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Pierre Huyghe: The Artist as Director Ocula Conversation Pierre Huyghe: The Artist as Director

Pierre Huyghe is a producer of spectacular and memorable enigmas, with works that function more like mirages than as objects. Abyssal Plain (2015–ongoing), his contribution to the 2015 Istanbul Biennial, curated by Carolyn Christov-Bakargiev , was installed on the seabed of the Marmara Sea, some 20 metres below the surface of the water and...

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MoMA Expansion: Once the Modern, Always the Modern Ocula Report MoMA Expansion: Once the Modern, Always the Modern 29 Nov 2019 : Mohammad Salemy for Ocula

In the early decades of its existence, New York 's Museum of Modern Art (MoMA), founded in 1929, transformed from a philanthropic project modestly housed in a few rooms of the Heckscher Building on the corner of Fifth Avenue and 57th Street, to an alleged operating node in the United States' cultural struggle during the cold war, and one of the...

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Hans Hartung and Art Informel: Exhibition Walkthrough Ocula Insight
Sponsored Content | Mazzoleni Gallery
Hans Hartung and Art Informel: Exhibition Walkthrough 15 October 2019

Hans Hartung and Art Informel at Mazzoleni London (1 October 2019-18 January 2020) presents key works by the French-German painter while highlighting his connection with artists active in Paris during the 50s and 60s. In this video, writer and historian Alan Montgomery discusses Hartung's practice and its legacy. Born in Leipzig in 1904, Hans...

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HomePage Artists

b. 1959, Japan

Yukinori Yanagi Biography

Yukinori Yanagi explores fundamental questions of human existence through site-specific installations that negotiate a diverse range of media. Interested in questions of identity, both on a social and national scale, many of Yanagi's earlier works have examined individuality and the ways we are defined by constructs such as class, gender and ethnicity. More recently, his increasingly ambitious large-scale installations pose questions that relate to the consequences of technological advancement and globalisation.

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For the 21st Biennale of Sydney at Cockatoo Island, Yanagi exhibits a series of three interconnected artworks that investigate industrialisation and the myth of human progress in a time of global capitalism. In the Turbine Hall, Icarus Container, 2018, takes the form of a labyrinth of shipping containers repurposed by the artist to represent global networks of distribution. Inside the containers a series of mirrors reflect the sky while a video projection features a burning sun. Drawing inspiration from Ancient Greek mythology, Yanagi references the tale of Icarus, the son of master craftsman Daedalus. After creating a labyrinth to confine the Minotaur at the request of King Minos of Crete, Daedalus and Icarus were themselves imprisoned within it. Fashioning wings from wax and feathers so that they could escape, Daedalus cautioned his son not to fly too close to the sun for fear that the heat would melt his wings. Revelling in the joy of flight, Icarus did not heed the warning and soared high into the sky before falling into the sea, his wings destroyed. Yanagi interprets the myth as an analogous warning of the ramifications of human obsession with technology and advancement. The image of the burning sun also represents Yanagi's investigation into the development of nuclear technology, likening nuclear fusion to the creation of an artificial sun.

Continuing his investigation of human obsession with power and advancement, Yukinori Yanagi's video installation Landscape with an Eye, 2018, features an enormous eye floating suspended in space. Gazing into the iris, the viewer is presented with archival film footage depicting the violence of nuclear tests conducted at different sites in the Pacific Ocean including Bikini Atoll, Enewetak Atoll and Mururoa Atoll, from 1946 to 1996. Landscape with an Eye bears witness to the way humans have exploited energy and the environment throughout history in the pursuit of power and progress. The images flickering across the surface of the eye resonate with the industrial surroundings of the former Powerhouse, a space once used to produce energy in support of advancement and modernity. Absolute Dud, 2016, is a one-tonne steel replica of Little Boy, the atomic bomb dropped on Hiroshima on 6 August 1945 during World War II. Suspended from the ceiling of the former Rectifier Room, the ominous shape provides a haunting, physical reminder of the ultimate consequences of war and the misuse of power in the name of progress. Accompanying the sculpture is a list detailing 300 nuclear explosions that occured in the Pacific Ocean region, commencing with Fat Man, the bomb dropped on Nagasaki, Japan at 11.02 am on 9 August 1945 and concluding with Xouthos, a bomb exploded at Fangataufa Atoll at 11.29 am on 27 January 1996.

Biography by Tai Spruyt and Stephanie Berlangieri | Biennale of Sydney Exhibition Team | 2018

Current Exhibition
2 November–21 December 2019

Yukinori Yanagi

Exhibition view: Yukinori Yanagi, Blum & Poe, Tokyo (2 November–21 December 2019). © Yukinori Yanagi. Courtesy the artist and Blum & Poe, Los Angeles/New York/Tokyo.

