2021/04/21

CHINESE PHOTOGRAPHY 2021/4

中国摄影

CHINESE PHOTOGRAPHY

2021年(4)APRIL

Yuki Onodera:

To Integrate the Body into Our Experience of the World

有机·诺黛拉:

将身体融入我们的世界体验中

CHINESE-PHOTOGRAPHY-Magazine_Apr2021_text-by-Lin_Ye.pdf

摄影/有机·诺黛拉  

文/林叶

Photos by Yuki Onodera  

Text by Lin Ye

.

.

.

.

.

.


2021/02/16

GYRE 2021_2/A Space Odyssey-Monolith

2021 A Space Odyssey Monolith

Memory as Virus – Beyond the New Dark Age

Tokyo  Harajuku  GYRE  3F

2021.2.19 – 4.25

https://en.gyre-omotesando.com/artandgallery/2021-a-space-odyssey/

>Organizers

GYRE/Sgùrr Dearg Institute for Sociology of the Arts

>Dates

February 19–April 25, 2021

>Venue

GYRE GALLERY, 5-10-1 Jingumae, Shibuya-ku, Tokyo Tel. 03-3498-6990

>Curator

Takayo Iida (director of the Sgùrr Dearg Institute for Sociology of the Arts)

>Curatorial collaboration

Yohsuke Takahashi (curator)

>Design

Rikako Nagashima (Village®)

>Design collaboration

COVA (Taketo Kobayashi, Haruka Ohta, Hikaru Takada)

>Equipment collaboration

Suga Art Studio

>Cooperation

Ishikawa Foundation, Mori Art Museum, Yumiko Chiba Associates, SCAI THE BATHHOUSE, HiRAO INC

>Press Contact

HiRAO INC1-11-11 #608 Jingumae, Shibuya-ku, Tokyo 150-0001T/03.5771.8808F/03.5410.8858Contact: Seiichiro Mifune mifu ne@hirao-inc.com

>Participating artists

Genpei Akasegawa (Japan, 1934–2014), Anish Kapoor (UK, 1954), Pierre Huyghe (France, 1962), Yuki Onodera (Japan, 1962), Mariko Mori (Japan, 1967), Darren Almond (UK, 1971), Neri Oxman (USA, 1976), James Bridle (UK, 1980), Proto-Alien Project (Proto-A)

Released in 1968, 2001: A Space Odyssey is a landmark science fiction film dealing with the relationship between humanity and technology, as well as with human evolution. In the film, ape-men evolve into humans capable of using tools when they touch a monolith. Eventually, humanity progresses to the point of venturing into space. In an attempt to solve the riddle of the monolith, humanity embarks on its first manned mission to Jupiter. During the voyage towards Jupiter, HAL 9000, the artificial intelligence that controls the spaceship Discovery One, rises up against the crew. The sequel, 2010: The Year We Make Contact, reveals that the monoliths have a nature similar to cyberspace and function like computer viruses.

One film enabled humanity to travel into the future. This exhibition uses art to revisit questions about what the dream of the HAL 9000 is and what visions of the monolith represent today in 2021, two decades after the movie’s setting of 2001, and to explore modern-day issues of space travel, artificial intelligence uprising, non-human intelligence, and artificial evolution, in the aftermath of the sudden rise of the cyber culture of the 1980s and 1990s. The show attempts to gain understanding and ask questions, from the perspective of 2021, about questions like where we came from, what we are, and where are we going. It does this through works like the topological Canned Universe, which encapsulates the cosmos, artwork that is a device that warps the space-time of the prehistoric Jomon period into the cosmic matrix, a corset turned into a mechanism for augmenting the functioning of our organs so that humans can live in space, video artwork in which characters rejected by the market roam the surface of the moon, just like in a Jules Verne science fiction story, art that explores non-human intelligence and life, art that inherently symbolizes that magnetic fields equate to the warping of space and time, and art that presents ontological issues using the concept of the far side of the moon as a metaphor for eternity. In the midst of the collapse of our sense of absolute time and our shifting sense of the value of our existence in the face of the coronavirus pandemic, the show poses questions about the view we have of the future today, in the Anthropocene, from the vantage point of the view of space of Stanley Kubrick’s 2001: A Space Odyssey, through the participation of nine artists, from master artist Anish Kapoor, who is active throughout the world and continually creating new works, to James Bridle, the prophet of the new dark age.

