WAITINGROOM

Yuki Onodera “Parcours – Between pneumatic post and homing pigeon -“

11/2 (Sat.) – 12/8(Sun.), 2024

https://waitingroom.jp/en/exhibitions/parcours/

Opening Reception : 11/2 (Sat.) 6-8pm

*Artist, Yuki Onodera will be present at the opening reception on 11/2, Sat. 6-8pm.

*We are open on Wed to Sat. 12-7pm and Sun. 12-5pm

*Closed on Mon., Tue. and National Holidays (11/3 and 11/23)

*During “Art Week Tokyo”: 11/7 (Thu.) – 10 (Sun.), we will be open on 11/7 (Thu.), 8 (Fri.) and 9 (Sat.) from 10am-7pm and on 11/10 (Sun.) from 10am-6pm.

Press release

https://waitingroom.jp/wp-content/uploads/2024/10/20241008_WGRM_ONODERA_PR_ENG.pdf

WAITINGROOM (Tokyo) is pleased to welcome Paris-based Yuki Onodera as guest artist to present “Parcours – Between pneumatic post and homing pigeon -,” her first solo exhibition with the gallery, from November 2 (Sat) to December 8 (Sun), 2024. This exhibition is a part of Art Week Tokyo 2024.

Inspired by the gallery’s location on the site of a former post office, Onodera’s new works are based on the themes of communication and the transmission of information, connecting the city of Paris where she lives to this gallery in Tokyo. These works were created in such a way that different spaces and time frames (past and present) overlap, with communication systems as the starting point. The exhibition will feature approximately 40 works on a wide variety of postal themes, ranging from large vertical prints over two meters in length to small, postcard-sized prints with stamps and postmarks, all connected by a single red line from the front of the gallery to a space further in the back.

WAITINGROOM

Nagashima Bldg. 1F, 2-14-2 Suido, Bunkyo-ku, Tokyo, JAPAN, 112-0005

TEL  +81-3-6304-1877

MAIL  info@waitingroom.jp

Photography? End?

Yuji Hamada

Ken Kitano

Miki Nitadori

Yuki Onodera

Naruki Oshima

Risaku Suzuki

Kazuyoshi Usui

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FOCUS

Exhibit Dates: June 15 – August 7, 2024

Maui Arts & Cultural Center, Schaefer International Gallery One Cameron Way, Kahului, Hawai‘i 96732, USA

This group exhibition will take place at Maui Arts & Cultural Center’s Schaefer International Gallery in summer 2024 and the University of Hawai‘i at Mānoa Art Gallery in winter 2025. The exhibition features seven contemporary photographers from Japan who go by the collective name of “photography?end?”, consisting of Yuji Hamada, Ken Kitano, Miki Nitadori, Yuki Onodera, Naruki Oshima, Risaku Suzuki, and Kazuyoshi Usui. Their respective avenues of work look at the potentiality of photography in a rapidly evolving digital age. While the production of images has become largely dematerialized in our current moment, the artists consider the materiality of photography and explore the relationship between conception, theme, and exhibition of work.

Curated by Schaefer International Gallery Director Jonathan Yukio Clark, the exhibition will present a body of work from each artist, with several artists opting to integrate site-specific works developed in Hawai‘i with their longer ongoing series. Their approaches push the boundaries of photography through a range of presentations that include prints of varied scale, cyanotypes on alternate materials, documentation of constructed environments, and installation-based projects. The exhibit will also include several concurrent public programs, such as presentations and workshop formats that seek to foster relationships between this international collective of photographers and Maui’s unique artist community.

MACC Exhibition Dates: June 15 – August 7, 2024

Opening Reception: June 14 (Friday), 6 pm

Photographic Movements – Artist Presentation: June 15 (Saturday), 2-4 pm

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University of Hawai‘i at Mānoa Art Gallery

UHM Exhibition Dates: January 13 – February 16, 2025

Opening Reception: January 19, 2025

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AWARE : Archives of Women Artists, Research and Exhibitions

Yuki Onodera
Japanese photographer.

