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ArtScript

An online platform with current events of Contemporary Art in Mexico City, Tokyo and more.

17/02/2019

In the hidden streets of Omotesando and Harajuku, Tokyo, I discovered: KIKKA Gallery! It was so much fun! I truly enjoyed the works by Yosh*taka Amano, the artist of Final Fantasy game, do you remember? His paintings are unique aren’t they? I adore his florid patterns, the richness in colour and glossy surfaces. Yosh*taka conveys Japanese feminine beauty, mystical places and the universe. A very futuristic perspective. This can be observed in (photographs 1&2). A naked woman at the center surrounded by mystical nature and the universe. #現代美術 #東京 #日本 #フォローする @ 表参道交差点　Omotesando Crossing

10/02/2019

For cutting-edge contemporary art with a very important historic setting in Mexico City head to Salón Acme No.7. Their curatorial programme mainly aims to support and exhibit around 60 young artists without gallery representation.
Salón Acme fills three palatial homes in the gritty but grand Juárez district. The majority of works are on sale for an approximate of $1,000 USD.
Salón Acme is currently hosting various exhibitions within the show, for instance, “Guest State" a topical exhibition of work that relates to Michoacán state. In all the artworks presented you can feel the very warmth of Mexican culture seen by the use of colours and Acme’s arquitectural space. This year the state presents “La panza de las ausencias” or “The stomach that is absent” by Maria Soza, an argument through art about political activity in the last 40 years.
Salón Acme underscore the scope of Mexico City's offerings for entrepenaurial artists, curators and gallerists. Their main theme is to argue and create reflection about political discussions from the 70’s that are still relevant at present time.

SALÓN ACME

@ Salon ACME

08/02/2019

Hilario Galguera gallery is a must place to visit when in Mexico City. We went to the opening exhibition: The Darkness on the Face of the Earth by Bosco Sodi.

Bosco Sodi is intrigued by subject matter in which nature and humanity combine; even the title of the exhibition mentions ‘face’. The artist explores matter to reach a spiritual connection of his work.
A moment of introspection appeared for Bosco after his grandmother passed away. A very gloomy and exciting exhibition was created. The organic forms possess a very dry sensation, where life may or not exist. I wonder, if this is a representation of another world yet to discover?
In essence, this is the first time that Sodi works with black and white at the same time. He mentioned "I wanted the viewer to feel that lack of color and focus more on the fight of opposites, in the battle between the two colors, one trying to conquer the other..." The artist juxtaposes dualities such as: positive versus negative, light versus darkness and life versus death. When we encounter a new experience like this exhibition, we wonder whether is frightens us or excites us so. These are realities inherent to human kind, unmeasurable, they essentially create an infinite balance. Bosco searches for implicit beauty in the unpredictable | 5 February - 30 March 2019

@ Galería Hilario Galguera

06/02/2019

21_21 Design Sight is at Midtown Roppongi in Tokyo. Another Kind of Art: MINGEI. This term was coined by Soetsu Yanagi in 1925 whom recognised the beauty of these everyday life objects made by anonymous crafts people, but now it’s different the artisans are very famous here. The exhibition features over 100 items from prefectural Japan. MINGEI style differs from traditional crafts, it expresses the urge to appreciate boldness, unfinished objects and aplaude imperfection. These objects were created to have a function, now we observe them in an aesthetic manner: they are simplistic and mainly express a strong sense of humility. A very important feature of Japanese culture. But also the viewer has the quality to appreciate imperfection which is a natural human trait. The dedication by these artisans is such that in a video installation one of them mentions: “I carve wood all day and make the same pattern, because I long to be part of nature, we are different.” Director Naoto Fukasawa believes MINGEI “will be the basis of design inspiration into the future.” #現代美術 #東京 #日本 #フォローする @ Tokyo Midtown

18/01/2019

If in Tokyo you must visit: Jesús Rafael Soto’s Pénétrable BBL Bleu at Foundation Luis Vuitton in Omotesando. The artist’s ‘Pénétrable principle’ has evolved since 1967 until the early 2000’s. These installations were intended to be site specific, ranging in materials and color. Specifically, BBL Bleu (1999) is a three dimensional sculpture “comprising of simple grids of blue colouring PVC tubing which are suspended from a metal frame.” It demonstrates the evolution of Soto’s bright artistic career. The technique is visually powerful and attractive, the intense blue color undermines any object or space close to it. “A completely participatory experience. The visitor goes beyond the simple visual perception to experiment with and experience the material, to feel the invisible and thus enter the art work.” The art work plays with your visual perception: from the inside looking outside reality seems blurred like an illusion and viceversa. #現代美術 #東京 #日本 #フォローする @ Louis Vuitton