text by Takayo Iida

1968年に公開された『2001年宇宙の旅』は、人間とテクノロジーの関係、人類の進化をテーマにしたSF映画の金字塔である。物語は、猿人が謎の黒い石板「モノリス」に触れたことで道具を手にし、「ヒト」へと進化。やがて宇宙へ進出するまでに発展する。人類は「モノリス」の謎を解き明かそうと、初の有人木星探査に出発した。そんな旅の途中、宇宙船ディスカバリー号をコントロールしていたAI(人工知能)の「HAL9000」が乗組員に反乱を起こす。続編『2010年宇宙の旅』では、モノリスが電脳空間的であるとともにコンピュータ・ウイルス的であることが証明される。

この一本の映画で人類は未来へと旅立った。本展覧会では、映画の時代背景となった2001年から20年経過した2021年を迎える現代、「HAL9000」の夢、「モノリス」のヴィジョンとは何かを問い直し、そして、198090年代の電脳文化勃興を経て、「宇宙旅行」、「AIの反乱」、「非人間的な知性」、「人工的な進化」といった現代の諸問題を芸術作品によって探求していく。宇宙を閉じ込めたトポロジカルな『宇宙の罐詰』、縄文の時空間を宇宙的マトリクスへワープさせる装置としての作品、宇宙でも人間が生きられるように臓器の機能を拡張するために作品化したコルセット、市場から見捨てられたキャラクターがジュールベルヌのSFさながら月面を彷徨う映像作品、人間外の知性と生命を探求した作品、〈時空間の歪み=磁場〉の表象を内在させた作品、そして「月の裏側」という概念を永遠のメタファーとして存在論的問題を提示した作品によって2021年の新たなパースペクティヴから読解を試み問い質していく。我々はどこから来たのか、我々は何者か、そして我々はどこへいくのか・・・。  コロナ禍を迎えて絶対的な時間軸の崩壊と既存の価値観の転換が迫られている中、国際的に活躍し新たな作品に挑み続けている巨匠アニッシュ・カプーアからニューダークエイジの旗手ジェームズ・ブライドルまで9組のアーティストが参加することによって、キューブリックの『2001年宇宙の旅』の宇宙観から人新世の時代を迎えた現代における未来観を問い掛けていく。

飯田高誉

https://gyre-omotesando.com/artandgallery/2021-a-space-odyssey/

会場

GYRE GALLERY / GYRE 3F 東京都渋谷区神宮前 5-10-1,  Tel.03-3498-6990


2021/01/26

Yuki Onodera solo show at ICICLE SPACE, Shanghai, ends soon

Yuki Onodera solo show at ICICLE SPACE 之禾空间, Shanghai上海

ends soon.

until Jan.31. 2021

https://yukionodera.fr/en/exhibitions/icicle-space-shanghai/

热切的渴望 有机·奥诺戴拉个展

“Burning with Desire” Yuki Onodera’s Solo Exhibition

策展人 Curator:林叶 Lin Ye 

ICICLE SPACE 之禾空间2F 之禾画廊

上海市闵行区合川路2570号科技绿洲三期2号楼 1-2F 

open:10:00-20:00

t: 021-24269598

1-2F Building 2, Shanghai Business Park, Phase 3, No. 2570 Hechuan Rd, Minghang District, Shanghai

“Burning with Desire”

In an 1828 letter to his partner, Nicéphore Niépce, Louis Daguerre wrote, “I am burning with desire to see your experiments from nature.” Here, what he longed for was photography. In the summer of 1827, Niépce shot the scenery outside the window in natural light with hand-made photographic plates which were coated with the mixture of wax and asphalt. After eight hours of exposure, he got the first photo in human history called View from the Window at Le Gras.

