2019.7.12 [Fri] − 8.10 [Sat]
7.12 [Fri] 18:00 ‒
［Tue ‒ Sat］11:00 ‒ 19:00
Feb. 8 [Fri] ‒ Mar. 9 [Sat] 2019
[Tue ‒ Sat] 11:00 ‒ 19:00
[Sun, Mon, Public Holiday] Closed
Feb. 8 [Fri] 18:00 ‒
Feb. 8 [Fri] 19:00 ‒
LOKO GALLERY is pleased to announce the first solo exhibition in Japan by Swedish artist Hans Andersson.
Over the years, Anderson has been working with abstract images and sculptural objects using found materials. The artist gives the new history through his long time manual work to objects such as paper bags, plastics, metal scraps and old photo albums abandoned on the streets with their own meanings and history and sublimates them as an artwork. In his carefully structured collages and delicate drawings, you may see process of execution, but actually it is intuitive, not logically assembled, and it is closely related to the artist’ s acts themselves.
Andersson’s working style is both spontaneous and passive. He purposely faces to the materials without having a clear plan, and the artist himself will change along with the works and the environment of working place. His production method, which excludes predictions and semantic interpretation and places an emphasis on purely experiencing the situation, is like meditation, and his works may be a record of a spiritual journey of the artist.
The artist who was influenced by Zen thought, Kitaro Nishida’s philosophy and activity of Mono-ha, had stayed in Japan for a few months in 2017. In this exhibition, 4 meter huge and other paper collage works produced with a new perspective after staying in Japan will be exhibited accompanied by sculptural objects using metal and leather.
There is no title in his works and all previous solo exhibitions including this show. This shows us artist’s intention to encourage viewers to bear away from the words and meanings and to perceive and interpret the works in areas beyond the language.
Marcia Cavalcante writes in Lovtal till intet (Eulogy to Nothingness) on how the truth value of interpretation must be sought in the very process of understanding, and that this moment of discovery as such is the focus. For me, to make art is to attempt to be part of the process of understanding. It is an experience occurring in a present moment, where it is always possible to encounter something for the first time. It is a form of de-creation, in which one refrains from identifying with the previous experiences through which the world is encountered. This does not mean denying these experiences, but to not consider them a part of oneself.
– Hans Andersson
Born in Kalmar, Sweden in 1979. Lives and works in Stockholm.
Graduated from Konstfack University College of Arts, Craft and Design in 2005. He has received several awards and grants such as Helge Ax: son Johnson Foundation and the Arts Grants Committee working grant. He stayed in Japan for 3 months with a residency program of AIT (Arts Initiative Tokyo) in 2017 . He participated in many exhibitions such as “Sweden · Art Now” (Swedish · Art Museum, Stockholm, 2016), “If you do not like art” (Vest / Fonsan Museum of Art, Norway, 2017), Solo exhibition (Royal art academy Stockholm, 2018). His works are several public collections such as the Marumo Art Museum (Sweden) and the Swedish Art Association, the Swedish National Art Council, Fenberger House (Nagano, Japan).
Live through the backwoods
2018.12.7 [fri] ‒ 2019.1.26 [sat]
＊12.29 [sat] – 1.10 [thu] : closed
12.7 [fri] 18:00 ‒
[tue ‒ sat] 11:00 ‒ 19:00
[sun・mon・public holidays] closed
We are pleased to announce Solo Exhibition “Live through the backwoods” by the painter, Yusuke ABE. He is a young painter who just graduated from master’s course of art university; but has been deploying his activities with stoic production and powerful works at home and abroad, and has attracted people’s attention little by little. This exhibition is his first solo show after graduation.
The pop characters, that are full of feeling of stir as if to realize at once. Or the strange screens, that are generated by the bold construction such like; sticking trading cards or plastic products on the painting; gluing other canvases on a canvas. When we stand in front of ABE’s painting, At first these catchy elements attract our eyes. We can read his memory related to game culture or nature that he has communed with from childhood to now; or his original critic eyes and new presentation about form and style that are led by his honest research on painting and fine-art history.
Even if you enjoy only these elements, ABE’s works are sufficiently attractive. But beyond them, there is more different, indescribable something that propels him to create paintings.
For example, ABE says that: the insects, fishes and fictitious monsters that he adopts in his paintings are absolutely equivalent to a line that was drawn by a paintbrush casually. Insects in bush, fishes in water, monsters in the world of card or game. They come into existence in accordance with the environment of respective dwelling, and live. Since childhood, ABE has encountered those residents of other worlds through insect collecting, fishing or playing games. And he has been surprised at the existence of them that have life and environment that are distinct from himself, and attracted to them. And the interest evolves into self-awareness that he himself also lives in the limited environment, “world of human”; and that he is still not different from the residents.
