ArtSlant - Recently added en-us 40 Takuro Kuwata - Alison Jacques Gallery - October 7th - November 5th <p><em>&ldquo;I&rsquo;m not trying to break the rules&hellip; I just want to apply a contemporary sensibility to pottery. I believe I can create something truly new, work that reflects our time&rdquo;</em> Takuro Kuwata, 2013&nbsp;</p> <p>Alison Jacques Gallery is delighted to present new ceramic work by Japanese artist Takuro Kuwata. This will be Kuwata&rsquo;s first solo exhibition in London, following his participation in the group show <em>Organic Sculpture</em> at Alison Jacques Gallery in 2015. &nbsp;</p> <p>Takuro Kuwata (born 1981) lives and works in Toki City, Gifu, Japan and it is from this mountainous terrain that the artist finds the stones prominent in his sculptures. One of the traditional Japanese techniques he uses is called <em>ishi-haze </em>or <em>stone explosion, </em>in which stones are allowed to overheat in the kiln to the point where they rupture<em>. </em>Conventionally, this technique employs small stones in the making of tea ceramics; however Kuwata uses oversized rocks to distort his forms as the stones melt or explode. Kuwata also employs <em>kairagi, </em>another Japanese technique, which is used to create imperfections in the glaze caused by shrinking and cracking. Kuwata is drawn to the imperfections resulting from this process, which he employs to its extreme so that the outer layer of the sculpture is fractured and appears to be slipping away from the colour beneath. The uncertainty of the method does not allow Kuwata complete control over the resulting form, enhancing the organic nature and dysfunctionality of his objects.</p> <p>This exhibition contains a number of large-scale works made when Kuwata was resident artist in Shigaraki, Japan, earlier this year. Upon entering the gallery, the viewer is confronted with a large stalagmite sculpture beside a small tea bowl. The main space contains a variety of large vessels and standing sculptures, encrusted with sherbert-hued colours, or gold and silver glazes, which appear like rings of icing around heavy ceramic bases. In the side space Kuwata exhibits a series of small, brightly coloured tea bowls that span the length of the wall. Kuwata often refers to these as drip bowls, with beads of glaze hand painted onto their exteriors that could appear to be coloured droplets of sweat emanating from within.</p> <p>Kuwata&rsquo;s practice is firmly rooted in Japanese history and aesthetics. The characteristics of the Japanese philosophy <em>wabi-sabi,</em> which focuses on imperfect and incomplete beauty, including asymmetry and asperity, are all evident in Kuwata&rsquo;s work. Born in Hiroshima, but removed from the aftermath of World War II, Kuwata is offering a contemporary view of postwar Japanese anxiety as well as demonstrating a correlation between Japan&rsquo;s recent natural and social disasters. The natural world plays an active role in Kuwata&rsquo;s practice, with bursting stones and broken glazes acting as metaphors for erupting volcanoes and earthquakes, engendering beauty through destruction.</p> <p>Takuro Kuwata graduated from Kyoto Saga Art College, Department of Fine Arts, Ceramic Arts in 2001 and started an apprenticeship under ceramic artist Zaima Susumu in 2002. He graduated from Tajimi City Pottery Design and Technical Center in 2007. Kuwata has been shown extensively in Japan, including <em>Art Crafting Towards The Future</em> at the 21st Century Museum of Contemporary Art, Kanazawa, Japan, 2012, and <em>Japanese Kōgei | Future Forward</em>&nbsp;at the Museum of Arts and Design, New York, 2015. In 2017, Kuwata will have a solo show at CAM / Contemporary Art Museum, St. Louis curated by Jeffrey Uslip.</p> <p>&nbsp;Museums and foundations that have acquired Kuwata&rsquo;s work include: Rubell Family Collection, Miami; Takahashi Collection, Tokyo; 21<sup>st</sup> Century Museum of Contemporary Art, Kanazawa; The Palm Springs Art Museum, Palm Springs; University of Michigan Museum of Art, Ann Arbour.