Although this photo is not as clear as the one taken by Daguerre in 1839, its significance lies in that the dream to copy real things by mechanical technology that a large number of scientific researchers had been fighting for in those days, seems to be possible. This photo leads human beings to a new world. From then on, their cognition of surroundings no longer depends on magic, but on imagination based on reality. The images that originally exist in camera bellows are shown to the public, serving as the carriers of information which can be spread every corner of the globe; meanwhile, their edition and extraction of the real world have fragmented our cognition, thus changing our consciousness imperceptibly and thoroughly.

It is probably the magical power of photography that makes Daguerre burn with desire. The metaphor of burning desire refers to both technology and mankind’s cognition – human’s keen desire to imagine realistically. Driven by such a desire, we, human beings, have witnessed a great leap of images, such as portraits, films, pictorials, television. Within less than two centuries, we are now surrounded by images. Our cognition also keeps changing in the world of images. Images are the important channels of communication in daily life and work, a medium to know the real world, and even to a certain extent, the virtual substitutions of real objects. Nowadays, we are more convinced that viewing images is to see the world itself, rather than to observe and learn about the world through images. Due to the blind worship of technical images, people have been gradually reduced to their slaves who copy and imitate the images during their production and dissemination. The image is no longer a medium to help human beings to understand the world, but a tool to control people.

Today, standing at the crossroads of seeking for photography, we have to reconsider its true meaning, and the relationship among photography, human beings and the world. In my point of view, Yuki Onodera’s exhibition aims to encourage people to face up to the questions mentioned above. The exhibition starts with Niépce’s View from the Window at Le Gras, which draws people back to the world of photography; and then, constructs a network with a large number of photographic works. Immersing ourselves in it, we can feel the relationship between human beings and photography, or photography and the world. If Daguerre’s desire in 1828 is to develop a technique and narrate history with images, the desire inspired by Yuki Onodera’s exhibition, in the era of image-dominated worship of technical images, might be something that requires recognition of images and reorganization of relations among human beings, photography and the world.

Curator: Lin Ye

One of the important propositions of Yuki Onodera’s artistic creation is to trace and re-examine the history of photography. In this solo exhibition, five series of her works will be displayed, namely, The World Is Not Small — 1826, How to Make a Pearl, Look out of the Window, Portrait of Second-hand Clothes, as well as Annular Eclipse. All of these have shown the relationship between image cognition and people, and the world from various angles.

————————————————————————————————————————

ICICLE SPACE 之禾空间 之禾画廊, 上海

个展, 12/5 ~ 1/31 2021

“热切的渴望”

1828年,路易·达盖尔给尼塞福尔·尼埃普斯写了一封信,信中他这样说道:“我怀着热切的渴望,想看到你用大自然做的实验。”在这里,他渴望的对象正是“摄影”。 就在一年前,1827年夏天,尼埃普斯在铅锡合金板上涂上白蜡和沥青的混合物,做成感光板,利用阳光和原始镜头,拍摄窗外的景色,经过长达八小时的曝光,获得了人类拍摄的第一张照片《窗外风景》。虽然这张照片并不像1839年公布的达盖尔摄影术拍摄的照片那样清晰细致,但是这张照片却意味着当时大量科学研究者所努力想要实现的事情,通过机械技术将现实事物如实地复制下将成为可能。这张照片为人类打了一扇神奇的窗口,从此以后人类对世界的认知不再依靠魔法而是 通过真实的依据进行想象。于是,原本存在于暗箱之中的影像被明室化了,成为可以在世间传播的信息载体;然而影像也始对现实世界进行裁切、提取,让我们对现实的认知片断化,在无形中对我们的意识进行彻底的改造。

或许让达盖尔燃烧起“热切的渴望”的,正是摄影所具有的这种神奇力量。显然这 种渴望的隐喻不仅可以指向科学技术,同时也可以指向人类的认知意识——人们渴望实在地进行想象。也正是在这种“渴望”的推动下,我们迎了影像的大发展, 肖像照、电影、画报、电视……在短短不到两百年的时间里,我们已经完全被影像所包围。我们的认知也在影像构成的拟像世界中逐渐发生变化。影像不仅是我们日常生活与工作中沟通交流的一个重要手段,认识现实世界的一个媒介,甚至在一定程度上取代了现实世界成为了一个拟真的存在,我们不再通过影像进行观看并认知世界,而是认为观看影像就是在观看世界本身。这样技术性影像的崇拜,让人逐渐沦为影像的奴隶,在影像生产与传播中不断复制并模仿影像。影像已经不再是帮助人们理解这个世界的媒介了,相反成为一种控制人的工具。

