Taka Ishii Gallery and ShugoArts, both in the Kiyosumi warehouse complex
Taka Ishii closes on Feb. 13; ShugoArts on Feb. 27 Tsuyoshi Tane doesn’t like to be known as a “green architect” as his work with the Paris-based Dorell.Ghotmeh.Tane might tempt some to label him. Instead, he prefers to call himself a “social artist,” and when he was asked to design an installation for Taka Ishii gallery, he took the opportunity to express the essentials of this design philosophy.
“Sur-impression” is Tane’s first solo exhibition in Japan in which his installation “Pasts” is composed of 99 layers of transparent clock prints, each representing an important moment in Tane’s life.
“Specificity of a place, the context of history and memory,” he says are the inspirations behind his work.
“Pasts” represents memories from his childhood in Tokyo to his architectural firm’s projects in Estonia to this exhibition back in Tokyo. The 99th frame asks the question “what now?” A question for not only the young architect himself but also referring to an uncertain yet exciting future.
Next door to the all-white and simplistic ambience of Tane’s work, Teppei Kaneuji’s “Post-Something” at the ShugoArts gallery offers a sharp contrast of eye-catching pop colors and unusual materials. Kaneuji’s work focuses on instantaneous moments, the present and possibilities. He takes apart everyday materials and reassembles them in unusual manners — such as plastic toys and other items, sculpturally collaged into new forms and dripping in white resin — to expose what he sees as delusions in everyday life.
A principal piece, “N.H.K (New Caledonia. Helsinki. Kyoto),” a photograph of a NHK TV broadcast, captures the transitory moment of an image of a South Pacific island changing to one of a snowy landscape in Finland. This image of an impossible combination of scenery reminds onlookers that reality is not always what it seems.
Though these two exhibitions in the Kiyosumi warehouse are not connected, Kaneuji could be seen to continue where Tane ends on his 99th frame. “Sur-impression” emphasizes how in the era we live in everything is possible but nothing is certain, and Kaneuji’s work explores some of those possibilities.
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