In Art Basel Hong Kong 2019, TARO NASU is pleased to present a group show Translation/ Transformation/ Transmission by Mika Tajima, Koichi Enomoto, Ryan Gander, Liam Gillick and Djordje Ozbolt. By juxtaposing their works, it is our aim to show the fertility which the process of Translation/Transformation/Transmission can create in artworks.
Tajima investigates how the technologies and environments integrate our senses to co-produce our living space in today. Tajima converts the information, system, and data of nowadays modern surrounding which control and effect to our body into the works. Negative Entropy series is woven fabric work made by digital data of the sound recorded in the fabric factories, data centres or human voices. Those series are abstract images of our embodied activities mediated through the processes of material transformation.
Koichi Enomoto prefers to apply Japanese cartoon representations and Japanese historical motifs mixing science fiction. He composes the existing fictions in his paintings as the translation of philosophical inquiry in our time. In his painting, he blurs the boundary between the present and past, the life and death, the human and non-human, such intermediate zone is expanding day by day in our surroundings. Through such an approach, he is trying to capture what the image can convey as the translation of our actuality in the issue of identity lost and the globalisation.
Ryan Gander is the one of the most active new generation conceptual artists. In his work, He transforms everyday materials into the universal phenomenon. His On slow obliteration, or difficult and hard truths is a machine representing an abstract movement. Gander was inspired by an idea of the slow-motion in the films and videos and translated it into the abstract representation of time. An animated gold flip-dot sign loaded with an algorithm that continuously generates randomly forming drips across its surface.
Liam Gillick is an English conceptual artist who lives in New York City. He is often associated with the artists included in the 1996 exhibition Traffic, which first introduced the term, Relational Art. His work is based on Post‐Fordist Aesthetics. In the social system has a feature of the decentralisation, flexibility and the widespread use of technology, he uses the architectural material; a colour aluminium bar and window frame, Plexiglas. Gillick constructed them as the object translated from the social structure of Post-Fordist landscape with referring abstract sculpture.
Being mingled with various cultural identities and layers of the references to the art histories, Djordje Ozbolt creates his own unique cosmos which replete with comical dark fantasies and satirical humours. Transitioning between different techniques, styles and topics with Surrealistic flair, Ozbolt captures various subjects into one artwork, creating both gags and complex investigations into cultural stereotypes that cumulatively form a picture of Ozboltʼs absurd understanding of the world.
Venue
Hong Kong Convention And Exhibition Centre
1 Harbour Rd,Wan Chai, Hong Kong
Opening Hours
Private View (by invitation only)
Wednesday, March 27, 2019, 2pm to 8pm
Thursday, March 28, 2019, 1pm to 5pm
Vernissage
Thursday, March 28, 2019, 5pm to 9pm
Public Days
Friday, March 29, 2019, 1pm to 8pm
(12 noon to 1pm VIP viewing only)
Saturday, March 30, 2019, 1pm to 8pm
(12 noon to 1pm VIP viewing only)
Sunday, March 31, 2019, 11am to 6pm