshi Kuriyama’s Solo Exhibition
【Title of exhibition】
Memorial Exhibition for Grand Opening of Fujii Gallery
Nothingness is Fullness, Fullness is Nothingness
【Exhibition period】
Wednesday 11 May 2022 – Friday 29 July 2022
10am-5pm
*Except Saturdays, Sundays and public holidays
【Exhibition venue】
Fujii Gallery (G2), Ito Campus (Centre Area), Kyushu University
744 Motooka, Nishi-ku, Fukuoka City, Fukuoka 819-0395, Japan
【Venue access】
The Fujii Gallery is located in the Centre Zone of the Kyushu University Ito Campus, a white building between the Shiiki Hall and the Kyushu University Central Library. The elevator in the Central Library building can be used. Please enter the building from the Shiiki Hall side entrance.
Kyushu University Ito Campus is about 45 minutes from Hakata Station by municipal underground, JR and Showa Bus, or about 50 minutes from Hakata Station by Nishitetsu Bus.
https://www.kyushu-u.ac.jp/ja/campus/ito/
【Admission fee】
Free of charge
【Co-organised by】
Kyushu University Museum
Kyushu University Faculty of Design
【Contact】
Fujii Gallery, the Kyushu University Museum
TEL : 092-802-6973 (Mon-Fri 9:00-17:00 except year-end and New Year holidays)
E-mail : fujiigallery@jimu.kyushu-u.ac.jp
[Exhibition Overview]
“What is nothingness?” In order to search for a solution to this tremendous question, Hitoshi Kuriyama sublimates his interest in materials and natural phenomena such as light, sound, water and gas into experimental artistic expression by deepening and developing his knowledge of diverse fields such as physics, engineering, biology and philosophy while vigorously absorbing knowledge from these fields.
Kuriyama is a contemporary artist with a unique background. After studying education at university, mainly in linguistics and philosophy, he specialised in basic design during his master’s course and then went on to a doctorate in contemporary art during his doctoral course. During his doctoral studies, he has presented his work in numerous national and international exhibitions and has exhibited his work permanently in public spaces in London, Washington DC and Miami.
This exhibition marks the grand opening of Fujii Gallery. It will also be Kuriyama’s first solo exhibition since moving his base of operations to Fukuoka. In this exhibition, entitled “Nothingness is Fullness, Fullness is Nothingness”, Kuriyama attempts to capture “nothingness” through a new development of his work.
Complete “nothingness” cannot exist in this world in which we live. Even in events that seem like “nothing”, where nothing exists at all, there is something that “exists”. Furthermore, it has the potential to give rise to the next action. On the other hand, if it does exist but no one recognises it, it is treated as “nothing”. This kind of expression, which focuses on the fluctuation between “nothingness” and “existence” in relation to physics and consciousness, is developed from multiple angles.
In addition to photographs and neon lamps, Kuriyama also uses vacuum, which represents the state of “nothingness”, as a material for expression, to visualise and present to the viewer a continuity without boundaries, such as generation and annihilation, universality and transition. Through the works, the viewer’s imagination will be encouraged to expand by becoming aware of the “nothingness” you see and the “existence” you do not see, respectively.
The Fujii Gallery is positioned as a place where people from different fields and positions can interact, and where people can be inspired and inspired, something that has not been the case at Kyushu University until now. This exhibition is a perfect embodiment of this, and will be a fitting celebration of the gallery’s opening.
Islamic Arts Festival 20th Session – “IMPACT”
Upcoming exhibition at Islamic Arts Festival “20th. Session.”
It will take place at Sharjah Art Museum in Sharjah, UAE.
Name: Islamic Arts Festival “20th. Session” – “IMPACT”
Open: December 13, 2017 till January 23, 2018
Venue: Sharjah Art Museum
website: http://www.sdc.gov.ae/en/Content/48/3
Drawing Bureau Ver 1.0.0
Open: Sat – Sun 13:00 – 19:00
Venue: BUoY2F 49-11 Senju-nakamachi, Adachi-ku, Tokyo Curator: Yoshikazu Shiga (Sprout curation)
Artists: Naoko Sekine, Mineki Murata, Hitoshi Kuriyama, Katsuya Ise, Masaya Nakahara
website: http://www.drawing-bureau.com
http://buoy.or.jp
“SEQUOIA” Restaurant Open
Hitoshi Kuriyama has created a huge installation of neon lights and glass tubes at main dining of “SEQUOIA”, one of the famous restaurant around Washington harbor in Washington DC. His creation of shinning and enormous amount of glass tubes and neon lights are floating in the 40 meters long dining.
