2023/10/09

ENTENDRE DE SES PROPRES YEUX

ENTENDRE DE SES PROPRES YEUX

ENTENDRE DE SES PROPRES YEUX
HEAR WITH YOUR OWN EYES

Exhibition

a selection of photographs
the collection of Madeleine Millot-durrenberger

Berenice Abbott, John Armleder, Patrick Bailly-Maître-Grand, Laurent Cochet, Stéphane Couturier, Jean Daubas, Tom Drahos, Harold Edgerton, Christiane Geoffroy Stepan Grygar, Gabor Kerekes, Yuki Onodera, Jean Painlevé, Ian Paterson, Bernard Plossu, Rasi, François Sagnes, Pentti Sammallahti, Pierre Savatier, Josef Sudek, Masao Yamamoto

Saturday 14 and Sunday 15 October 2023
Saturday 21st and Sunday 22nd October 2023

from 2 pm to 7 pm
guided tour at 6 pm

In Extremis

27 rue sainte Madeleine, 67000 Strasbourg.
FRANCE



2023/06/09

HK_French May_exhibition views

https://yukionodera.fr/news/en/

DATE:12 MAY – 10 JUN 2023
wamono art

HERE, NO BALLOON – YUKI ONODERA SOLO EXHIBITION

& New works – Chronophotography

This will be the first exhibition in Hong Kong by internationally renowned Japanese artist Yuki Onodera, who has been based in Paris for just three decades. Onodera is known for singular experimental works that employ photography as their medium, but extend beyond its bounds to encompass an astonishing variety of expression that includes collages measuring several metres, and the use of drip painting techniques.

Fri and Sat: 12nn – 6pm; Mon – Thu: By appointment

wamono art

ACCESS

Unit A, 10/F, Derrick Industrial Building

49 Wong Chuk Hang Road

Hong Kong

WhatsApp: + 852 6822 2962


2023/04/18

HERE, NO BALLOON – YUKI ONODERA SOLO EXHIBITION

在此,沒有氣球  奧諾黛拉有機個人展覽

https://www.frenchmay.com/en-us/article/229

https://www.frenchmay.com/en-us

https://wamonoart.com/

Email: info@wamonoart.com

在此,沒有氣球——奧諾黛拉有機個人展覽

日期 12.05 - 10.06.2023

時間 星期五至六 中午十二時至晚上六時;星期一至四 需預約入場

場地 :

wamono art

入場資訊免費入場

「在此,沒有氣球」是國際知名的日本藝術家——奧諾黛拉有機,在香港的首次個展。她的作品以攝影作為媒介,但又超越了攝影的界限,涵蓋了各種驚人的表達方式,包括長達數米的拼貼畫,以及使用滴水畫技術去反映其藝術實踐。

wamono art將介紹在2022年製作的 「在此,沒有氣球」系列作品 。這件作品以巴托爾迪的青銅雕像為基礎,該青銅雕像是巴黎特恩斯門的一座氣球紀念碑,它在1940年代被熔化。奧諾黛拉在沒有紀念碑的情況下拍攝現址,並在她手工處理的一張兩米長銀鹽照片的表面上,使用新技術StareReap打印了生動的2.5D素材。這個尋常且獨一無二的系列作品,更突出手工照片和數碼技術的融合和碰撞。此外,是次展覽還會展出她的近期作品,讓人們了解這位藝術家令人難以置信的廣闊藝術實踐。

簡歷

https://yukionodera.fr/zh/profile/

奧諾黛拉有機出生於東京(1962年)。1993年,她在巴黎成立工作室,開始於國際間工作。奧諾黛拉的實驗作品不符合 「攝影」 的模式,經常提出兩個問題:「什麼是攝影?」,「通過它可以做什麼?」她使用任何可能的方法來實現她的作品,無論是用相機裡的玻璃彈珠拍照,還是從傳說中創造一個故事,然後走到地球的盡頭去拍攝。

奧諾黛拉以在暗室中製作兩米高的照片或八米大小的拼貼畫以及其他獨有的手工方法而聞名。她的作品在龐畢度藝術中心的大型展覽「Elles@contrepompidou」(2009)中展出。

