樹脂作品 - 金魚養画場 - 美術作家 深堀隆介 オフィシャルサイト 金魚養画場 美術作家 深堀隆介オフィシャルサイト 金魚養画場 > 樹脂作品 樹脂作品 ホーム | お知らせ | 金魚観 | 経歴 | お問い合わせCopyright © Riusuke Fukahori. Japanese-ness in Japanese Contemporary Art: ‘Roppongi Crossing: Future Beats in Japanese Contemporary Culture’ 日本当代艺术中的日本性：“六本木岔口：未来的脉动” | We need money not art Vicente Gutierrez走访了在东京六本木山森美术馆举办的一个艺术展，并为我们发回了报道： 作为2004年展览的延续，“六本木岔口”的四位策展人选出了代表日本新兴创意的36位艺术家。这些艺术家的作品与日本艺术形成时期（既1960年代和1970年代）最具有影响力的日本艺术家的作品并排放置。两组作品都横跨绘画，雕塑，设计，影像，摄影，动漫和传统手工艺品（刻意排除了建筑和时尚），这一展览的目的旨在探究当代日本艺术的脉动。 策展人们将这些汇集成展览，也引发了这样的疑问：是什么让这些艺术家走到一起的？ 是存在着这么一种万有引力般的“日本性”？ 截至1月14日，一些选择该展览的作品 佐藤雅彦+桐山孝司（Sato Masahiko+Kiriyama Takashi）：算术公园2007。 佐藤雅彦和桐山孝司在一个交互式装置中采用了RFID技术，游戏的参与者选择一张写有数字的卡片挂在脖子上，本质上他们就成了这些数字。 榎忠（Enoki Chu），RPM-1200，2005。 榎忠的RPM-1200[2005]是一个未来主义的都市景观设计，其特点是以（碎屑）金属为材料进行的高度精细的手工制作。 岩崎贵宏（Iwasaki Takahiro），模型倒影，2001。 岩崎贵宏精雕细琢复制出的京都的金阁寺（和它的倒影，为了表达折射的效果而略有偏移）则体现了本次展览传统的一面。 右图：鬼头健吾，皇家，2007。 定名为“皇家”，鬼头多彩而富于生机的视觉多面体同小型螺旋桨叶安置在一起，并且即使嗡嗡作响，但该作品对视觉的吸引依然胜过其对听觉的吸引。 山口崇司（Yamaguchi Takashi） 基于算法的交互式模型带领我们进入一个全新的环境，在这里我们怀疑我们的行为和认知带给（可视化）数据的影响。 山口崇司，d.v.d “六本木岔口”展强调了策展人为日本“艺术”所打的标签，并且，作为一次全面审视日本艺术的展出，36位艺术家的组合看起来更可能导致分化而非完整的景象。 图片均为森美术馆所有。 原文OriginalText 责编：sophywt
Conceptual Art « Alphabet Phill Niblock After an early period studying economics (BA, Indiana University, 1956) Niblock came to New York in 1958. Initially he worked as a photographer and filmmaker. Much of this activity centered around photographing and filming jazz musicians. These films are remarkable for their realistic quality and absence of artifice, their use of long takes in high resolution and their supposedly artless juxtaposition of compelling images in vivid colors. Niblock’s first musical compositions date from 1968. Niblock’s music is an exploration of sound textures created by multiple tones in very dense, often atonal tunings (generally microtonal in conception) performed in long durations. The combination of apparently static surface textures and extremely active harmonic movement generates a highly original music that, while having things in common with early drone-based Minimalism, is utterly distinct in sound and technique.
Bichaud-Jean-Luc Paysage de fantaisies Galerie Alain Le Gaillard Pierre-Évariste-Douaire Art culture paris,art culture France,evenement culturel,agenda culturel paris,actualité art culture,photo art,agenda design,exposition design,éditeur design,spectacle Par Pierre-Évariste Douaire Jean-Luc Bichaud présente sept jardins suspendus. Ces bassins, alimentés en eau, sont des plateaux noirs tenus par des fils. Un alambic de tubes à essais s'entortille au dessus de ces paysages montagneux. Il laisse perler une pluie au compte goutte. Tout cet imbroglio n'a qu'un seul but au départ, celui de créer un nuage artificiel. Curieusement l'aspect absurde de l'installation est la pierre angulaire de la proposition initiales. La route de l'eau empreinte une route de la soie. La fantaisie indiquée dans le titre joue pourtant pleinement son rôle et participe à l'émerveillement général. English translation : Rose Marie Barrientos Traducciòn española : Maïté Diaz Gonzales Jean-Luc Bichaud — Les Hauts-reliefs, 2006.
