A display of textiles and paper samples from the Somenotsukasa Yoshioka dye workshop in Fushimi, southern Kyoto. The display is accompanied by four short films about Yoshioka Sachio, the fifth generation head of the workshop, and the art of natural dyeing. Films also viewable online at :
Yamamoto Keiko Rochaix has announced a joint exhibition by contemporary Japanese artist duo Ryoko Aoki and Zon Ito.
The two independent artists started collaborating in 2000, and this will be the first time they will exhibit London. Curated by Hikotaro Kanehira, the exhibition will comprise of works recently created in their Kyoto studios as well as those produced within the gallery space for the duration of August. The poetic show will centre around paintings, embroidery, small objects and video installations with the artists incorporating found objects from various London locations.
The artists’ works have references from both traditional and contemporary Japanese culture. Geometric forms and vibrant colours are recurring themes in Aoki’s work. The artist is often inspired by the natural world, plants and animals as well as depicting fragments of everyday life. Installation is an essential part of her work, which is tailored by each exhibition so that the drawings and other media come together to form a collection. Her body of work often consists of things beyond her own creations, such as found objects or works by other people that interest her, which when brought together, adopt a greater meaning.
Ito creates using a range of media, resulting in embroidered drawings, modelling pictures, or hand-made cord drawings. The artist’s choice of hard-to-manipulate media means he can never entirely be in control of his creative process, and the end result is not always what he would have originally expected. The rough, energetic lines flow from paper to fabric to screen with engaging sensitivity, infusing into the body of work a sense of serenity in which time appears to be suspended.
The two artists’ works fuse and produce synergy with depth and complexity. The exhibition will touch on the issues of psychological development and the character-building process of young children, making reference to essays on child psychology analysis by Kiyoshi Oka, a well-known Japanese mathematician.
Ryoko Aoki and Zon Ito are available for interview and press are invited to visit them in the gallery during their residency.
For further information, images or to arrange interviews please contact: Anna Beketov, Damson PR, firstname.lastname@example.org, or +44 (0) 207 812 0645
Address: 19 Goulston St, London, E1 7TP
Dates: 7th September – 22 November 2018
Private View: Thursday 6th September 2018, 6pm – 9pm Opening Hours: Wednesday to Saturday, 11am ‒ 6pm Travel: Aldgate East, Aldgate, Liverpool Street
Facebook: facebook.com/yamamotokeikorochaix Instagram: instagram.com/yamamotokeikorochaix
THE MOVING MOMENT WHEN I WENT TO THE UNIVERSE, a major exhibition of new works by Yayoi Kusama, will take place across the Wharf Road galleries and waterside garden. The exhibition will feature new paintings, including works from the iconic My Eternal Soul series, painted bronze pumpkin and flower sculptures, and a large-scale Infinity Mirror Room, created for this presentation, Kusama’s twelfth exhibition at the gallery.
The Art of Gaman is a stunning new play. It was a finalist in the American Playwriting Foundation’s prestigious Relentless Award.
Tomomi, a young Japanese woman stands at the hull of a ship staring out across the water to her new American life in the years prior to the Hiroshima bombing. There are stars in her eyes and a crackling radio pulled to her chest as she drifts towards a country, and a future, that resists her arrival.
The Art of Gaman is an aching exploration of displacement and loss of cultural identity when you find yourself in a country that considers you an enemy. When forgetting your past is shameful, but remembering brings even greater pain, Tomomi must harness the strength to find beauty in the struggle and carve out a new life for herself and be true to who she really is.
The Art of Gaman was one of 6 plays shortlisted for the American Playwriting Foundation’s prestigious Relentless Award.
4 – 30 October 2018
Monday – Friday 11AM – 7PM
Saturday 13 & 27 October 12 – 5PM
Private View: 5 – 8PM Thursday 4 October 2018
*Wed 10 October from 2 to 3.30pm: Try Japanese Woodblock Printing!
*Sat 13 October from 2 to 2.45pm: Artist Talk with Nicholas Sabisky
*Sat 13 October from 3 to 3.30pm: Nicholas Sabisky Flute Mini Concert with Megan Storer
*Thu 18 October from 7 to 8pm: Artist Talk
*Wed 24 October from 2 to 3.30pm: Try Japanese Woodblock Printing!