Location: 3000 K Street NW, Washington, DC 20007
Hours of Operation:
Sunday Brunch: 10:00 – 3:00 / Dinner: 5:00- 10-00
Monday – Thursday: Lunch 11:30 – 10:00
Friday – 11:30 – 11:00
Saturday Brunch: 10:00 – 3:30 / Dinner 5:00 – 11:00
website: http://sequoiadc.com
Japan Alps Art Festival2017 -Shinano-Omachi Food and Art corridor-
Name: Japan Alps Art Festival2017 -Shinano-Omachi Food and Art corridor
Dates: June 4 – July 30, 2017 (57days)
Location: Omachi-shi, Naganno
Place: Headwaters / Nishina Three Lakes / Downtown area / Eastern mountains / Dam area
Art director:
Honorary Chairman: Shuichi Abe (Governor of Nagano Prefecture)
Executive Chairman: Toru Ushikoshi (mayor of Omachi)
Director: Fram Kitagawa
Number of work: 36
website: http://shinano-omachi.jp
Light Art Festival “Ascents “
Dates: September 17 – October 9, 2016
Central Opening: Friday September 16, 7:30 pm
Individual Opening: Saturday September 17
website:http://www.kulturregion-stuttgart.de
Light: Fixtures and Sculptures
Light: Fixtures and Sculptures featuring objects by Bill Albertini, Doug Johnston, Hitoshi Kuriyama, John Procario and Takashi Kunitani, which opens on Tuesday, March 1 from 6-8 pm and will be on view until April 24, 2016.
Dates: February 25 – April 24, 2016
Opening: Tuesday March 1, 6-8 pm
LMAKgallery
Location: LMAKbooks+design: 298 Grand Street, New York, NY 10002 – 2nd floor
Contact: Louky Keijsers Koning at louky@lmakgallery.com or 212-255-9707
website:http://lmakbooksanddesign.com/newsevents/light-fixtures-and-sculptures/
Bill Albertini takes a sculptor’s fascination with the transformation of different organic forms and a debt to mid-20th century Conceptualist experiments with serialization, and marries these to an industrial designer’s passion for technique. This confluence of influences brings you a series of 3-D printed lamps in diverse shapes and sizes.
Doug Johnston created a series of light objects and sculptures in a variety of forms and sizes, made from cotton and white nylon cord that is coiled and stitched with an industrial sewing machine. The process is a tool to explore the nature of specific objects that have held special fascination for the artist. Many of the objects referenced have conveyed a sense of agency or empowerment, and the artist has learned about how humans have shaped the world around them into objects, buildings, landscapes, spaces and networks.
Hitoshi Kuriyama explores in his work the idea of “existence” and “non-existence” with his original hypothesis of “0=1.” It comes from the idea that complete nothingness can’t be proven. By juxtaposing seemingly conflicting ideas of “existence” and “non-existence” he prompts the viewer to rediscover awareness of this world from new perspectives. In “∴ 0=1 –Polaris (BC100000-AD100000)” from 2015, which is created from neon light, it seems that the star has its fixed position, but looking in the enormous amount of time, it is slightly moving. In this case, the concept of “static” and “dynamic” can convey the same idea.
John Procario’s lighting started with the idea that wood is a metaphor for the body. Wood will bend comfortably to a point, then break; just like bone or muscle, wood has its limit. Procario tries to push that limit to create a sense of strain in the wood’s gesture. Conceptually, he tries to allow beauty to be the product of strain. Precariousness, harmony, balance, stress, and fluidity are some of the words he uses to describe his aesthetic. His unique sculptural luminaires are made of bent wood. He does not use forms to bend and control the shape. Instead, he likes to allow this idea of letting the wood do as it pleases to create a collaboration between the craftsman and the wood’s personality.
Takashi Kunitani is intrigued by the world that surrounds us and how people react to it. He is interested in people’s diverse points of view and how these relate to presence, the body, space, time and objects. Kunitani places a neon sign “Upskirt” downward on a glass plate. In this situation the meaning and interpretation of the words have changed and it becomes an object in itself.
Unexpected Art
My installation work is up on this book.