Jeff Wall Jeff Wall, Picture for Women, 1979; Silver dye bleach transparency in light box; 56-1/8 x 6 ft. 8-1/2", Collection of the artist; © 2006 Jeff Wall. Jeff Wall, Rainfilled suitcase, 2001, Silver dye bleach transparency in light box, 25-3/8 x 31-1/2", Collection of the artist, © Jeff Wall. Jeff Wall, An Octopus, 1990, Silver dye bleach transparency in light box, 71-5/8 x 90-3/16", © Jeff Wall. Jeff Wall, Poppies in a garden, 2005, Silver dye bleach transparency in light box, 37-3/8 x 46-7/16", Collection of the artist, © Jeff Wall. Jeff Wall, The Flooded Grave, 1998-2000, Silver dye bleach transparency in light box, 89-15/16 x 111", © Jeff Wall. Jeff Wall, Milk, 1984, Silver dye bleach transparency in light box; 6 ft. 2-1/2 in. x 7 ft. 6-1/4", The Museum of Modern Art, New York. Jeff Wall, Doorpusher, 1984, Transparency in lightbox 2490 x 1220 mm, Goetz Collection, Munich, Cinematographic photograph, © The artist. Wall was dissatisfied with his work at this time, however.
archiveturnerprize2009 Richard Wright, no title 2009, Courtesy the artist; Gagosian, London; The Modern Institute / Toby Webster Ltd, Glasgow and BQ, Berlin © Copyright the artist. Photo: Photo credit Sam Drake and Gabrielle Johnson, Tate Photography. Roger Hiorns, Untitled 2008, Courtesy the artist and Corvi-Mora, London © Copyright the artist. Photo: Photo credit Sam Drake and Gabrielle Johnson, Tate Photography. Tate Britain Millbank London +44 20 7887 8888 Level 2 Turner Prize 2009 shortlist October 6, 2009- January 16, 2010 Four artists who have been shortlisted for the Turner Prize 2009 are included in the Turner Prize 2009 exhibition. Enrico David Enrico David has been nominated for his solo exhibitions How Do You Love Dzzzzt By Mammy? Roger Hiorns For his solo exhibitions Seizure, Artangel commission, Harper Road, London and at Corvi Mora, London. Lucy Skaer For her solo exhibition at the Fruitmarket Gallery, Edinburgh and A Boat Used as a Vessel at the Kunsthalle Basel.
Mauve Deep / Keegan McHargue secession Koo Jeong-a, 3355, Installation View In her interventions and installations, Koo Jeong-a starts from the constitution of an exhibition location and simultaneously identifies the most advantageous form for the placement of her objects there. Koo Jeong-a's compositions are often more firmly rooted in poetic than in sculptural thinking, and they have the delicateness and lightness of dream worlds. In her subtle and meditative, but no less sober manner, Koo Jeong-a leaves the objects their banality, rather than seeking to enhance their value, but at the same time, she attributes structural positions to them with the constellation. The way in which it all comes together, the way in which the objects mutually relate to and condition one another, has nothing random about it. Instead, it follows an order, in which microcosm and macrocosm correspond. KOO JEONG-A, born 1967 in Seoul, lives and works in Paris. All Photos: Matthias Herrmann
Archive | Koo Jeong-A Koo Jeong-A Centre International d’Art et du Paysage, Ile de Vassivière, France The Vassivière art centre, designed by Aldo Rossi and Xavier Fabre, comprising a conical lighthouse and horizontal hangar situated on an island in an artificial lake in the middle of nowhere, seems so improbable that visiting it doesn’t feel like being in the countryside at all; it’s like entering another, peculiarly displaced world. Koo Jeong-A’s splendid exhibition ‘Oussseux’ is at one with that world. ‘Oussseux’ means having the quality of being ‘ousss’, a word the artist invented some time ago, and which she recently inserted into a pink and green bound Flamariousss dictionary (a play on the Flammarion dictionary publishers). Koo’s work is itinerant and transient rather than traditionally site-specific. Upstairs the fat, wet snoring of an animal rumbles from speakers hidden in the ledges above the stairwells, on which bunches of llama and dog hair and hillocks of dust are gathered. Vivian Rehberg
Koo Jeong-A Rackroom Knowing about Koo Jeong-A's fondness for words and particularly the way they sound when pronounced, ArtSlant asked Nicolas Nahab, the coordinator at Yvon Lambert in Paris, about the significance of the name of her exhibition, new song, o, at the gallery in January of 2009. "We think it's a kind of homage," he said, "but she won't say directly what it's about, or to whom." He continued, "With Koo, she'll be very open to whatever interpretations people draw from her work but will be very reluctant to tell you anything definitive about it. ArtSlant writer, Natalie Hegert, and Editor in Chief, Georgia Fee, met with Koo on the eve of her vernissage at the gallery. The watercolors on the floor - richly painted, assorted sizes, some sketches, others more finished - occupied the cavernous room with a surprising fullness. The following remembrances from that conversation. Natalie Hegert: So you're living in Paris? Koo Jeong-A: Actually I now live in Berlin and London. KJ: I can't say.