When he was a high school student, he took oil paints for the first time, and drew a casual line on canvas. For ABE, The color line looked like living thing that was established and given life by the structure of the world where the line lives, namely the environment of “world of painting”. And that is still not different from the residents, too. This is an episode that describes his origin of incisive sense toward visual arts. In addition, paintings have not only such autonomous environment, but also evident traces of the artist. For him, paints and brushes may be the tools to access simultaneously both world like his alter ego, and completely different unknown territory. He has been absorbed in such ambiguity that painting has, and piled up production.
What does the word “Free” mean in the title of this exhibition? (Note: English metaphrase of the title is “To be free decisively”.) Of course, for him, that doesn’t mean the superficial elements such like sticking favorite things on the painting, or applying strange composition. Assuming that painting for ABE is a tool to grasp and seek both the world he lives and the other worlds other life live; the “Free” may be, for instance, burning his own life maximum in his own environment; while touching some worlds that exist in plural dimensions, and feeling the respective fate that we can’t get away from the each environment.
This exhibition will be composed of his newest series in that various techniques of his past works are included, and the important pieces that are selected from numerous works in the past few years. We highly appreciate that many people see the debut of the anticipated painter who faces painting most sincerely, desperately, and directly, at present.
2018.11.1 [thu] ‒ 12.1 [sat]
11.1 [thu] 18:00 ‒
[tue ‒ sat] 11:00 ‒ 19:00
We are pleased to announce Solo Exhibition “Vital Beating” by the sculptor, Sequoyah AONO, who has been deploying his activities based in New York. He attracts people’s attention showing his high skills to carve delicate realistic objects, his flexible works by wide range of stone, wood, metal, and/or experimental approach to wood works by burning or cutting parts off. In Western countries he has been highly acclaimed by huge outdoor sculptures and commission works; however, this is his first solo exhibition in Japan.
AONO’s latest work 《Sculpture of Liberty》, the core of this exhibition, is sculpted of black marble which he has kept for about 10 years. From last year to this year he cut out this marble, scrupulously carved, polished and created an elaborate life-sized self-portrait. And then, as the finishing touch, he vandalized this sculpture by knocking down to the ground. At the exhibition you will see the dismembered sculpture itself and the video film which shows the moment of collapse.
At first glance, to complete the sculpture by means of destroying seems to be negative or catastrophic action. But AONO who has daily kept carving stone or wood, says that the action of carving is also destroying; in the sense that it adds artificial changes to material which power of nature creates in years and years. He adds the process of collapsing his core piece to the ground utilizing gravity is somewhat away from artificial carving.
Through these process, the work 《Sculpture of Liberty》 and the exhibition lead us to new viewpoint. The cross-sections by collapsing are beyond imagination – even the artist himself couldn’t expect, and viewers will appreciate unknown prospect and outlook. This destroying action doesn’t mean end or completion; it animates sculpture and it’s considered as a starting point to new creation. Eventually, AONO intends that this becomes new questions or irradiation toward essence and visual sense of sculpture-art in general. His works may evoke themes such as succession of cultural assets, perfection and historicity like 《Fragment of a Queen’s Face》 possessed in the Metropolitan Museum of Art in NY, of which striking fragment ushered him to this exhibition as the start. Also destruction and construction by constant disaster in Japan and his own mixed identity of Japan & America exist here as his consistent theme as well.
We highly appreciate that many people see his elaborate artisan sculpture-technique and share creation moment of experimental challenge by detaching hands from the work,《Sculpture of Liberty》.
It’s been almost 10 years since I had first seen a sculpture, 《Fragment of a Queen’s Face》 in the Metropolitan Museum of Art.
The Queen’s head sculpture is said to have been carved during 1352-1336 B.C. and she has lost the most part of head remaining only her mouth and chin. The large cross section split sharply like a sheet of glass and the fascinating yellow stone tells its hardness. The split section reveals some kind of vitality and shows natural face of material. Beating between pure natural look of stone and the artificial surface carved by a sculptor bring out each other to vital advantage. And the big “lack” stirs up viewers’ imagination, arouses a great deal of controversy and keeps fascinating people in all the years. If this sculpture were unbroken and remained intact, I wouldn’t feel abnormal impatience to the lost parts like one-sided love, and it would solely come into my eyes as one of the precious cultural assets.
Since I started carving at the university, I’ve been working attracted by the beauty of natural materials and essence of carving. But at the same time I daily struggle with contradiction or difficulty to complete works by “destructive” action of carving original beautiful natural materials.
