Yayoi Kusama, Love Is Calling, 2013. Installation view. Photo by M-KOS
Summer in Tokyo started off cooler than usual in the first few weeks of our stay, followed by heatwaves shining through the city streets, filled with polyphonic soundscapes of cicadas. Luckily most art spaces were still open despite the solstice mood, for M-KOS to present its Tokyo art marathon report:
Mori Art Museum celebrates its 10th anniversary with the exhibition entitled “All You Need Is LOVE” showcasing about 200 artworks such as modern masters Marc Shagall, Constantin Brancusi and Fridha Karlo, contemporary greats David Hockney, Yayoi Kusama and Jeff Koons, as well as younger generations Richard Billingham, Shilpa Gupta and Masashi Asada and “virtual” popstar Miku Hatsune. The exhibition was laid out over five sub-themed to include: What is Love?; A Couple in Love; Love is Losing; Family and Love; Love Beyond. (through 1 September 2013)
Graham Ellard & Stephen Johnstone, Installation view “Everything Made Bronze”, 16mm film installation, Satellite Gallery, Nagoya, Japan. August 2013. Courtesy the artists.
Graham Ellard & Stephen Johnstone
Everything Made Bronze
9 – 19 August 2013
at Satellite Gallery,
Aichi University of the Arts, Nagoya
(Concurrent exhibition with the Aichi Triennale 2013)
Everything Made Bronze makes compelling use of one of the most renowned of architect Carlo Scarpa’s buildings, the Gipsoteca plaster-cast gallery in the Museo Canova, in Possagno, Northern Italy.
Shot using a static camera, the film follows the play of light in the Gipsoteca over a number of days as it produces a constantly fluid and changing environment for the appreciation of Canova’s plaster-casts and small-scale terracotta maquettes.
Tomoko Yoneda, Hiroshima Peace Day, from “Cumulus” series, 2011. C-type print. Courtesy the artist © Tomoko Yoneda
We shall meet in the place where there is no darkness
20 July – 23 September 2013
at Tokyo Metropolitan Museum of Photography
Yoneda Tomoko not only addresses subjects visible in reality but also projects the memories and history associated with places and things onto her work. As a result, through the act of looking at photographs, the viewer is challenged to question anew the essence of what is we actually are able to see.
Last year’s [16th] Japan Media Arts Festival Art Division Grand Prize: Cod.Act (Michel Décosterd / André Décosterd) Pendulum Choir, 2012. Music Performance. ©Cod.Act. Photo: Xavier Voirol.
Call for Entries for the
17th Japan Media Arts Festival
Thursday 11 July – Thursday 12 September 2013
(Late entries will not be accepted)
Elmgreen & Dragset, Powerless Structures, Fig 429, 2012. Courtesy Echigo-Tsumari Satoyama Museum of Contemporary Art [KINARE] Photo by M-KOS
For the summer season, M-KOS has taken temporary residence in Tokyo, Japan. During our stay, we will report on the local art scene whenever possible, not only for events going on in the capital but in different parts of the country as well. For starters, we have recently visited the Echigo-Tsumari region’s Satoyama Museum of Contemporary Art [KINARE] in the city of Tokamachi, about two hours north-west of Tokyo by bullet train.
Originally built as a cultural exchange centre in 2003, KINARE was recently refurbished as a museum, inaugurated in 2012 to mark the 5th edition of the Echigo-Tsumari Art Triennale, the most ambitious event by Echigo-Tsumari Art Field, a local cultural development project themed around the symbiosis of nature, humans and artistic practice. Read more
Posted in Art Marathon, Visual Arts
Tagged Carlos Garaicoa, Carsten Holler, Carsten Nicolai, Echigo-Tsumari, Echigo-Tsumari Satoyama Museum of Contemporary Art [KINARE], Elmgreen & Dragset, Gerda Steiner & Jorg Lenzlinger, Ilya & Emilia Kabakov, James Turrell, Japan, Jenny Holzer, Koichi Kurita, Koji Yamamoto, Leandro Erlich, Ryota Kuwakubo Massimo Bartolini feat. Lorenzo Bini, Tadashi Kawamata, Tokaichimachi, Yayoi Kusama
Cory Arcangel, Power Points, exhibition view. Courtesy the artist and DHC/ART, Montréal. Photo by Vincent Toi
Cory Arcangel is a Brooklyn based artist working in diverse media, including video, music, modified videogames, performances and the Internet. Arcangel often makes use of appropriation as a strategy to draw attention to source materials ranging from best-selling albums, Photoshop gradients and UGG boots. While bridging the gap between the highbrow and lowbrow culture, his work explores the nature of cultural production and consumption in a media and technology saturated world. On the occasion of his solo exhibition at the DHC/ART in Montréal, Arcangel talked to M-KOS about his art, his diverse influences and the role of artists as archivists.