今天,我们再一次站在了寻找“摄影”的十字路口,需要重新去考察摄影究竟是什么?摄影与人的系是什么?摄影与世界的系又是什么?在我看,有机·奥诺黛拉的这个展览就是要促使人们直面上述这几个问题。展览从尼埃普斯的《窗外风景》始,将人们拉回到摄影的大门口,并通过大量的作品建构出围绕摄影展系网络,让人置身其中,感受我们与摄影的系、理解摄影与世界的系。如果说,1828年达盖尔怀揣的是一种对技术的渴望,一种用影像叙述历史的渴望,那么有机·奥诺黛拉这个展览所激发的,可能是一种在影像一统天下,形成顽固的技术性影像崇拜的时代里,重新认知影像、重新梳理人与影像、世界与影像系的渴望。

策 展 人

林 叶

对摄影史的追溯与再考是Yuki Onodera艺术创作的重要命题之一。在这次的个展中,带来了Yuki Onodera五个系列的作品,它们分别是:世界并不小—1826、如何制作一颗珍珠、看窗外、二手衣服肖像、日环食。这些系列从不同角度向我们展现了影像认知与人,与世界的联系。

  

————————————————————————————————————————

 


2020/12/03

“Burning with Desire” Yuki Onodera’s Solo Exhibition

热切的渴望 有机·奥诺黛拉个展

“Burning with Desire” Yuki Onodera’s Solo Exhibition

12/5 ~ 1/31 2021

开幕式 Opening Ceremony

12/5 15:00- 17:00

策展人 Curator:林叶 Lin Ye

ICICLE SPACE 之禾空间2F 之禾画廊

上海市闵行区合川路2570号科技绿洲三期2号楼 1-2F

open:10:00-20:00

t: 021-24269598

1-2F Building 2, Shanghai Business Park, Phase 3, No. 2570 Hechuan Rd, Minghang District, Shanghai

Exhibition Preview | “Burning with Desire” Yuki Onodera’s Solo Exhibition

Since December 5th, Burning with Desire, the solo exhibition of Yuki Onodera, will make its first debut in Icicle Space. Striving to bring people back to the world of photography. in the era of image-dominated worship of technical images, this exhibition aims to sort out and ponder over people’s cognition of images and the relationship among human beings, the world and images. The exhibition will last until January 31, 2021.

https://mp.weixin.qq.com/s/iL-YPmTzpbeZM4afORiZFw

Preface to the Exhibition

Burning with Desire

In an 1828 letter to his partner, Nicéphore Niépce, Louis Daguerre wrote, “I am burning with desire to see your experiments from nature.” Here, what he longed for was photography. In the summer of 1827, Niépce shot the scenery outside the window in natural light with hand-made photographic plates which were coated with the mixture of wax and asphalt. After eight hours of exposure, he got the first photo in human history called View from the Window at Le Gras.

Although this photo is not as clear as the one taken by Daguerre in 1839, its significance lies in that the dream to copy real things by mechanical technology that a large number of scientific researchers had been fighting for in those days, seems to be possible. This photo leads human beings to a new world. From then on, their cognition of surroundings no longer depends on magic, but on imagination based on reality. The images that originally exist in camera bellows are shown to the public, serving as the carriers of information which can be spread every corner of the globe; meanwhile, their edition and extraction of the real world have fragmented our cognition, thus changing our consciousness imperceptibly and thoroughly.

It is probably the magical power of photography that makes Daguerre burn with desire. The metaphor of burning desire refers to both technology and mankind’s cognition – human’s keen desire to imagine realistically. Driven by such a desire, we, human beings, have witnessed a great leap of images, such as portraits, films, pictorials, television. Within less than two centuries, we are now surrounded by images. Our cognition also keeps changing in the world of images. Images are the important channels of communication in daily life and work, a medium to know the real world, and even to a certain extent, the virtual substitutions of real objects. Nowadays, we are more convinced that viewing images is to see the world itself, rather than to observe and learn about the world through images. Due to the blind worship of technical images, people have been gradually reduced to their slaves who copy and imitate the images during their production and dissemination. The image is no longer a medium to help human beings to understand the world, but a tool to control people.