她獲得了享有盛譽的木村伊兵衛獎(2003),和Niépce獎(2006)。

她的作品被世界各地收藏,包括龐畢度藝術中心、三藩市現代藝術博物館、保羅·蓋蒂博物館、上海美術館和東京國家現代藝術博物館。在其他地點,她的個展曾在大阪國立美術館(2005)、上海美術館(2006)、東京攝影藝術博物館(2010)、首爾攝影博物館(2010)、Musée Nicéphore Niépce,法國(2011),Maison Européenne de la Photography,巴黎(2015)和Centre de la Photography de Mougins2022)。 

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Modern & Contemporary Art

DATE:12 MAY - 10 JUN 2023
wamono art

HERE, NO BALLOON – YUKI ONODERA SOLO EXHIBITION

& New works - Chronophotography

This will be the first exhibition in Hong Kong by internationally renowned Japanese artist Yuki Onodera, who has been based in Paris for just three decades. Onodera is known for singular experimental works that employ photography as their medium, but extend beyond its bounds to encompass an astonishing variety of expression that includes collages measuring several metres, and the use of drip painting techniques.

Fri and Sat: 12nn – 6pm; Mon – Thu: By appointment

wamono art

ACCESS

Unit A, 10/F, Derrick Industrial Building

49 Wong Chuk Hang Road

Hong Kong

WhatsApp: + 852 6822 2962

Free admission

Admission :

This will be the first exhibition in Hong Kong by internationally renowned Japanese artist Yuki Onodera, who has been based in Paris for just three decades. Onodera is known for singular experimental works that employ photography as their medium, but extend beyond its bounds to encompass an astonishing variety of expression that includes collages measuring several metres, and the use of drip painting techniques.

wamono art will present Onodera’s 2022 Here, No Balloon series, which takes as its theme the bronze hot-air balloon monument by Bartholdi that once stood in the Porte des Ternes in Paris, but was melted down and lost to posterity in the 1940s. Photographing the location as it is today, sans this monument, Onodera utilises new Ricoh StareReap technology to add vibrant 2.5D prints several millimetres thick to the surface of two-metre gelatin silver prints she has processed by hand, in an unusual, one-of-a-kind series that throws into relief the fusion and collision of handmade photo and digital technology. Also on display will be a number of other recent works offering insight into one side of this artist’s incredibly broad practice.

Biography

https://yukionodera.fr/en/profile/

Yuki Onodera was born in Tokyo (1962). In 1993, she established a studio in Paris and began to work internationally. Onodera’s experimental work, which does not fit within schemas of “photography,” often poses two questions: what is photography, and what can be done through it? She uses any possible method to realise 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 is known for making two-metre-high prints in the darkroom, or 8m size of collages, and for other original hands-on methods. Her works are presented in the “Elles@contrepompidou” (2009) a big exhibition at Centre Pompidou from the collection.

She won the prestigious awards Kimura Ihei Prize (2003, Japan) and Niépce Prize (2006, France).

Her work is 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 The National Museum of Modern Art, Tokyo. Among other locations, her solo exhibitions have been held at The National Museum of Art, Osaka (2005), Shanghai Art Museum (2006), Tokyo Photographic Art Museum (2010), The Museum of Photography, Seoul (2010), Musée Nicéphore Niépce, France (2011), Maison Européenne de la Photographie, Paris (2015), and Centre de la Photographie de Mougins (2022).

wamono art

49 Wong Chuk Hang Rd Derrick Industrial Building Unit A, 10/F, Wong Chuk Hang, 香港

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2023/03/28

Sha Shin Magazine vol.3 SPELL

Sha Shin Magazine

For Yuki Onodera, whose style has been to create photographic works based on clear concepts, it must have been a challenge to leave things to chance in a sense. However, Twin Birds, which depicts the process of gluing sticks together one by one to create a sculpture that incorporates many accidental elements, reveals that the viewer’s cultural background dominates the way he or she sees things. As Onodera himself has expressed similarly, for those who understand Chinese characters, the first photograph evokes the character for “body”, which is an ideographic character. This is a thought process that is unique to the ideographic Kanji culture and perhaps not to the alphabetic culture.

On the other hand, Darkside of the Moon can be interpreted as an attempt to break the circuit of information that is almost automatically processed and understood by the eye-brain relationship when the viewer sees an image more universally, regardless of his or her cultural background. In each of the three photographs, the middle portion is cut into a square and replaced with another photograph. This series was also shown in the solo exhibition “TO Where” held at Yumiko Chiba Associates in Tokyo from September to October 2020. However, many other collage works, such as “Muybridge’s Twist,” were also exhibited at the same exhibition, and the composition of this exhibition makes us want to interpret it in that context.

