An Opera for Animals was first staged at Para Site in Hong Kong between 23 March and 2 June 2019, with works by over 48 artists and collectives that use opera as a metaphor for modes of contemporary, cross-disciplinary art-making. The exhibition's second iteration takes up a large portion of the Rockbund Art Museum (RAM) in Shanghai (22 June–25...
Zoe Butt is the artistic director of The Factory Contemporary Arts Centre in Ho Chi Minh City, the first purpose-built space for contemporary art in Vietnam. Founded in March 2016, the Centre was designed by HTAP Architects in an old steel warehouse, with cargo shipping containers added to its structure. Initiated as a social enterprise...
即将于2019年7月13开幕的第二届 Condo Shanghai，联合上海7座画廊/艺术机构与14 家来自全球11个不同的城市，如东京、首尔、雅加达、巴尔的摩、洛杉矶、伦敦、纽约、危地马拉城、利马和墨西哥城，为实验性展览营造了一个更切实可行的国际环境。以下是Ocula的展览看点。周奥，《景观/对象WA》（2016）。橡木上固化油墨打印，左: 55.88 × 147.32 cm，中: 121.92 × 152.4 cm，右: 55.88 × 147.32 cm，图片提供：马凌画廊，上海。马凌画廊 × 80m2 Livia Benavides × LABOR × Proyectos Ultravioleta马凌画廊 |...
Parafin is delighted to announce its second exhibition with the London-based Japanese artist and filmmaker, Hiraki Sawa (born 1977, Ishikawa, Japan). Sawa is known internationally for videos and installations that create powerful psychological situations by inter-weaving the domestic and the fantastic. Characterised by quietness and introspection, his works create compelling interior worlds and meditate upon themes of memory and displacement. Often presented in complex installations incorporating objects and drawings, Sawa's works occupy a tangible dimension that sits between the parallel languages of sculpture and film.
The exhibition will feature UK premieres for three new film works, which were developed for the Reborn Art Festival, Ishonomaki, the Oku Noto International Triennial, Suzu and the Sapporo International Art Festival, Sapporo, all in 2017. fantasmagoria (2017) and fishstory (2017) are related works based on a family story about Sawa's grandfather, who suffered a stroke as a young man. To check the bleeding on his brain, Sawa's grandmother had to obtain ice to keep him cool, which in the remote part of the country where they lived was a very difficult task. Both films reflect upon this story and use images of an isolated man and woman, a ship, the sea, a lighthouse, and the struggle to transport a block of ice through the landscape to create an oneiric reality, evoking an ancient myth or folk story. This effect is enhanced by Sawa's shifting of the point of view from sea to land.
The third work, ulo.ulo.ulo (2017) marks a radical departure for Sawa. Instead of the intimate interiors that are typical of his work, the film focuses on a series of surreal actions performed in darkness in a snow-bound landscape. Set on the frozen Lake Shuparo in Hokkaido, Japan's northernmost island, the film follows a figure (the artist Tetsuya Umeda) as he performs a series of enigmatic actions lit only by a stark light bulb, creating magical effects. Sawa describes the events:
'The idea was to light the lake from the inside, below the ice. So Tetsuya made his way across the surface with a drill and a large light bulb. I filmed from a distance as he bored through the ice – which, thankfully, was thick enough to stand on. He lowered the bulb through the hole, then pulled it from the water, swung it through the darkness and submerged it again. The way the light refracted through the water was incredible.'
However, Sawa's film is not simply documentation of Tetsuya's actions, but was rather shot and edited as an attempt at 'sculpting time', treating film itself as a sculptural medium.
Hiraki Sawa (born 1977, Ishikawa, Japan) received his BFA from the University of East London and his MFA from the Slade School of Art at University College, London. Sawa has exhibited extensively around the world. Important solo exhibitions include fig-2 at the ICA, London (2015), Dundee Contemporary Arts (2013), the MORI Art Museum, Tokyo (2013), Chisenhale Gallery, London (2007), National Gallery of Victoria, Melbourne (2006), Hiroshima City Museum of Contemporary Art, (2006), Hirshhorn Museum and Sculpture Garden, Washington DC (2005) and the Hammer Museum, Los Angeles (2005). Important recent group exhibitions include Roppongi Crossing, Mori Art Museum (2016), the Biennale de Lyon (2013), Mono No Avare: Contemporary Japanese Artists, State Hermitage Museum, St Petersburg (2013), What We See, National Museum of Art, Osaka (2013), the Sydney Biennial (2010), 6th Asian-Pacific Triennial of Contemporary Art, Queensland Art Gallery, Brisbane (2009), Automatic Cities: The Architectural Imaginary in Contemporary Art, The Museum of Contemporary Art, San Diego (2009) and the Yokohama Triennial (2005).
Hiraki Sawa's works are included in many important public collections internationally, including the Arts Council Collection, London, Hirshhorn Museum and Sculpture Garden, Washington DC, Tokyo Metropolitan Museum of Photography, Saint Louis Art Museum, St. Louis, Museum of Fine Arts, Boston, The Modern Art Museum, Fort Worth, Detroit Institute of Arts, Detroit, National Gallery of Victoria, Melbourne, CAB, Burgos, Spain, Mori Art Museum, Tokyo, National Museum of Art, Osaka, Taipei Fine Art Museum, Taiwan, Museo de Arte Contemporáneo de Castilla y León, Spain, 21st Century Museum of Contemporary Art, Kanazawa, Aichi Prefectural Museum of Art, Aichi, The Israel Museum, Jerusalem, Israel, and the Queensland Art Gallery, Brisbane, Australia.
This week gave me a chance to consider human intervention in our environment. If Sondra Perry’s opening at the Serpentine uses digital tools to make our dark history extremely contemporary, Open Space Contemporary’s Adventitious Encounters exploits its location to explore our desire for nature in a technologically saturated world. The former...
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