</p> <p><strong>FOR INFORMATION, INTERVIEWS OR IMAGES PLEASE CONTACT BRIDIE HINDLE: E: </strong><a href="mailto:BRIDIE.HINDLE@ALISONJACQUESGALLERY.COM" rel="nofollow"><strong>BRIDIE.HINDLE@ALISONJACQUESGALLERY.COM</strong></a><strong> / T: +44 (0) 20 7631 4720 </strong><strong>WWW.ALISONJACQUESGALLERY.COM</strong></p> Fri, 26 Aug 2016 16:54:38 +0000 Karolina Brzuzan, Jamie Crewe, Jackie Karut and Priyesh Trivedi. - Gasworks - September 24th 12:00 PM - 6:00 PM <p>Open Studios 12-6pm<br />Artist Talks 4.30pm</p> <p>Drop by and get to know the visiting artists at this free event&nbsp;offering London audiences a unique opportunity to see, hear about and discuss the research and work-in-progress that they&nbsp;have been developing over the past three months.</p> <p>Artists:</p> <p>Karolina Brzuzan&nbsp;(Poland),&nbsp;Jamie Crewe&nbsp;(UK),&nbsp;Jackie Karuti&nbsp;(Kenya) and&nbsp;Priyesh Trivedi&nbsp;(India).</p> Fri, 26 Aug 2016 14:54:08 +0000 - Gasworks - September 22nd - December 11th <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>Gasworks presents A Body Reduced to Brilliant Colour, the first UK solo exhibition by American artist Candice Lin.</p> <p>The exhibition explores how histories of slavery and colonialism have been shaped by human attraction to particular colours, tastes, textures and drugs. Lin presents a new commission, a living sculpture assembled from hacked household objects, which will work constantly to transform historically loaded goods such as tea and sugar into a new substance, a brownish -red fluid which will collect and congeal on the gallery floor throughout the exhibition.</p> <p>Focusing on how the desire to wear, become enraptured by, or ingest certain plants and substances preceded the will to trade them as commercial goods, the exhibition traces the materialist urges at the root of colonial violence. Living processes, from fermentation to the generation of an electrical current through bacterial digestion, join with objects, organic matter and DIY mechanics to constitute a ritualistic act in which ceaseless movement echoes the histories of trade that entangle them.</p> <p>Tubing, plastic and glass containers, porcelain filters, hot plates, and other household objects boil, ferment, distil, dye and pump liquid containing colonial trade goods such as cochineal, sugar and tea. The system created by these diverse elements surrounds a large, waterproof basin of Vitruvian proportions. &lsquo;Fed&rsquo; two litres of water each day, this work &ndash; which the artist describes as a &lsquo;flayed</p> </div> </div> </div> <div class="page" title="Page 2"> <div class="layoutArea"> <div class="column"> <p>circulatory system&rsquo; &ndash; constantly produces a brownish-red fluid, which collects in the basin and is gradually siphoned off, congealing in a pool on a marble-effect laminate floor in the adjacent gallery. By transforming prized, historically-loaded goods into a stain reminiscent of murder, faeces or menstrual blood, the work speaks to these fraught histories of conquest, slavery, torture and theft, while at the same time exploring what happens when materials so burdened with history and meaning are situated in &ndash; and produce &ndash; new systems of relations.</p> <p>--<br /> A series of events accompanies the exhibition including The Intricate Speech of Intimate Objects on 24 Sept in which Los-Angeles based artist and psychic Asher Hartman will lead a demonstration and workshop in psychometry; and Eating the Edifice on 12 November 2016,an illustrated lecture/demonstration by food historian and artist Ivan Day which outlines the evolution of edible table art from the early Renaissance to the 19th century.</p> <p>For artist / curator interviews and for high resolution images visit:</p> <p> or email +44 (0)207 091 1636&nbsp;</p> </div> </div> </div> Thu, 25 Aug 2016 15:23:10 +0000 Lucia Nogueira - Annely Juda Fine Art - September 23rd - October 29th <p style="text-align: justify;">In collaboration with Anthony Reynolds Gallery<br />&nbsp;</p> <div style="text-align: justify;">An artist of Brazilian heritage but who relocated to London in 1975, Nogueira&rsquo;s work comprises installation, sculpture, video and drawing. Her art eludes classification. Despite frequently suggesting a Brazilian sensibility, it does not sit comfortably within the paradigm of most Brazilian art, but neither does it reflect what was taking place in London at the time. A fascination with the structure of language infiltrated her work but also expressed the particular force of her bilingual ambivalence. Her work is suspended in a complex cultural partnership and encapsulates relationships that are at the root of our attempts to negotiate experience. Neither representational nor narrative, Nogueira&rsquo;s work concerns the range of poetic and philosophical stimuli that are generated by a single, precise point of connectivity.