“on sculpture –between line and figure”

Shinoda Taro, Auckland Art Gallery Project: Bronze Model, 2018, bronze, marble, 72 x 18 x 18 cm (28.3 x 7 x 7 in), Edition 5 + AP

on sculpture –between line and figure
Shinoda Taro, Jae-eun Choi, Kawamata Tadashi
Thursday, April 11 – Saturday, June 1, 2019
Hours: 12:00-19:00, Tuesday-Saturday
Opening Reception: Thursday, April 11, 18:00-20:00


photo by Keizo Kioku


Download Press release (English)
Download Press release (日本語)


Rather than being self-sufficient, Shinoda Taro only considers his sculptures complete when they have been placed in a specific environment or context. Inspired by the discovery of an unused spiral staircase at Auckland Art Gallery, Shinoda conceived of a column-like sculpture that would pass through the spiral, realized in situ and relating to the building. He also envisaged an identical column-like sculpture to be installed outside the venue. Although both sculptures have the same form, one is incomplete because it is outside on its own, while the other is complete because it is installed within the spiral staircase where it has a complementary relationship with the building. This project has yet to be realized, but small-scale model of the sculpture is exhibited.

The Paper Poem series by Jae-eun Choi, who was based in Berlin, Germany from 2010 to 2016, consists of collages the artist made using flyleaves, endpapers and other blank pages extracted from books produced in the 19th and 20th centuries. Paper produced in the late 19th century and a large part of the 20th century is affected by exposure to light, which bleaches its edges over time. The delicate gradations of overlapping bleached pages brought together inside Choi’s frames are like layers of time stacked on top of one another. The compositions, which are reminiscent of constructivist collages, enhance these natural gradations, while also appearing much like a bird’s eye view of a city, with buildings alongside one another. Collage exists at the boundary between two- and three-dimensional artwork, and Jae-eun Choi’s collages are transformed into memories and continuity through the concept of time, suggesting that the pursuit of our very own lives originates from a never-ending cycle.

Kawamata Tadashi produces many drawings and maquettes as part of his process when creating site-specific work at venues throughout the world. As the artist turns lines into manifest form and increases the scale, his drawings and models presage the works that will eventually be realized once he has finished exploring and trying out different approaches. This process allows the concept of each sculpture to grow. The exhibition presents works intended as sculptural interventions for cities that address urban conditions and transformations, including a relief of People’s Garden (D9) Plan #7 (1992), which was created for a project at Documenta 9 in Kassel, Germany.

MISA SHIN GALLERYは、4月11日(木)から6月1日(土)まで、川俣正、崔在銀、篠田太郎による彫刻の展覧会、on sculpture –between line and figureを開催いたします。


2010年から2016年にかけドイツ、ベルリンを拠点に制作した崔在銀の連作「Paper Poem」は19世紀から20世紀に作られた本の見返り紙や遊び紙のページを切り取りコラージュした作品です。19世紀後半から20世紀にかけて生産された紙は、時間と露光によって縁が焼け、重なり合うページの繊細な色調は、何層にも堆積した時間となってフレームの中に集結します。そのグラデーションに見られる構造主義的なコンポジションは、真上から見た都市における建物のようでもあります。コラージュという平面と3次元の狭間に存在する手法は、時間の概念によって、記憶や連続性に転化され、私たちの生命の営みそのものが永遠に終わることのないサイクルから成ることを示唆します。

世界各地でサイトスペシィフィックな作品を展開している川俣正は、その制作過程において多くのドローイングやマケットを生み出します。ラインが形となりスケールが拡大していくプロセスにおけるそれらのドローイングやマケットは、思考の変遷や試みを経てやがて現れる作品を予言し、彫刻の概念を押し広げます。本展では、ドイツ・カッセルのドクメンタ9でのプロジェクトのために制作した「People’s Garden (D9) Plan #7」(1992年)のレリーフなど都市の多様なありようや変化と関わりながら、都市に対して彫刻的な介入を試みる作品を展示します。

MISA SHIN GALLERYの3人のアーティストによる彫刻の展覧会、on sculpture –between line and figureどうぞご高覧下さい。

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