"Lost and found" traditionally refers to a space for storing misplaced items until they can be reclaimed by their owners. The exhibition draws inspiration from the concept of lost property, exploring themes of retrieval and possession.
‘ Amfortas! Die Wunde! Die Wunde! Sie brennt in meinem Herzen! O, Klage! Klage! Furchtbare Klage! Aus tiefstem Herzen schreit sie mir auf.
Oh! Oh! Elender! Jammervollster! Die Wund sah’ ich bluten.
Parsifal, Act II
Oh! Oh! Elender! Jammervollster! Die Wund sah’ ich bluten.
Parsifal, Act II
‘
The
will of rebellion against these hidden and prescriptive powers is the fountain
of contemporary goth, which traditionally has a self-destructive and ephemeral
quality, however, while also connotating an elusive and complicated structure.
It is not an actual/simplified form like Dracula, a werewolf, diseases, drugs or terrorism, but a desire for a complex modern society.
Contemporary goth implies a quiet resistance towards social representations. Referencing the absence of history, it is akin to gazing into a three-sided mirror, a vision replete with a myriad number of diffuse reflections.’
- Ritsuki Fujisaki
It is not an actual/simplified form like Dracula, a werewolf, diseases, drugs or terrorism, but a desire for a complex modern society.
Contemporary goth implies a quiet resistance towards social representations. Referencing the absence of history, it is akin to gazing into a three-sided mirror, a vision replete with a myriad number of diffuse reflections.’
- Ritsuki Fujisaki
‘The unmasking turn of mind’’ does
not try to refute ideas, but to harm them by exhibiting their ‘‘extratheoretical function.’ (HACKING, IAN. The Social Construction of What? Harvard University Press, 1999.)
The title of this exhibition, "archetype," and the atoms used as motifs are not about their original universal roles.
In the process of painting composition, he seems to affirm the dynamic and perverse nature of the "archetype" by starting from the inversion of power relations in the painting.
The title of this exhibition, "archetype," and the atoms used as motifs are not about their original universal roles.
In the process of painting composition, he seems to affirm the dynamic and perverse nature of the "archetype" by starting from the inversion of power relations in the painting.
Give the public free access to the memory and data banks (Lyotard, Jean-Francois. The Postmodern Condition. Manchester University Press, 1984.)
Death is an intensely personal event, yet the body enters a realm of anonymity post-mortem. There exist liminal spaces, moments neither alive nor dead—akin to crossing the River Styx or approaching the Pearly Gates.
Death is an intensely personal event, yet the body enters a realm of anonymity post-mortem. There exist liminal spaces, moments neither alive nor dead—akin to crossing the River Styx or approaching the Pearly Gates.
It is the glory of God to conceal a matter, but the honor of kings is to investigate a matter. (Old Testament: Book of Proverbs 25:2)
The gesture of cutting up food on platters and serving it to visitors overlaps with the composition of this exhibition, which represents the broken up watchtower from various angles.
The gesture of cutting up food on platters and serving it to visitors overlaps with the composition of this exhibition, which represents the broken up watchtower from various angles.
The wind is rising! . . . We must try to live!
( Paul Valéry, Le Cimetière marin, 1920.)
The sea has been dividing something, however, simultaneously, it can seem to include everything.
Intermittent flashes of isolation and inclusion floating on the sea allure us.
( Paul Valéry, Le Cimetière marin, 1920.)
The sea has been dividing something, however, simultaneously, it can seem to include everything.
Intermittent flashes of isolation and inclusion floating on the sea allure us.
They say, “He was the most beautiful young man I have
ever seen,..” but the detail is not specifically described, but is omitted.
Similarly, it has been noted that omissions are made regarding the emotions of
the characters in the fairy tale.
While, sofvi culture today has moved away from reproductions and imitations of characters, machines and animals, and more and more sculptures are arising from the narratives of the individual artists, and Tanimura’s production is not exceptional. The Toy Shop, a window display of actual toys and advertising materials by Pop Art stalwart Peter Blake (b. 1932), stirs a longing for the past.
In this age of reproducibility and abundance of images, the meaning of each representation itself has become radical, fragile, and unstable. The speed of those seemingly muddled and elusive images sometimes collide, leaving semantics behind, but there is always tension in the relationship among them.
Japanese tropes such as Yōkai, ghost stories, nature, festival masks, and mosquito nets are distributed in space along with disturbing and provocative way which are dressed by violence and humor.
“What truly drives fear into my body is the possibility for my imagination to amass physical weight.
There is the low gurgle of water rising in a bath somewhere nearby.
My body has not made contact with any water in quite some time.”
WADE DAO
There is the low gurgle of water rising in a bath somewhere nearby.
My body has not made contact with any water in quite some time.”
WADE DAO
Various harmful toys that were denied in the process of being familiar in a safe and rational social life, are not allowed to have them, and are destined to be forgotten in one corner of history.
2-2-10, Higashi Nihonbashi, Chuo, Tokyo, Japan