<br />&nbsp;</div> <p style="text-align: justify;">&nbsp;<br />A fully illustrated 64 pp catalogue will be available</p> Mon, 22 Aug 2016 10:14:14 +0000 Xu Hualing, Hang Chunhui, Peng Jian, Chen Jun, Ma Lingli - Royal College of Art - September 7th - September 13th <p style="text-align: justify;">Chinese ink art has a time - honoured tradition, a tradition that has, since the day&nbsp;it was born, been going through relentless changes, mainly driven by its intrinsic&nbsp;movements before the 20th century as there was neither desire nor channel for&nbsp;the Chinese culture to interact with those of other countries against the&nbsp;backdrop of China&rsquo;s self-closed cultural environment.<br /><br />The beginning of the 20th century witnessed the most dramatic changes in&nbsp;history to China, which led to, among others, ruptures and fragmentation of&nbsp;Chinese cultural traditions with the increasing influence of the west on China.&nbsp;The ink art, as one of the symbols of Chinese cultural traditions, since then&nbsp;embarked on a path of the so-called &ldquo;transformation&rdquo;, with modernization as the&nbsp;purpose and learning from the west the approach.<br /><br />This transformation has been accompanied by disputes until the 1980s, a period&nbsp;that saw the prominence of a contemporary sense of questioning in the creation&nbsp;of Chinese ink art. The creators, while stressing the &ldquo;micro-times&rdquo; and &ldquo;micro-trends&rdquo; in the context of &ldquo;macro-times&rdquo; and &ldquo;macro-trends&rdquo;, began to show&nbsp;diversities and personalities. What remained the same about the ink artists then&nbsp;were the principles of &ldquo;I&rsquo;m expressing my own inner world&rdquo; and &ldquo;harmony butnot conformity&rdquo;, although some of them tended to envy the unrestrainedness of&nbsp;western expressionist art, and some others preferred to go back to the&nbsp;traditional &ldquo;brush and ink play&rdquo; of ancient Chinese literati painting.<br /><br />It is undoubted that the Chinese ink at of the early 21st century will be nothing&nbsp;but a flash throughout its tremendously long history. It is now showing more&nbsp;enhanced diversities and personalities with the involvement of young ink artists.&nbsp;The tradition of Chinese ink art has been more inclusive thanks to the efforts of&nbsp;the past generations of ink artists, and it is based on this inclusiveness that&nbsp;Chinese ink art is starting to be experimental and avant-garde.<br /><br />For the young artists, ink is either the material they feel comfortable with, or an&nbsp;apposite medium they use to express their own opinions, or a route of time&nbsp;travel for them to connect with ancient artists. That&rsquo;s why they have been so&nbsp;captivated by the creations and experiments of ink art, which count as the most&nbsp;direct and easiest modes to express themselves as well as their attitudes about&nbsp;the current era.<br /><br />It is our pleasure to bring the creations of such a group of young artists to&nbsp;London, the culturally diverse metropolis where we would like to unveil the&nbsp;contemporary Chinese ink art. Belonging to the new generation of contemporary&nbsp;Chinese ink artists, the several young artists featured in this exhibition, who are&nbsp;known for their practice art out of unrestrained will, have all chosen ink art as if&nbsp;by prior agreement. For them, ink art is where the vitality lies, and their mission&nbsp;of artistic creation is to tell the story of &ldquo;themselves&rdquo; or reveal the spirit of their&nbsp;generation in the contemporary cultural context, instead of continuing the&nbsp;tradition of ink art.</p> Mon, 22 Aug 2016 07:37:24 +0000