Dreaming of Transperent Canvas, Masaru Kurose Gallery KAI Kobe Japan

Artwork by  Masaru Kurose

Every time I go to see Masaru Kurose's exhibition at Gallery KAI his artworks become more adventurous (thats a very good outcome for an artist) into what a painting might be experienced as and in this exhibition, they take in the gallery walls behind the image due to the paint traces being placed on clear vinyl providing a great sensory experience.

Kurose appears to have taken up the spirit of adventurous praxis where some of the Gutai artists had finished in there  journey outwards into their own uncharted aesthetic horizons. But Kurose has moved outwards towards his own unseen aesthetic idiosyncratic avant-garde horizons, for his risky ways of making and learning about what art might be experienced as is certainly revealed within these  artworks on show at the KAI Gallery.

Another issue of what is so wonderfully refreshing about kurose's artworks is the lack of a commercial factor, it appears purely about his studio praxis and what he can achieved, he really doesn't seem to care about the economic aspect of his painting.

And that is what ones really senses about some of the Kobe avant-garde artists, they've no fear of painting and living/working hard as long as the art is good and similarly that goes for the many galleries that support them, its impressive to experience and very audacious to live out that's for sure. 

These current painting of Kurose are probably his best so far as for what I have experienced in they way he uses the hues from the paint traces as light travels through the acrylic coloured traces on the surface of the vinyl onto on the wall behind, making the artworks no longer static paintings but transgressing into some kind of kinetic painterly /sculpture  its very beautiful and at the same time strange to experience, for one can view the artwork in front and behind the frame. This was a very good exhibition and one looks forward to Kurose next!

Link to Kurose's web page

http://www.from-to.jp/art/

Sadaharu Horio - Performance - Abeno harakasu - Osaka - Japan

It is not often one goes into a brand spanking new shopping centre (actually it is in the highest building in Japan as one understands) and sees such a performance with many of the community participating as evidenced in the photograph above with Sadaharu Horio in Osaka.

During the course of the afternoon Horio's performance (from about 2pm to 6pm) there were many shoppers who stopped, stood, looked and in some cases participated in the painting of coloured dots all over the papered cubic area, which was great to see as they may have never engaged in a live art performance before.

This kind of performance by Horio is important for it maintains that most critical relationship with the everyday day visual arts spectator,  whether the audience member is a serious arts viewer or occasionally visits such events, it does not matter, what matters is that the artist is out there in their terrain and understanding what is happening in that environment. 

Therefore when the artist works in the public space they can partially understand the mood of the societal memory, then translate those sensations into further art performances, whether they create artworks with political, cultural or wabi sabi themes is up to them but at least it tends to make the art current.

Horio seems to involve as many people as he can from the community, its great to see and at times mesmerising, he is a very rare artist indeed, he is not locked away, he stands with the people. For example, many a time whilst walking through the subway in Kobe, I have come across Horio's co workers water colour art group exhibition from the shipping industry where he worked at in Kobe and there somewhere amongst this show is this  most unusual art piece by him it always brings a smile to my face.

Horio's Osaka performance was a clever for he had managed to use the creativity of the audience (young and old) integrated with this very appealing randomness in the way the audience just participated in painting around Horio's designated squares of no contact and just leaving dotty traces of paint and at times more youthful scrawled paint marks, thus revealing that randomness and control as an idea in painting can present very interesting outcomes.

Back to Horio's performance in the shopping centre for it was fantastic to see to such an art space within this modern shopping complex, presenting spontaneous public art at its best, a great idea and visionary for the organisers and one surely hopes that it continues into the future.

Seiichi SHIBATA - Gallery Yamaki Fine Art

Seiichi SHIBATA -Obtuse relief, Evil Night Park

Wood (Katsura, etc,)Acrylic, Guoche 

h 650 xw 580 x d 100, 2015

SHIBATAI's artworks resonate an ambiance of menace, that presence which evil creates as evidenced by the cat above in the artwork, titled; Obtuse relief, Evil Night Park (which is savvy in its construction into the corner of the gallery) as it is about to devour the innocent bird for dinner. 

But SHIBATAI's art seen in the above image appears to bring to the audience a set of complex ironies about the realities of life, being what is evil to one, may well be a very natural act to do for survival of another, which makes you think are some deeds of supposed evil a natural form evolution.

For example, no one likes to see a bird eaten by cat but the Tomcat needs to survive if no one feeds it, so therefor it is a hunter by night and the park is its killing ground for food, its necessity for life and this may constitute that this particular perceived act of evil, after all, is basically necessary for the beast to survive.  

And this is where the fog of what is justice and what is unjust starts to smother the societal memories perceptions of what is evil and what his good, and is there an absolute demarcation line of any real clarity for humans  throughout time and space, for which history has revealed that  those in power often tend to make what is right and wrong up as they go along through life for their own ends. 