*Sat 27 October from 2 to 2.45pm: Artist Talk with Nicholas Sabisky
*Sat 27 October from 3 to 3.30pm: Nicholas Sabisky Flute Mini Concert with Megan Storer
After the successful interactive installation work: Making Waves – the official event of ‘Hokusai, Beyond the Great Wave’ in the Great Court of the British Museum last year, Imada decided to produce a continuity of images – ‘Shapes of Water’ in different formats. Inspired by Hokusai’s ‘Great Wave’, Imada presents her own approach to ‘Shapes of Water’. Her unique abstract style is very bold and dynamic yet evocative and delicate, seeking to stimulate and broaden the viewer’s imagination.
For this exhibition, she has focused on creating print works and drawings using different techniques such as Woodcut, Lithography, Screen Printing, Mokulitho (Plywood lithography), Ink drawing, Watercolour, etc. She often uses Japanese traditional techniques with a contemporary twist and some works are created using traditional Japanese techniques: a hanging scroll and folded screen format.
Imada also has a specific taste and interest in music and here is working again with a young British composer & flutist Nicholas Sabisky specifically for this exhibition collaborating and interacting in forming her works. She hopes that the music and art work together will open up the imagination to deeper levels of understanding.
Nicholas Sabisky and Music
Sabisky has collaborated with Imada twice previously for shows in Finland. For Shapes of Water, he has composed solo and duo pieces for flute inspired by the different facets of water and Imada’s expressive images. His compositions are a fusion of folk and contemporary based music, exploiting all the natural resources of the flute to create haunting melodies as well as explosive waves of sound. In the duo pieces, he will be performing with Megan Storer. Both are currently studying with international flautist, Wissam Boustany, at Trinity Laban Conservatoire where Sabisky also studies composition with Douglas Finch.
Starting the 12th October and running until 15th December, Adam Isfendiyar will be holding a photography exhibition about the life of an Ainu (indigenous people of Japan) man in Hokkaido. He has been working on this project for over 2 years with Kenji Matsuda, giving an insight into the modern Ainu and the continuing legacy of the recent past since the Japanese took over Hokkaido at the end of the 19th century. It will be showing at The Brunei Gallery, SOAS and entry is free!
How weak is macroeconomic theory? Japan has terrible macroeconomic numbers (by leading nation standards) yet a high quality of life. This contradiction drags macroeconomics, monetary policy, taxation, and politics under a spotlight. In this talk, Professor Michael Mainelli intends to draw on the work of his Long Finance movement, along with the work of Professor Richard Werner, and use the more interesting contradictions of Japan to show how much more we need to learn about fiat currencies, cryptocurrencies, trade, and tax in order to provide alternative visions of economic and fiscal (six letter word for tax) policies.
Professor Michael Mainelli FCCA FCSI(Hon) FBCS, Executive Chairman, Z/Yen Group
A qualified accountant, securities professional, computer specialist, and management consultant, educated at Harvard University and Trinity College Dublin, Michael gained his PhD at London School of Economics where he was also a Visiting Professor. He began his career as a research scientist, later becoming an accountancy-firm partner and a director of Ministry of Defence research. During a spell in merchant banking in 1994, he co-founded Z/Yen, the City of London’s leading commercial think-tank. He has led Z/Yen from creating smart ledgers (aka blockchains) through the Financial £aboratory, Taskforce 2000, Long Finance & the London Accord, Global Financial Centres Index, Global Green Finance Index, and Global Intellectual Property Index. He is an Alderman of the City of London, a non-executive director of two listed firms and a regulator, Emeritus Professor at Gresham College, Fellow of Goodenough College, and Master of the Worshipful Company of World Traders. His third book, The Price of Fish: A New Approach to Wicked Economics and Better Decisions, won the 2012 Independent Publisher Book Awards Finance, Investment & Economics Gold Prize.
Please let us know if you would like to take an optional tour of the Freemasons’ Hall at 5.15 for 5.30pm.
Host: Pauline Chakmakjian, Visit Kyoto Ambassador.
To reserve your place, please call the Japan Society office on 020 3075 1996, email email@example.com or submit the online booking form.