After graduating from the Fashion Design Department of the Kuwasawa Design School in Tokyo, Yuki Onodera began teaching herself photography, which went on to become her main medium of expression. When she won the 1st New Cosmos of Photography Award by Canon Inc. in 1991, her works were praised for their “value as enigma”. Although her photographs have often been considered unrealistic, enigmatic and obscure, what is even more important in her photographic explorations on multiple levels is a certain “physicality” that photography can transform and reconfigure, generating textures and impressions of objects, rather than the bizarre act of mixing up and inserting different contexts from a variety of original, varied objects, similar to the Surrealist method of dépaysement(disorientation).

When Y. Onodera moved to Paris in 1993, the solo exhibition of Christian Boltanski (1944–2021), Dispersion, was being held at Quai de la Gare, Paris. In the work from which the exhibition borrowed its title, Boltanski had piled up a large quantity of partially torn second-hand clothes as a monument to the Holocaust. When Y. Onodera went to see the work, she carried a bag to take away many of these clothes, thereby giving birth to her renowned work, Portrait of Second-hand Clothes (1994). This series of works is composed of second-hand clothes that seem to stand in front with the sky and floating clouds behind them. The grey tone covering the whole picture presents a sharp contrast between the front and back, evoking the presence of the person who is supposed to be wearing these clothes. In the front, the clear, tactile texture of the fabric evokes both the absence and presence of the person, while at the back, the blurred image and distant sky alludes to the majestic flow of time that extends beyond that person, or the immeasurable sense of time accumulated on that individual’s shoulders. As the artist remarked, the timing of the shooting for each piece required her to wait until she felt as if a figure had evaporated into the air. This process seeks to revitalise each person from these mass piles, as well as to use photography as an apparatus to evoke the textures of memory, even if unbeknownst to the viewer.

Combining different kinds of physicality into a picture is possible only if we know the image of the textures of things captured in photography: as Roland Barthes said, a photograph essentially points to and repeats something that “has been”, which comes across differently, as a “failure,” rather than depicting something as it seems. Y. Onodera continues to apply this methodology to many series. In How to Make a Pearl (2000–2001), a glass marble installed in a camera creates shadows in photography, making it seem as if a strange white object is floating above people gathering in the darkness, while in Liquid, TV and Insect (2002), an image of an insect collected from a TV broadcast is juxtaposed with another of some spilled, paint-like liquid that resembles the shadow of the insect. In Transvest (2002–on going), a photomontage of existing images taken from magazines and newspapers is turned into a silhouette through stage-like backlighting. Eleventh Finger (2006–on going) depicts a person’s face covered and hidden by papers perforated in a lace pattern that seems to have been attached through the photogram process, creating another photographic layer from the scene that was shot. In Study for “Image à la sauvette” (2015–on going), acrylic paint on a printed photo that seems to spill out from distorted plastic bottles is combined in a photograph whose transparent but existing bodies are only recognizable through reflections of lights.

In addition to these creative distortions of how photography usually operates, achieved by inserting different kinds of physicality into a picture, the size of the printed image in Y. Onodera’s work fulfils an important function, regardless of whether it is small or large a point demonstrated by Muybridge’s Twist (2014–on going). Alluding to the English photographer Eadweard Muybridge (1830–1904), who in the late 19th century captured the movements of running horses and walking people in serial photographs, Y. Onodera collaged various parts of human bodies and some of animals, creating an image in which a person seems to be dancing the twist. In a print on a larger scale than the human body, over 300 × 200 cm, the eerily blended parts create the impression of a twisted sculpture, rather than the sequential movements of a figure. When assembling images, she enlarges original images taken from fashion photos, and cuts and collages them in a similar size to the final product. The size of the outcome is significant in terms of how it imbues viewers with an overwhelming sense of power, as well as how another kind of physicality associated with photography affects the result in the process.