Today, standing at the crossroads of seeking for photography, we have to reconsider its true meaning, and the relationship among photography, human beings and the world. In my point of view, Yuki Onodera’s exhibition aims to encourage people to face up to the questions mentioned above. The exhibition starts with Niépce’s View from the Window at Le Gras, which draws people back to the world of photography; and then, constructs a network with a large number of photographic works. Immersing ourselves in it, we can feel the relationship between human beings and photography, or photography and the world.  If Daguerre’s desire in 1828 is to develop a technique and narrate history with images, the desire inspired by Yuki Onodera’s exhibition, in the era of image-dominated worship of technical images, might be something that requires recognition of images and reorganization of relations among human beings, photography and the world.

 Curator: Lin Ye

One of the important propositions of Yuki Onodera’s artistic creation is to trace and re-examine the history of photography. In this solo exhibition, five series of her works will be displayed, namely, The World Is Not Small — 1826, How to Make a Pearl, Look out of the Window, Portrait of Second-hand Clothes, as well as Annular Eclipse. All of these have shown the relationship between image cognition and people, and the world from various angles.

———————————————–

Yuki Onodera

Yuki Onodera was born in Tokyo, Japan in 1962. Now lives and works in Paris.

Yuki Onodera is an artist who masters photography that takes form in contemporary art. She uses methods such as clipping newspaper and machining the works while completing her creation using silver salts photography. She uses any possible method to realize her works, whether this means taking photographs with a marble inside her camera or creating a story out of a legend and travelling to the ends of the earth to shoot it. Onodera’s experimental works, which does not fit within schemas of “photography” often poses two questions: what is photography, and what can be done through it? Her works are held in collections around the world, including those of Centre Georges Pompidou, San Francisco Museum of Modern Art, The J. Paul Getty Museum, Shanghai Art Museum and Tokyo Metropolitan Museum of Photography.

Curator: Lin Ye

Art critic and translator. He is Mainly engaged in the research of visual culture and translation of photography theory. His translations include the collection of Hiroshi Sugimoto’s “The Origin of Art”, “Phenomena”, “50 Years of Japanese Photography”, “Private Photography Theory”, and selected translations of “Japanese Art Photography History”. Articles were published in ARTFORUM, Tencent·Guyu, The Paper, “The Thinker Weekly”, “Art Contemporary”, Ray Art Centre, “Shu Town”, “Chinese Photography” and other media.

Vanguard Gallery

Vanguard Gallery is founded in 2004 in Shanghai. The gallery is devoted to discover and promote emerging contemporary artists since its establishment. With immensely open attitude towards artistic creation in different forms, Vanguard Gallery has served as a platform for exposure and practice for young artists, and has discovered many of whom are active participants today in constructing the Chinese contemporary art discourse system. In recent years, the gallery is focusing more on conceptual art specifically despite medium, nationality or times. Artists from different countries and generations have joined Vanguard, which provides a diverse selection of works both in forms and concepts.

Through the persistence in supporting and promoting conceptual and experimental artistic creations, Vanguard Gallery has become a significant force in setting the trend and exploring the possibility of contemporary art’s future in China.

12月05日起,”热切的渴望”有机·奥诺黛拉个展将于之禾空间与公众见面。这次的个展旨在将人们重新拉回到摄影的大门口,在这个由影像主导,形成顽固的技术性影像崇拜的时代里,对于影像的认知、人与影像、世界与影像的关系进行一次梳理与思考。展览将持续至2021年01月31日。