In association with The Japan Room
Lodge Room No 11
The Freemasons’ Hall
Great Queen Street
London WC2B 5AZ
Japan Society members: £9
SOMETHING NEW – Yuta Segawa Ceramics SOLO EXHIBITION
DATES: 2nd – 22nd November 2018
PRIVATE VIEW: 1st November 18:00 – 20:00
The Sway Gallery London is proud to introduce Yuta Segawa, an incredibly talented Japanese ceramicist based in London.
“In this installation, I will gather together three hundred of my miniature pots, as well as exhibit little painted pots.
I have crafted scores of pots every day since 2013, always keeping miniature pots at the heart of my artistic endeavors. By spending every day working in this manner, I do believe that my miniature pots have grown more and more charming over time.
For this exhibition, I believe it is important to show my miniature pots, which I have improved upon day-by-day, in the same way that I always have… and yet also to display new creations with paint and decorations that I do not always have time to indulge in.
The title of this exhibition is ‘Something New’. Every day I approach my work mindful of searching for new creative ways to express miniature pots.”
Sat and Sun by appointment (buyers only)
*All the artworks will be for sale*
The works presented in Tsuyoshi Anzai’s first solo exhibition in the UK pose questions about the ‘thereness’ of everyday items.
Taking inspiration from the Platonic philosophical assumption of a world of ideas which is hidden from human senses, Anzai attempts to disrupt the way we unconsciously and passively perceive “representation”, by creating a state where the object is suspended somewhere between reality and illusion.
In the series of works ‘distance’ (2016- ), a device invented by Anzai, called ‘New Video Player’, enables viewers to see an object as an illusory video image, although the object is in fact in front of them. Using the mechanism of a camera obscura, this box-like device projects an image of 3D objects onto a screen through a lens. The device produces moving images in a way that is completely different from conventional video-recording devices, since the subject itself, namely the kinetic sculpture, is moving inside the device.
Etymologically referring to the ancient Greek word kinesis (motion), kinetics started being applied to art at the end of the 19th century, by impressionist artists seeking a more rounded representation of the human figure through the use of perspective. In the 20th century, the concept of movement was then applied to objects and three dimensional works.
Intending to put under scrutiny the dualism between representation and interpretation, in the paintings ‘TBD’, inspired by everyday items, Anzai removes the illustrated objects from any context and leaves the viewer free to focus on their pure form.
The chasm between the objective and the subjective also inspired the title of the exhibition, where the term “Jailhouse” alludes to the prisoners of Plato’s Cave, and “Locke” refers to the philosopher John Locke, one of the founders of Empiricism, a philosophical movement which asserts that our knowledge can be acquired only from what we perceive through our senses.
Additionally, the title contains a veiled pun, referencing the Jailhouse Rock song by Elvis Priestley. As with the rocker’ famous dance moves, the movements of Anzai’s kinetic sculptures capture the viewer with their impermanent choreographies.
Breaking free of what the artist defines as the “modern disease of the subject/object distinction created by Descartes”, Anzai’s works challenge the visitors to look beyond simplifications and into the intertwined complexities of our modern world.
Image: distance #003-5, 2017, Installation View at the Pohang Museum of Steel Art, Pohang, South Korea © Tsuyoshi Anzai
Daiwa Foundation Japan House
13/14 Cornwall Terrace
London NW1 4QP
Nearest Tube: Baker Street
This is an exciting opportunity to use the rare Japanese natural dye, Kakishibu, whilst learning a basic Shibori technique and create an original tote bag!
Kakishibu is a traditional Japanese dye made from tannin extract of unripened, inedible persimmon fruits. It can be applied on wood, paper, and fabric. It has an earthy brown colour and reacts as a coating for surfaces, creating antiseptic activity, water resistance and durability.
Shibori is a Japanese resist dyeing technique, which produces patterns on fabric.The cloth can be bound, stitched, folded, twisted, clamped and compressed.
No previous experience is necessary and all materials and tools are provided. We offer free refreshments and Biscuits!
This is 2 hour workshop and will be held at the Textile Hub @ Kingsgate Workshops Trust.
Please click on the link for more information and to buy tickets.