After my encounter with 《Fragment of a Queen’s Face》, I just started wondering if there would be the limit in artificial creation, of which thought has gradually strengthened in me, and so I have done a lot of research such as burning or cutting off wood to seek accidental nature just before completing pieces. For familiar examples, in ceramic art; color and brightness of pottery developed by high heat cannot be predicted. “Yakishime-Final Burning” changes the pottery shape and the process of fixing glaze.
Even if broken, cultural assets leave beauty and are wrapped in mystery. Even though they are created by history, time or accident and their final shapes are enchanting objects with nature power, can’t they be regarded as same as potteries that are made through mysterious high heat processing.
Not creation from nothing, but calculating a lot of requirements or elements that constitute timeless and borderless fascination or beauty, I’d like to incorporate the idea to produce my own art in our times.
Japan is an earthquake-prone country, and has ever experienced a lot of misfortune including being nuked at Hiroshima, Nagasaki and Fukushima; so been forced various ordeal. For Japanese, actually “Destroying and Creating” may have been familiar for generations. I have been in America for the past years, but on this occasion of exhibition in Tokyo, I’d like to grope for answers “What are Japanese?” or “Who am I?” through the sculpture; and to invite viewers to unknown and xenogeneic world.
I CAN’T GO ON. I WLL GO ON.
Sep. 28 [Fri] ‒ Oct.27 [Sat] 2018
[Tue ‒ Sat] 11:00 ‒ 19:00
[Sun, Mon, Public Holiday] Closed
Sep. 28 [Fri] 18:00 ‒
Sep. 28 [Fri] 19:00 ‒
“In the middle of the desert, with the pitiless blaze of the sun and the storms trying to empty everything out, there were also a few plants. Contrary to our mental images of them as a symbol of transience, those scarce little flowers became a pristine, life-affirming element.” – Ville Andersson
A photograph taken by Andersson in the desert of New Mexico, US in the last year was the starting point for this exhibition. “White Sands” the desert is the home of the Lincoln Near-Earth Asteroid Research project, which observes asteroids that pass close to the Earth. and also the place where the first nuclear tests in human history were carried out in 1945. the desert becomes timeless and placeless. Andersson is interested in such non-places, which are not just a matter of the absence, but also of the presence of absence. Not of that which is not there, but more a contemplation of what has been or what will be.
The idea was to incorporate concepts such as “consciousness to detail” and “Ma” that the artist who visited Japan repeatedly had been influenced and was brushed up after a residency at The Watermill Center in New York, now the exhibition will be opening in Tokyo.
The landscape images seem to be reproduced from his memory, the working process is perhaps a suspension of disappearance. The other element of the show, the human body and face, is created with a method “digital sculpture” called by Andersson, that is a sculpture in virtual space by 3D modeling software and ultimately been printed like photographs, and also drawn with ink and pencil that is his favorite. The genderless and supple figures seem to be in motion, and yet at the same time static. The works of Anderson move between dynamic and static, concrete and abstract, organic and inorganic. He combines various elements, such as delicate nuances, modest colors, understatement and ephemerality, and creates links between things.
The exhibition title is taken from the last sentence of the novel prize author Samuel Beckett’s novel Unnamable, “you must go on, I can’ t go on, I will go on.” . Andersson says that the phrase like mantras reflecting an environment, which is simultaneously tragic and comic. In Beckett’s works, the boundary line between the object and subject disappears and the identity of existence is denied. The quotation seems to imply the aspect of a human being living in the modern society that is more fluid and more eccentric than ever before.
Born in 1986 in Loviisa, Finland. Lives and works in Helsinki. Studied at the Finnish Academy of Fine Arts. He was named Young Artist of the Year 2015, the most prestigious award for emerging artist in Finland. Anderson is working with various media and methodology, and his works are engaged in a conversation with both the history of art and contemporary issues. His works were exhibited at EMMA – Espoo Museum of Modern Art(Espoo, Finland), National Art Center(Tokyo), Vitraria Glass + A Museum(Venice), Museum Weserburg(Bremen, Germany), The Center for Photography(Stockholm, Sweden), FOMU(Antwerp, Belgium). In 2018 he was elected as a residence artist at The Watermill Center (New York, USA). His recent projects include stamps for the Finnish postal service, tableware for the company Arabia, set-and costume design for a theatre play as well as creating the overall artistic look for a public facility. His works are in several public collections including Kiasma Museum of Contemporary Art, Saastamoinen Foundation Art Collection, Amos Anderson Art Museum.