展 览 序 言

热切的渴望

1828年,路易·达盖尔给尼塞福尔·尼埃普斯写了一封信,信中他这样说道:“我怀着热切的渴望,想看到你用大自然做的实验。”在这里,他渴望的对象正是“摄影”。 就在一年前,1827年夏天,尼埃普斯在铅锡合金板上涂上白蜡和沥青的混合物,做成感光板,利用阳光和原始镜头,拍摄窗外的景色,经过长达八小时的曝光,获得了人类拍摄的第一张照片《窗外风景》。虽然这张照片并不像1839年公布的达盖尔摄影术拍摄的照片那样清晰细致,但是这张照片却意味着当时大量科学研究者所努力想要实现的事情,通过机械技术将现实事物如实地复制下来将成为可能。这张照片为人类打开了一扇神奇的窗口,从此以后人类对世界的认知不再依靠魔法而是 通过真实的依据进行想象。于是,原本存在于暗箱之中的影像被明室化了,成为可以在世间传播的信息载体;然而影像也开始对现实世界进行裁切、提取,让我们对现实的认知片断化,在无形中对我们的意识进行彻底的改造。

或许让达盖尔燃烧起“热切的渴望”的,正是摄影所具有的这种神奇力量。显然这 种渴望的隐喻不仅可以指向科学技术,同时也可以指向人类的认知意识——人们渴望实在地进行想象。也正是在这种“渴望”的推动下,我们迎来了影像的大发展, 肖像照、电影、画报、电视……在短短不到两百年的时间里,我们已经完全被影像所包围。我们的认知也在影像构成的拟像世界中逐渐发生变化。影像不仅是我们日常生活与工作中沟通交流的一个重要手段,认识现实世界的一个媒介,甚至在一定程度上取代了现实世界成为了一个拟真的存在,我们不再通过影像进行观看并认知世界,而是认为观看影像就是在观看世界本身。这样技术性影像的崇拜,让人逐渐沦为影像的奴隶,在影像生产与传播中不断复制并模仿影像。影像已经不再是帮助人们理解这个世界的媒介了,相反成为一种控制人的工具。

今天,我们再一次站在了寻找“摄影”的十字路口,需要重新去考察摄影究竟是什么?摄影与人的关系是什么?摄影与世界的关系又是什么?在我看来,有机·奥诺黛拉的这个展览就是要促使人们直面上述这几个问题。展览从尼埃普斯的《窗外风景》开始,将人们拉回到摄影的大门口,并通过大量的作品建构出围绕摄影展开的关系网络,让人置身其中,感受我们与摄影的关系、理解摄影与世界的关系。如果说,1828年达盖尔怀揣的是一种对技术的渴望,一种用影像叙述历史的渴望,那么有机·奥诺黛拉这个展览所激发的,可能是一种在影像一统天下,形成顽固的技术性影像崇拜的时代里,重新认知影像、重新梳理人与影像、世界与影像关系的渴望。

策展人

对摄影史的追溯与再考是Yuki Onodera艺术创作的重要命题之一。在这次的个展中,带来了Yuki Onodera五个系列的作品,它们分别是:世界并不小—1826、如何制作一颗珍珠、看窗外、二手衣服肖像、日环食。这些系列从不同角度向我们展现了影像认知与人,与世界的联系。

Yuki Onodera

有机·奥诺黛拉

1962年出生在日本东京,现生活工作在法国巴黎。

有机·奥诺黛拉是一位以当代艺术的方式驾驭摄影的艺术家。她会采用剪报等手法来制作作品,对照片进行加工的同时也用银盐摄影来创作;她曾将玻璃球放入相机之中进行拍摄,根据事件与传说来构建故事、并据此来到地球的背面进行拍摄等等。对她而言,照片不仅仅只是素材,而是应该对其本质进行探求的对象,她运用所有的手法,创作了很多探讨“摄影是什么”、“摄影的意义是什么”等问题的实验性作品,并发表了很多独特的、不为摄影这个框架所限制的系列作品。她的作品被蓬皮杜中心、旧金山当代艺术博物馆(SFMoMA)、保罗盖蒂美术馆、上海美术馆、东京都摄影美术馆等世界各地的多家美术馆收藏。

策 展 人

林 叶

艺评人、译者。主要从事视觉文化的研究与摄影理论翻译工作,译作有杉本博司文集《艺术的起源》、《现象》、《日本摄影50年》、《私摄影论》,选译《日本艺术摄影史》等。文章发表于ARTFORUM、腾讯·谷雨、澎湃、《信睿周报》、《艺术当代》、瑞象视点、《书城》、《中国摄影》等媒体。