On the other hand, the pairing of “Twin Birds” with “Muybridge’s Twist” can be interpreted in a different way, as a problem of our thought process to understand the aforementioned images. From this point of view, it can be said that the relationship between imagination and language is inseparable from the issue of language and the appreciation of photography.

Spell: Words as Supporters of Images – A Cross Section of Photography and Words in Contemporary Photography
Excerpt from Uchibayashi Shun

Translated with www.DeepL.com/Translator


https://www.shashin.tokyo/

Sha Shin Magazine vol.3 SPELL


Kikuji Kawada
Naohiro Utagawa
Yuki Onodera
Yoko Kusano
Seiji Kumagai
Chieko Shiraishi
Gozo Yoshimasu
 
Publication: January 20, 2023
Specifications: A5 size, deformed
List price: 2,700 yen (excluding tax)
Publisher: Fugensha
Production: PCT, LLC
 
Instagram:@shashinmagazine
Twitter:@ShaShinMagazine
Facebook:shashinmagazine

Photo Magazine “SHASHIN” vol.3 Spell Publication Commemorative Exhibition

Naohiro Udagawa / Yuki Onodera / Yoko Kusano / Seiji Kumagai / Chieko Shiraishi / Gozo Yoshimasu

Tuesday, January 24 – Sunday, February 19, 2023
Tue-Fri 12:00-19:00
Sat. and Sun. 12:00 – 18:00
Closed: Monday

Venue: Communication Gallery Fugensha
5-3-12 Shimo-Meguro, Meguro-ku, Tokyo 153-0064, Japan
TEL:03-6264-3665 MAIL:info@fugensha.jp



2023/03/23

PHOTO ART 3 vol.407

An article about the work “Here, No Balloon” exhibited at Ricoh Art Gallery was published in the Korean photography magazine PHOTO – ART VOL. 407 / 2023.3.
 

韓国の写真雑誌 PHOTO • ART VOL. 407 / 2023.3 にリコーアートギャラリーで展示した作品『Here, No Balloon』についての記事が掲載されました。

PHOTO ART 3 vol.407
PDF Download

PHOTO • ART
VOL. 407 / 2023.3
The Monthly Photo Art Magazine, Korea.

월간 「사진예술」 2023년 3월호

일본 리코 그룹에서 운영하는 도쿄 긴자 소재의 리코 아트갤러리에서 자사가 개발한 2.5D 프린팅 기술과 사진예술을 접목한 흥미로운 전시를 최근 선보였다. 프랑스를 거점으로 활동하는 일본작가 오노데라 유키가 그의 은염프린트 작업에 리코의 StareReap 2.5D 프린팅 기술을 접목시킨 사진 전시 (2022.3.19.~4.9)를 연 것이다. 전시장에는 높이 2m 남짓한 등신대의 흑백 은염 사진이 7장 연작으로 전시되었다, 자세히 보면 은염 입자가 선명히 보이는 대형 흑백 포토 콜라주 위에 StareReap 2.5D 프린터로 출력한 수십장의 컬러 이미지가 마치 물감을 두텁게 칠한 듯 덩어리째로 포진되었다. 1900년 초 파리 광장을 찍은 한 장의 사진에 착안한 작가는 사진 속에는 있지만 더 이상 현존하지 않는 풍선 모양의 브론즈 모뉴먼트를 주제화하여 동일한 화면에 현존하는 것과 한때 존재했지만 부재한 것의 공존을 은염 프린트와 2.5D 프린트로 재현하고자 한 것이다. 파리광장의 현재 모습은 흑백 사진으로, 과거에는 광장의 중앙을 점했지만 이제는 사라진 풍선 모뉴먼트는 2.5D 프린터가 출력한 이미지 덩어리로 재현되었다. 오노데라에게 사진이 여전히 손으로 조작할 수 있는 물질적인 것, 현존하는 것을 기반으로 한 무엇, 그리고 현재의 시간을 의미한다면, 그 위에 도포된 StareReap 프린트는 현존하지 않는 것을 소환시킨 기호이자 부재와 다양한 시간성이 혼재한 무엇을 의미했다. 이 두 매체 간의 차이를 인지하고 둘 간의 충돌과 융합을 한 프레임 안에서 의미화시킨 그의 신작은 결국 동일한 기계매체임에도 상이한 기원을 품은 사진의 속성과 그 구분된 용례를 되짚은 사례다.