Yukinori Yanagi Featured Artworks

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Akitsushima Blue-Bow by Yukinori Yanagi contemporary artwork
Yukinori YanagiAkitsushima Blue-Bow, 2000 Digital photograph, plexi-mount
178 x 119.1 x 3 cm
Blum & Poe Enquire about this work
Akitsushima Blue-gun by Yukinori Yanagi contemporary artwork
Yukinori YanagiAkitsushima Blue-gun, 2000 Digital photograph, plexi-mount
89 x 133 x 3.1 cm
Blum & Poe Enquire about this work
Diving Log (Akitsushima) by Yukinori Yanagi contemporary artwork
Yukinori YanagiDiving Log (Akitsushima), 2000 Ink, inkjet print, crayon, watercolour on paper, acrylic sheet
126.3 x 86 cm (incl frame)
Blum & Poe Enquire about this work
Akitsushima Instruction by Yukinori Yanagi contemporary artwork
Yukinori YanagiAkitsushima Instruction, 2000 Acrylic on canvas
248.9 x 338.5 x 7.6 cm
Blum & Poe Enquire about this work
America by Yukinori Yanagi contemporary artwork
Yukinori YanagiAmerica, 1994 Ants, coloured sand, plastic box, plastic tube and plastic pipe
252.7 x 372.7 cm
Blum & Poe Enquire about this work
Cubism and Abstract Art by Yukinori Yanagi contemporary artwork
Yukinori YanagiCubism and Abstract Art, 2012 Ants, coloured sand and plastic box
55.2 x 43.2 x 2.5 cm
Blum & Poe Enquire about this work
Hi-no-maru Portfolio by Yukinori Yanagi contemporary artwork
Yukinori YanagiHi-no-maru Portfolio, 1991 Lithograph, embossing and collage on paper
92.4 x 68.9 x 4.8 cm
Blum & Poe Enquire about this work

Yukinori Yanagi Current & Recent Exhibitions

Contemporary art exhibition, Yukinori Yanagi, Yukinori Yanagi at Blum & Poe, Tokyo
Open Now
2 November–21 December 2019 Yukinori Yanagi Blum & Poe, Tokyo
Contemporary art exhibition, Group Exhibition, Parergon: Japanese Art of the 1980s and 1990s (Part II) at Blum & Poe, Los Angeles
Closed
6 April–19 May 2019 Group Exhibition Parergon: Japanese Art of the 1980s and 1990s (Part II) Blum & Poe, Los Angeles
Contemporary art exhibition, Group Exhibition, Parergon: Japanese Art of the 1980s and 1990s (Part I) at Blum & Poe, Los Angeles
Closed
14 February–23 March 2019 Group Exhibition Parergon: Japanese Art of the 1980s and 1990s (Part I) Blum & Poe, Los Angeles

Yukinori Yanagi Represented By

Yukinori Yanagi In Ocula Magazine

Aichi to Okayama: Art in Japan Looks to the Future Ocula Report Aichi to Okayama: Art in Japan Looks to the Future 11 Oct 2019 : Stephanie Bailey for Ocula

There has been a flurry of triennial and biennial art activity in Japan this year. The Aichi Triennale opened in Nagoya this August, sparking a national debate about the shutting down of a display of formerly censored works—the result of public backlash against a burnt image of Emperor Hirohito and a statue commemorating the women forced...

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Yukinori Yanagi In Related Press

Japan Times: Resurrecting Akitsushima Related Press Japan Times: Resurrecting Akitsushima Japan Times : 20 November 2019

Yanagi’s rusty cast-iron 1:50 scale model of the Imperial Japanese Navy ship Akitsushima, a seaplane tender sunk in 1945, looks properly absurd and forlorn on the floor in the middle of the room. Parts of the model are scattered around the hull 'ambivalently in a process of either construction or deconstruction,' the Blum & Poe website says....

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Sydney Biennale review – Ai Weiwei anchors rewarding show that comes of age in its 21st year Related Press Sydney Biennale review – Ai Weiwei anchors rewarding show that comes of age in its 21st year The Guardian : 16 March 2018

There is a simple and quiet work by the Belgian artist Michaël Borremans called The Bread (2012) in this year's Biennale of Sydney. It recalls the work of Flemish 15th century portraits, close and intimate, but it's a modern picture too. It's of a girl's upper body, dressed in a blue top, her hands in front, her gaze downwards. I was fairly...

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The 21st Biennale of Sydney (2018) announces first 21 artists for its 45th anniversary exhibition Related Press The 21st Biennale of Sydney (2018) announces first 21 artists for its 45th anniversary exhibition 6 April 2017

The world-renowned Biennale of Sydney is back next year to celebrate its 45th anniversary exhibition. Set to maintain its status as the largest and best-attended contemporary arts event in Australia, the 21st Biennale of Sydney is anticipated to once again bring an impressive and diverse range of contemporary artists and artworks to the...

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