What this exhibitions by SHIBATA appears to confront us with is more to do with our own measures of good and evil, what are they, who formed them are they lasting benchmarks or do they shift daily within our lives in our desires for money, pleasure, comfort, food, wine and any other necessity or excess as at times some people like to fly somewhere for holiday, to an unspoilt, pristine landscape, well knowing that  the plane pollutes the earth we live in, which may reveal  to us, humans are ironic creatures.

And human desires seems to be where the ironies of what might be good and evil exists with its subsequent manifestations of truth and lies. This is a very good thought provoking exhibition  by SHIBATA so if your in Motomachi Kobe do go to Gallery Yamaki Fine Art for a look link is here:

 http://www.gyfa.co.jp/en/exhibitions/seiichi-shibata2015.htm

A - taro Matsuo – HAZAMA - Ashiya Garo - Kobe

 A - taro Matsuo 

Currently on exhibit at Ashiya Garo by  A - taro Matsuo is a series of artworks that are multi-layer collages consisting of burned paper, magazines and pigments. What is so intriguing about these artworks by Matsuo is that they tend to represent a kind of time travel because in a sense he appears to be creating a kind of fourth dimension in object making, meaning one can feel the sense of his studio praxis as it happened within this exhibition, it’s like being in two places at the same time and it's a very strange sensation indeed. 

It's not often one observes artworks that appear to resonate a sensation of travelling back wards into time where apriori events of making can been experienced with such clarity as evidenced in the aforementioned artworks, and this is where Matsuo's exhibition becomes all the more stranger.

For example, in the above image of Matsuo's collage there is a very strong sensation of travelling or almost falling back into the time of his studio praxis and it is true humans cannot travel back into time but artists can pursue their own artworks back into time If Matsuo choose too!

And this is where the ideas resonating from Matsuo's exhibition becomes very thought-provoking so lets speculate a little bit, imagine if he takes the above art object off the wall within this exhibition and reworks the original sensation from apriori praxis through travelling backwards with his memory through time, it will no longer be the same artwork, if or when he places the art object back within the gallery space, even if the artworks title has not changed, he has destroyed the original intentionality's of the first creation. 

Matsuo artworks appears to alert one to the concepts of shifting dimensions of time, for if Matsuo returns to the apriori memories of praxis then alters the artwork at the top of the page, his remembrances will be guiding the studio praxis in the duration of making art , from two differing spaces of remembered time thus causing a memory oscillation within praxis between the past and the moment which is very interesting.

It seems physical time travel within human memory may well possible and that is what this exhibition by Matsuo apparently reveals to us. This is an inspiring show by Matsuo, he appears to allow the audience to ponder possibilities from this world and that's how life and artistic praxis should be, left open and not closed off. So if you’re in Ashiya please visit this most interesting exhibition. Link to gallery is below.

Link to Ashiya Garo 

http://www.ashiya-garo.com/work/20150301_matsuo.html

Masterpieces from the Kunsthaus Zurich – Kobe City Museum, Part 2

Kobe City Museum

This current exhibition now on show at Kobe City Museum from Kunsthaus Zurich is littered with great paintings from particular epochs of contemporary image making by the likes of Picasso, Henri Matisse and Oskar Kokoschka, then there seems to be another concept within the show, being intermittent fantastic idiosyncratic artworks constructed  by the likes of  Alberto Giacometti and Paul Klee just to name a few, making it a really mesmerizing museum experience, it’s as good as it gets.

But in some ways this Kunsthaus Zurich exhibition does more than be just a sensorial show, it appears to open up new thinking into uncharted horizons of painting or any other discipline of studio praxis for that matter because once you leave the exhibit, then start looking at Hyogo landscape with its urban aesthetics, strange sensations from overlapping cultures start resonate within ones memories and that's when one might start to see new aesthetic possibilities.

Exhibitions such as the aforementioned one at Kobe City Museum is a credit to the Museum Directors, Curators and Art Historians of this country, that such possibilities are being revealed to its audiences in the now.

And in a way visiting Museums in Japan there is an air of optimism, hope and wonderment for ones praxis, whether one goes to the great museums of Art in Nara, Osaka, Kyoto or Tokyo its appears to be the same sensation, there is that excitement that one comes away with from learning something, because the Japanese really do care about culture.

Whilst walking through the Kunsthaus Zurich there was one painting that really struck my eye after viewing Monet and it was Henri Matisse's painting titled; Barbizon 1908, the freshness of this painting is astounding, it’s like it was painted yesterday.

For example; Matisse’s paint traces are altogether somewhat different to what has gone before within painting histories, through the way he has integrated the primed canvas with the light cerulean hues seen art  at the left hand middle top of the Barbizon 1908 image, for they're interspersed with unpainted canvas and are in slantwise oily traces from right angling downwards towards the left, they connect with foliage of the tree top that is painted in daring turquoise, cadmium green short slantwise traces, with a few short viridian, blackish hues that represent shading.

