2022/03/16

Here, No Balloon. RICOH ART GALLERY

 

ここに、バルーンはない。

Here, No Balloon.

RICOH ART GALLERY

https://artgallery.ricoh.com/en/exhibitions/herenoballoon

プレス・リリース/press release

https://yukionodera.fr/wp-content/uploads/2022/03/Yuki-Onodera_pressrelease.pdf

Dates2022.3.19. Sat - 4.9. Sat

Open12:00 – 19:00

ClosedSundays, Mondays, National Holidays

会場:RICOH ART GALLERY

会期:2022319()~ 202249()

時間:12:00 ~ 19:00 ※最終日 18:00 終了

休廊日:日・月・祝 

104-0061 東京都中央区銀座5-7-2 三愛ドリームセンター8F / 9F

休廊日:日・月・祝  営業:12:00 – 19:00

 


2022/02/23

Centre de la photographie de Mougins

Centre de la Photographie de Mougins

Centre de la Photographie de Mougins

Yuki Onodera

"Darkside of the Moon"

"Twin Birds"

https://yukionodera.fr/

Li lang

+ Yuki Onodera

"La clairvoyance du hasard"

Commissariat:

François Cheval

et Yasmine Chemali

Exposition 26.02-22.05 2022

Centre de la Photographie de Mougins

43 rue de l'Eglise 06250 Mougins

FRANCE

0033 4 22 21 55 12

cpmougins.com

info@cpmougins.com

@centrephographiemougins


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

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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.

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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。

  

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