이처럼 최근에 기업이 개발한 기술력과 사진예술을 접목시킨 일련의 시도는 이미지 패러다임의 변화를 도모하자는 원 목적과는 달리, 기존에 사진을 둘러싼 다양한 층위의 정의와 접근법, 시각의 차이와 그 진폭을 다시금 실감케 한다. 끊임없이 지각 변동하는 사진에 어떻게 접근하고, 사진의 어느 속성에 주목하느냐에 따라 상이한 기술과의 접목을 활용하는 태도나 시각이 매우 다르게 표출된다는 점이다. 사진을 둘러싼 웅성거림이 기술매체인 사진과 또 다른 기술이 만나 전례 없는 예술의 창작을 도모하는 일 가운데 더 다채롭고 소란하게 그 진동을 키운다.


일본 리코 그룹이 예술 창작자들의 작업 구현에 실질적으로 필요한 기술을 개발하고 지원하기 위해 조성한 아트 플랫폼 브랜드다. 현재까지 2.5D 프린팅 기술을 비롯해 2D, 3D 프린팅, 스캐닝 기술을 개발하고, 예술 창작에 지원하고 있다. https://starereap.ricoh.com/
웹사이트의 ‘ART WORKS’ - ‘Photo Creation’ 페이지에는 StareReap의 혁신적인 기술들이 사진가들로 하여금 사진의 평면성을 벗어나게 해준다는 비전을 제시하고 있다.

 

日本のリコーグループが運営する東京銀座所在のリコーアートギャラリーで、自社が開発した2.5Dプリンティング技術と写真芸術を融合させた興味深い展覧会が最近披露された。 フランスを拠点に活動する日本の作家オノデラユキが、彼女の銀塩プリント作品にリコーのStareReap 2.5Dプリンティング技術を融合させた作品展(2022年3月19日~4月9日)を開いたのだ。 展覧会場には高さ2m余りの等身大の白黒銀塩写真が7枚連作で展示された。よく見ると銀塩粒子が鮮明に見える大型白黒フォトコラージュの上にStareReap2.5Dプリンターで出力した数十枚のカラーイメージがまるで絵の具を厚く塗ったようにレリーフ状に描画されている。 1900年初め、パリの広場を撮った一枚の写真に着目した作家は、写真の中にはあるが、もはや現存しない熱気球のブロンズモニュメントをテーマに、同じ画面に現存するものと一時期存在したが、不在のものの共存を銀塩プリントと2.5Dプリントで再現しようとしたのだ。 現在のパリの広場の姿は白黒写真で捉えられ、過去には広場の中央に据えられていたが、今は消えてしまった熱気球モニュメントは2.5Dプリンターが出力したカラー・イメージの塊で再現された。 オノデラにとって写真は依然として手で操作できる物質的なものであり、現存するものを基盤とした存在、そしてそれが現在の時間を指し示しているならば、その上に塗布されたStareReapプリントは現存しないものを召喚させた記号であり部材と多様な時間性が混在した世界を意味している。 この二つの媒体間の違いを認知し、二つの間の衝突と融合を一つのフレームの中で意味化させた彼女の新作は、結局同じ機械媒体であるにもかかわらず、異なる起源を抱いた写真の属性とその区分された用例を振り返った事例だろう。

このように企業が開発した新しい技術力と写真芸術を融合させた一連の試みは、単なるイメージパラダイムの変化を図ろうという本来的な目的を越え、既存の写真を巡る多様な解釈と定義、そのアプローチ、視覚のギャップによる幅広い可能性を再び実感させた。 つまり絶えず地殻変動する写真にどのように接近し、写真のどの属性に注目するかによって、異なる技術との融合を活用する態度や視覚が強いコントラストを持ってここに表出されるという点なのだ。 写真を巡るざわめきが、技術メディアである写真が更に別の技術に出会うことにより前例のない芸術が創作され、さらに多彩で騒々しくその振動を大きくしていた。

1 日本のリコーグループが芸術クリエイターの創作実現化に必要な技術を開発、提供し支援するために作られたアート・プラットフォーム・ブランドだ。 現在まで2.5Dプリンティング技術をはじめ、2D、3Dプリンティング、スキャニング技術を開発し、芸術作品の創作を支援している。 https://starereap.ricoh.com/
ウェブサイトの「ART WORKS」-「Photo Creation」ページではStare Reapの革新的な技術が、写真家たちに写真の平面性という枠を外させてくれるというビジョンが確認できる。


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