To the right hand side top of Matisse's Barbizon painting there is an airy array of what might be seen as lime, yellow, cobalt green oil paint marks going downwards, slantwise, right left and almost vertical at times,  again interspersed with unpainted canvas that creates a great ambiance of a summer's day and these breezy slantwise paint traces cascade down the painting like the noon days light, in a rapturous array of cobalt greens, distant pinks and bluish purples, with fresh slightly largish brush marks from  right downwards towards left oily traces of light sky horizon blues mixed with turquoise, its wonderful innovative painting, it makes one want to breath in deeply, its intoxicating landscape image making.

So if you want to go and have wonderful time and search for new and interesting ideas in art like Picasso did at the Louvre, this exhibition Kobe city Museum is a good place to start now.

Tasuo Toyohara.- KAI Gallery - Kobe

Finished sculpture byTasuo Toyohara - KAI Gallery

This sculpture exhibition at the KAI Gallery by Toyohara with his tools spread out over the space as he continually makes artworks in your presence, created an ambiance of a live art sculpture performance.

It was wonderful to examine Toyohara's artworks that were placed on the floors/walls whilst experiencing seeing his praxisfirst hand  in the now, one often wishes this type of unique studio type of exhibition could far more frequent as a gallery experience.

In conversation with Toyohara, he explained that the carving of the inside piece of tree branch or log was the part of sculpture that concerned him the most and this was thought provoking because it makes the viewer experience a deeper sensory effect, as seen in the image above, where not only does the audience have to see the outside of the object but peer through to the illuminated inner sculpted surface qualities, and like British Sculpture  Henry Moore stated below; the physical space of a hole between the solid shaped walls starts to create its own tension.

Tasuo Toyohara about to undo the sculpted inside of the trunk

.

Toyohara's sculptures and his desire to consider his sculpture is made on the inside of the tree trunk is noteworthy for in a way it reminded one of the German/ Australian artist Martin Heine, whose painting praxis started from the back of the canvas and pushed the image through a fly wire mesh to get the image to the other side. But one thinks here Toyohara has taken it a step further by allowing the audience to experience the whole artwork (exterior/interior) at the same time but that is the nature of the third dimension emptied of solid form and replaced with a natural transparent form being O2.

This replacing of organic to non organic form allows the audience to peer through Toyohara artwork .to see his sculpture traces on the inside of the trunk but this in itself presents a strange sensation, for its like the inorganic physical space of the sculpture tends to feel like it is leaking into the gallery and attaches itself to the terrain that one swathes through in viewing his artworks..

There is some very fine sculptures in Kobe and Toyohara.here in this exhibition maintains that communities, edginess so if your in Motomachi Gallery grab an art map and do visit this show.

Link to Martine Hiene

http://www.martin-heine.com/

Utagawa Kunisada 150th Anniversary of his death - Ota memorial Museum of Art - Tokyo - The current exhibition Japan

High Class Oiran

Utagawa Kunisada Woodblock Print 

The current exhibition at Ota Memorial Museum of Art in Tokyo is a knockout, its as good as arts gets in viewing pleasure, the eye is just seduced into the Kunisada's images with an ease and it seems to glide around these image like a Geisha eloquently walking between the old houses of Gion in Kyoto, its just pure sheer visual bliss.

Kunisada's sensibility in drawing is outstanding and reveals he is one of the great masters in the world of art, what contributes to that aforementioned statement is they way he forensically pays attention to detail from the drawn and colour intricacies of the kimono, to the almost simple linear gesture of the mouth that is slightly ajar and almost as if giving off an understated element of surprise, as if she had seen someone or something that caught her in an unguarded moment.

Another interesting issue about the Oiran's face is with all its apparent  linear simplicity (which it is not, it Kunisada's savvy intentionality's in creating a drawn traces to represent his remembrances) and  the way her eyes gaze back whilst the her body moves forward movement. 

The Oiran's eyes are slightly slantwise and inquisitive to what has just distracted her and this type of in understanding the expression within the human face is very hard to learn and to master it as evidence here in this exhibition in bold and almost liminal intensities especially so in actors series of woodblock prints stands testament to his mastery as an artist.

Kunisada's prints of the beautiful woman of Edo were  intriguing to see because in walking around Ginza to a restaurant the other night, there were many ladies who were shopping or going to meet with friends that were  exhibiting  a different, more modern  type of glamour but nonetheless in looking closely at them, there was this same attention to the detail of personal aesthetic, it is a though facial grooming hadn't shifted all that much in its presentational importance. But this is Japan and the demands of perfection with its subsequent presentation is still very high.

If you were a young or old  artist in Tokyo or even Japan  this would be one of the exhibitions one should look at for the colour, textures, lines seen within this fantastic exhibition will not surrender to time with any ease they're so exquisite, there is few shows in the world that could show such an amazing oeuvre  and this is one of them.

Link to the museum 

  

http://www.ukiyoe-ota-muse.jp/annai-E.html