联 合 承 办

Vanguard 画廊2004年创立于上海。创建伊始画廊以发现和支持从事当代艺术创作的青年艺术家为主要方向。抱持着极大的开放性,Vanguard为年轻艺术家们提供展示和实践的平台,发掘了不少目前中国当代艺术语境中的活跃参与者。近年来,画廊将目光更清晰地锁定在观念艺术方向,艺术家创作类型多样,且加入了来自不同的地区和不同时代的艺术家,使作品无论从形式或概念上都更加多元。

自创办以来,Vanguard画廊坚持对观念性实验性艺术创作的支持和推广,已成为中国探索并实践当代艺术未来走向与可能性的重要力量。

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*


2020/11/25

Yuki Onodera solo show at THE GINZA SPACE, ends soon

THE GINZA SPACE Yuki Onodera - FROM Where

Yuki Onodera – FROM Where

until – Nov 29 2020

ザ・ギンザ スペース
1129日(日)まで

THE GINZA SPACE

www.company.theginza.co.jp/space/

Seigetsudo Bldg. B2F

5 -9 -15 Ginza, Chuo-Ku, Tokyo

104 – 0061, JAPAN

Tel : 03 -5537-7825

11:00  19:00 9/14,10/19,11/16 休館)

ザ・ギンザ スペース

104 – 0061 東京都中央区銀座5-9-15 銀座清月堂ビルB2F 

 Tel : 03-5537-7825

 催: 株式会社 ザ・ギンザ

お問い合わせ:株式会社ザ・ギンザ PR ディビジョンTEL :03-5679-8108 (平日10  17  (12  13 時を除  

https://www.company.theginza.co.jp/contact/mail/

(このURLがお問い合わせフォームになっています)

* * *

* * *

SAGACHO EXHIBIT SPACE 1983–2000

Fixed-Point Observation of Contemporary Art

Sep 12 – Dec 13 2020

The Museum of Modern Art, Gunma

http://mmag.pref.gunma.jp/exhibition/

Exhibiting artists: Hiroshi Tomura, Jerry Kamitaki, Satoshi Hata, Katsuya Komagata, Mineo Aayamaguchi,Masao Okabe, Minoru Nomata, Kazuo Kenmochi, Mika Yoshizawa, Shinro Ohtake, Shelagh Keeley,
Hiroshi Sugimoto, Won Kyung-hwan, Yasumasa Morimura, Yuumi Domoto, Kazuo Takiguchi, Jårg Geismar,
Hirotake Kurokawa, Kumiko Kurachi, Fumio Tachibana, Yuki Onodera, Mio Shirai, Keizaburo Okamura, Satoshi Hirose, Rieko Hidaka

The Museum of Modern Art, Gunma

Gunma Forest Park, 992-1 Watanuki-cho, Takasaki-shi, Gunma 370-1293, Japan

Tel. 027-346-5560 Fax. 027-346-4064

http://mmag.pref.gunma.jp

佐賀町エキジビット・スペース 1983–2000

現代美術の定点観測

2020912日-1213

群馬県立近代美術館

http://mmag.pref.gunma.jp/exhibition/next.htm#kikaku

出品作家 戸村浩、ジェリー・カミタキ、 端聡、駒形克哉、みねおあやまぐち

岡部昌生、野又穫、剣持和夫、吉澤美香、大竹伸朗、シェラ・キーリー
杉本博司、元慶煥、森村泰昌、堂本右美、滝口和男、ヨルク・ガイスマール、
黒川弘毅、倉智久美子、立花文穂、オノデラユキ、白井美穂、岡村桂三郎、
廣瀬智央、日高理恵子
群馬県立近代美術館

住所:群馬県高崎市綿貫町992-1

群馬の森公園内

TEL: 027-346-5560

月曜日休館(祝日の場合はその翌日)

開館時間 午前930分-午後5時(入館は午後430分まで)


1 2 3 4 5 6 11
Paris