Graffiti made from cake icing, man-made clouds floating indoors, a luminous moon resting on water. Collected here are dozens of jaw-dropping artworks—site-specific installations, extraordinary sculptures, and groundbreaking interventions in public spaces—that reveal the exciting things that happen when contemporary artists play with the idea of place. Unexpected Art showcases the wonderfully experimental work of more than 50 innovative artists from around the world in galleries of their most astonishing artworks. An unusual package with three different-colored page edges complements the art inside and makes this tour of the world’s most mind-blowing artwork a beautiful and thoughtprovoking gift for anyone interested in the next cool thing.
http://www.amazon.co.jp/Unexpected-Serendipitous-Installations-Site-Specific-Interventions/dp/1452135487/ref=tmm_pap_title_0
New Glass 01/2015
My installation work is up on this book.
https://neuesglas-newglass.com/einzelhefte/?lang=en
DIALOGUES -Doublesｘ3 Series of International Exhibitions-
Jan. 16th 2015 – Mar. 14th 2015
NICA: Nihonbashi Institute of Contemporary Arts
500JPY for passport
＜opening events＞
Jan. 17th (Sat) 16:00-18:00（with after drink）
NICA（B1＋PUBLICUS 1F)
1000JPY
Cross talk：Hitoshi Kriyama (artist) ｘ Charlotte McGowan Griffin (artist) ｘ Emiko Kato (curator)
special guest：Kentaro Ichihara (art critic)
Noriko Kato (independent dance artist)
ON THIS PLANET
2014.8.23 sat. – 9.14 sun.
Hitoshi Kuriyama
Open 12:00-19:00 / Closed on Monday and Tuesday
Opening Reception: August 23 sat. 18:00-
Rotational movement of the Earth, water circulation system, atmospheric pressure, and
amino acid composing creatures, just to name a few.
We don’t think about their existence or origin because they are here with us so naturally.
But, without leaving this planet the Earth, I believe I can have the viewers recognize
things in a new way by capturing the phenomena on the Earth in an extraterrestrial, or a
macro, perspective, and then presenting it to them.
Exploring the mechanism of the unlimited universe is like counting the number of stars,
but I hope I can change the viewers’ perception of the universe if only a little.
phenomenon and preservation
*Held at the same time
SUNDAY 2014.8.8-9.7 11:30〜23:00（L.O.22:00） closed on Wednesday
http://sunday-cafe.jp/
Opening Reception: Aug 8th 19:00-22:30（1drink 2000JPY）
2-7-12 Ikejiri Setagaya-ku, Tokyo 154-0001
03-6413-8055
What Dwells Inside
ノルウェーのベルゲンにあるS12というスペースでインスタレーション作品を展示します。森村泰昌さん、チームラボとの３者によるグループ展です。
2013.8.30 – 2013.10.6
Welcome to the opening reception of the exhibition “What Dwells Inside” with the Japanese artists Yasumasa Morimura, Hitoshi Kuriyama and teamLab 30.08.13 at 07:00 pm!
The exhibition is curated by Bjørn Inge Follevaag and Bergljot Jonsdottir, and produced in close cooperation with IKKAN ART, Singapore and Venice Projects & Glasstress, Italy. This is the second project in which S12 cooperates with Glasstress.
“What Dwells Inside” is based on three traditional artistic expressions; performance, woodblock print and installation. It is extremely fascinating to see how these artists digitally manipulate their material to create new art in the form of contemporary digital expressions somewhere between the entertainment industry and the news media.
Morimura re-enacts Vermeer’s “Girl With a Pearl Earring” in a poetic video performance; Kuriyama lights up an imaginary universe with his installations of fluorescent tubes and teamLab address our lack of reverence for nature in a digital animation of a disintegrating classical 19th century “Ukiyo-E” woodblock print, revealing a futuristic machine underneath.
Yasumasa Morimura is a world famous Japanese appropriation artist who borrows images from historical artists (ranging from Edouard Manet to Rembrandt to Cindy Sherman), and then inserts his own face and body into them.
Hitoshi Kuriyama creates elaborate light installations using complex clusters of shattered fluorescent light bulbs. With Kuriyama, fluorescent lights and LEDs become life forces that animate the darkness of the universe with an irregular, unpredictable rhythm.
teamLab is an ultra-technologists group made up of information specialists including programmers, mathematicians, architects, CG animators, web designers, graphic designers, artists, and editors. teamLab create highly advanced digital animations by blurring the boundaries between each person’s respective fields of expertise. Their inventive approach to the art field has broadened the perception of what digital art may be.
This exhibition shows still another side of the S12’s Gallery profile as a venue for experimental work profiling artists from all over the world who utilize glass in its many and diverse forms.
What Dwells Inside is the first cooperative project between S12 and curator Bjørn Inge Follevaag, who has a long history of working with Asian art, and who was part of the team that won the Art Critics’ Award for Real Life Stories/Skin Flesh and Bone in 2012.