MKOS: You started out as a musician, right? How did you make the transition to visual art?
Cory Arcangel [CA]: Its hard for me to explain, it just happened backwards, when I was in high school I was always making videos and you couldn’t go to art school to make video in 1996, so I went to music school. But I also feel in love with the history of music, so when I got out of school I was composing and I was making videos and I just put my work wherever I thought it would be cool and it’s just the gallery people who kept asking for it. So it happened kind of like an accident.
Julie Trudel, EllipseCMCYCK (2011-18), 2011. Acrylique and silkscreen ink on plywood. Courtesy the artist and Galerie Hugues Charbonneau
From June to August, AGAC (Association des galeries d’art contemporain / Contemporary Art Gallery Association) organizes the second installment of Peinture Extrême / Extreme Painting. 20 galleries in Montreal are participating in this summer event to showcase the diversity and hybridity of the ever-challenged medium.
Text by Joseph Henry
Exhibition view, ABC : MTL at Canadian Centre for Architecture, 2013. Courtesy Canadian Centre for Architecture, Montréal
Montreal-based Canadian Centre for Architecture (CCA) has devoted roughly a year of programming (from November 2012 to March 2013) to an extensive curatorial investigation of the city’s cultural life and multi-faceted urban structure. With its three-part exhibition ABC : MTL, the CCA announced an open call for submissions, to nourish a diverse presentation of objects ranging from Robin Pindea Gould and Fiona Annis’ rigorous documentation of Montreal bridges to the architectural renderings of the Centre du Soccer, in the neighborhood of Saint-Michel. ABC : MTL additionally supplemented a smaller exhibition entitled Streetview, a collection of photographs spanning from the early twentieth century to present times, to offer portraits of the city via its canals, roadways and plazas.
Image courtesy Newcastle University, School of Art and Cultures
Call for applications
Artist in Residence
at Newcastle University
Deadline: Monday, July 15, 2013, 9am GMT
Start date: September 2013 (not negotiable)
Salary: 27,854 GBP per annum
The Newcastle University is seeking to appoint a visual artist for a one-year studio-based residency in Fine Art, School of Arts and Cultures at Newcastle University. The residency will culminate in a solo show at Matt’s Gallery, London in 2014. During the residency the artist will be based full-time in the Fine Art studios in Newcastle University and will be expected to locate in or near Newcastle for the duration of the Residency. Work(s) developed during the residency will form the basis of an exhibition at Matt’s Gallery, London, following the ethos of the gallery that rests upon the presentation of work developed on site.
Research in Motion (Kinetic Sculpture #6), 2011. (Installation view, Pro Tools, The Whitney Museum of American Art, New York, 2011; Photo: Sheldan Collins). Modified silver dancing stands. © Cory Arcangel, Courtesy of Cory Arcangel.
21 June – 24 November 2013
at DHC/ART, Montréal
DHC/ART presents the first major Canadian exhibition of Brooklyn based artist Cory Arcangel. Trained initially in classical guitar and music technology at the Oberlin Conservatory of Music, Cory Arcangel is now recognized as a major exponent of a pop-tinged, computer-centred art.
Arcangel embraces the Internet’s anarchic potential and its Utopian open source culture, making works that question authorship, the status, and value of the art object. Exploring both the promises and deceptions of software, electronic gadgets, games and other devices—with an emphasis on how they become old and quickly out-dated—Arcangel’s art eulogizes technology’s built-in obsolescence while also wittily celebrating its noise, mindless repetitions, and inevitable failures.