10/01/2019

Check out this exhibition in Mexico City! Since the 1990’s, Roni Horn has produced cast-glass sculptures: the top surface is fire-polished and slightly bows in similarity to liquid under tension. In contrast, the sides and bottom are left intentionally with the rough impression of the mold cast. For these works, colour is created by the shape and qualities of its cast as it gradually anneals over three to four months. The glossy surface invites the expectator to gaze into the optically pristine interior of the sculpture and its reflections from the sun or shadows of an overcast day.
Horn's photography usually consists of multiple pieces, installed separately, they unfold within the gallery space. Horn engages with different materials with the intention to reflect upon and generate uncertainty. Some of his concerns/themes are mutability, notions of identity and the relationship between the viewer/work of art. This exhibition also embodies the cyclical relationship between humankind and nature, in which we attempt to remake nature in our own image | Roni Horn | Kurimanzutto
October 27, 2018 - January 19, 2019
@ Galeria Kurimanzutto

05/01/2019

CATASTROPHE AND THE POWER OF ART by MORI ART MUSEUM in Tokyo. How does ART depict disaster? The variety of works range from personal tragedies, to man-made accidents, wars, earthquakes and tsunamis. There are about 40 prominent artists, each one has its own different form to portray tragedy. -The exhibition starts with an Installation by Thomas Hirschhorn, it is big in scale and imposing, the materials used like cardboard instead of steel or cement make it playful and funny, not tragic. -The following images and videos are more realistic, the use of black and white gives a solemn tone, but yet we observe them as outsiders. - The following paintings portraying disaster are very colourful and vivid. Painting can be very powerful more expressive than photographs. -Gillian Wearing’s images of people in London streets are very personal and intimate (our external appearances ain’t the same internally) to which one do you relate?
-The next section: “Creation From Destruction.” This section exemplifies the richness of imagination and how artists point out social issues and how they critique systems. -Can art heal emotional and mental damage? Some of the artists join communities and make people participate a very important way to build a sense of solidarity. -George’s Rousse creates a project “bringing stars of hope to a cafe damaged by disaster.” ⭐️ “Rebirth and Reconstruction.” The exhibition ends with Yoko Ono’s installation that requests an early solution for the refugee crisis. All artists wish to stimulate discussion of how there are events that we can not control, as well as what the future might hold is unpredictable. Most importantly, creativity can turn negative events into positive. In the end the aim is to improve our society and give hope.
6 October 2018 - 20 January 2019. “ #現代美術 #東京 #日本 #フォローする @ 森美術館 Mori Art Museum, Tokyo

29/12/2018

The threads sizes vary, the core pink organic form perhaps suggests the human skin and it’s even decorated with a turquoise pin. The stitch ‘action’ is quite aggressive and gives an ‘unfinished’ sensation. In an interview by Hans Ulrich Obrist, Bourgeois mentioned: “Peripheral figures form a kind of connection between themselves; the network has to do with a certain date because it was all together, one stitch links to the other. If you pull, it comes undone, like lace.” This piece may relate to the subconscious. -Afterwards, the flower series paintings to some of us may be beautiful to observe. It is valid to dislike them, any art object in general. Anyhow, the use of red color and the way it was painted can be disturbing to the viewer; it personally reminds me of blood. #現代美術

21/12/2018

Could Be (An Arrow) by Jumex Art Collection in Mexico City explores a group of women artists: Sarah Lucas, Sherrie Levine, Anna Boghiguian, Pauline Boudry and Renate Lorenz, Carol Bove, Mariana Castillo Deball, Mónica Castillo, Minerva Cuevas, Ana Gallardo, Teresa Margolles,Catherine Opie and others. One can easily perceive a very strong female presence: there are references and objects that relate to the female body in most of the art works presented. The exhibition addresses topics like physical phenomena and its effects (objects, light, space and landscape construction as an historic process). To the psychological, the representation of oneself in another’s perspective. For instance, Sarah Lucas digital prints present organic forms that link to sexuality. The artists visual conceptual strategies attempt to interrogate, contrast and subvert the traditional canons of image production in art. | Jumex Art Collection | 29 November 2018 - 31 March 2019
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17/12/2018

‘Mike Kelley. God’s Oasis’ the artist’s first solo exhibition to be shown in Zürich’s gallery. Regarded as one of the most significant artists of our time. Kelley’s multifaceted oeuvre series: collages, paintings, cartoon based and the mobile sculpture: present the formative years in his hometown Detroit. “Kelley appropriated imagery from low-end vernacular and counterculture of the 1970’s: advertisements, comic books, erotica, (proto) punk, rock and jazz. As well as recycling materials left over from the construction of previous works in response to his own aesthetic history. Extremely linked to the themes of repressed memory, education, sexuality and class. This great artist has challenged the social and cultural conventions of American Contemporary Art through absurd, comical and postmodernist techniques.” | Curated by Peter Pakesch.
22 September - 21 December 2018. @ Galerie Hauser & Wirth

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