Y. Onodera continues to show new series in her recent solo shows, such as La clairvoyance du hasard in 2022 at Centre de la photographie de Mougins, France, and in the same year, Here, No Balloons at Ricoh Art Gallery, Tokyo. Her major solo exhibitions include Yuki Onodera, Décalages in 2015 at Maison Européenne de la photographie, Paris, Thousand Mirror in the Forest in 2014 at La Maison d’Art Bernard Anthonioz, Nogent-sur-Marne, Gravity-defying photography in 2011–2012 at Musée Nicéphore Niépce, Chalon-sur-Saône, Onodera Yuki: Into the Labyrinth of Photography in 2010 at the Tokyo Metropolitan Museum of Photography, and Onodera Yuki in 2010 at The Museum of Photography, Seoul.
She received the Award of the Ministry of Education and Culture, Japan, and the 27^th Grand Prix of the Higashikawa Prize in 2011. Y. Onodera also won the Prix Niépce in 2006 and the 28th Ihei Kimura Award in 2003.

Junya Utsumi

Translated from the Japanese by Darryl Jingwen Wee.

A biography produced as part of the “Women Artists in Japan: 19th – 21st century” programme.
© Archives of Women Artists, Research and Exhibitions, 2024

Vanguard Gallery
20th Anniversary Special Presentation

Curated by TAO Hanchen

Vanguard Onwards
Artists: Antoni Muntadas, Jin Haofan, Zhu Changquan, Xiao Jiang, Liu Fei, Tang Chao, Aki Lumi, Yuki Onodera, Gabriel Lester, Kelvin Kyung Kun Park, Jiu Society, Fang Di, Peng Yun, Guo Xi, Frank WANG Yefeng, Yi Xin TONG, HSU Che-Yu, LAM Pok Yin, Liao Fei, Chen Xingye, Chu Bingchao, Gresham TAPIWA NYAUDE, SONG Yuanyuan, Bi Rongrong, Chen Tianzhuo, Ye Linghan, Double Fly Art Center, Zhang Lehua, Gao Mingyan, Li Ming, Lin Ke, Liu Bolin, Sun Xun, and Tang Dixing

Duration: 16 March to 19 April 2024
Venue: Vanguard Gallery, B1-8, 9 Qufu Road, Jing’an, Shanghai

On the occasion of its 20th anniversary, Vanguard Gallery is delighted to present the special exhibition "Vanguard Onwards," running from March 16th to April 19th. Featuring the works of 34 artists, some of whom have played significant roles in the gallery's journey, while others have been longstanding companions, this exhibition is a testament to the enduring spirit and evolving vision of Vanguard Gallery.

Established in early 2004, amidst China's rapid economic development, the gallery has not only witnessed the flourishing landscape of contemporary Chinese art but has also been actively engaged in nurturing and promoting participants in the Chinese contemporary art scene. Throughout this journey, whether artists, collectors, curators, critics, or broader art enthusiasts, countless friends who share a passion for art have accompanied us. Vanguard Gallery takes this opportunity to express gratitude for their enduring support and trust, and eagerly anticipates continuing this journey together, advancing Vanguard onwards in the face of changing times.

Spanning from Antoni Muntadas, born in 1942, to Tang Chao, born in 1990, the artists in this exhibition represent diverse generations and experiences, showcased through distinct mediums and forms. Their works, thoughtfully curated and juxtaposed, invite multiple interpretations, guiding viewers to revisit the connection between the exhibited pieces, the local context, and the present moment through the layered dimension of time.

"Vanguard Onwards" will be on view until April 19th, 2024. Following this, Vanguard Gallery will host a series of artist talks as part of the 20th-anniversary celebration. We warmly invite everyone to follow Vanguard Gallery’s programs on social media, and join us in celebrating the gallery's 20th anniversary.

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