Today’s artdaily newsletter with AIDA Makoto’s work “Space Shit” as cover picture M+ receives new donation from collector Hallam Chow, consisting of works by Asian contemporary artists
With great joy I read today artdaily’s newsletter with the following content: “M+ receives new donation from collector Hallam Chow, consisting of works by Asian contemporary artists”. A work by AIDA Makoto 会田誠 had been chosen for the cover picture, which I know very well from my time at my former gallery, Mizuma Art Gallery. This work has a long interesting history, which someone else could write about. Happy to see Aida’s work actually being appreciated today around the globe via artdaily. He is definitely, for the art historian’s writings in future annals of Japanese art history, the No.1 contemporary artist in Japan; – let me humbly say: from 1989 to 2039 (?).
This news made my day! For relaxing time, make it AIDA-time。乾杯。Cheers!
Quotes from the text at today’s artdaily, please check the other fascinating artists, too:
A focus on contemporary Japanese artists
The donation includes two works by Aida Makoto, one of the most acclaimed and also one of the most provocative figures in the Japanese art world. Space Shit (1998) is a large-scale, expertly executed painting depicting a large piece of brown excrement floating against a black background dotted with small pinpoints of colour to resemble outer space. The second piece, Art and Philosophy #1 ‘Critique of Critique of Judgment’ (2008), is a room-sized installation including over five hundred drawings made by the artist on the printed pages of Immanuel Kant’s The Critique of Judgement.
The interactive work Libido-Electricity Conversion Machine ‘EROKITEL’ Third and Practical Model ‘KIBOU’ (2011) by Chim↑Pom is a DIY machine designed to convert male sexual energy into a source of electricity. Chim↑Pom devised this subversively deadpan method of generating energy as an alternative to Japan’s reliance on nuclear power. With characteristic humour and wit, the group responds to the trauma of the Fukushima Daiichi nuclear disaster.
Mimio-Odyssey (2005) is a video installation by Konoike Tomoko using moving image projected onto a large, blank book. Referring to fairy-tale narratives and open-ended storytelling and articulating Konoike’s fascination with myth-making, the hand-drawn animation centres around an imaginary character’s journey into an ancient forest.
Three works by Japanese artist Odani Motohiko are included. SP extra ‘Malformed Noh Mask Series Half Skeleton’s Twins’ (2007) is a set of two Noh masks with hauntingly deformed features that present two sides of a coin—beauty and ugliness—offering a poignant statement on nature’s dualities and incongruities. Hollow: Hydra’s Head (2009) and Hollow: A Braid (2009) are sculptures crafted from a ribbon-like fibre-reinforced plastic that appears almost weightless. The two pieces express Odani’s continued interest in gravity, bodily experience, and the visibility of unseen forces.
Root of Heaven (2006) is a large-scale three-panel work created by Shioyasu Tomoko using lightweight synthetic paper. Hanging vertically to create a four-metre-wide dynamic composition of cascading forms that resemble waves and flows of water, the piece reveals Shioyasu’s meticulous observation of natural forms and her reflections on the energy and meaning of life.
Takamine Tadasu’s installation Water Level and Organ Sound (2004) consists of a video projected onto a transparent water tank. The footage depicts a young woman swimming naked underwater in a dreamlike sequence with eerie lighting and shifting camera angles that disorient the viewer.
In Teruya Yuken’s work Dawn Series – Knife Sets (2008), a set of Japanese chef’s knives are inserted into the wall in a seemingly random arrangement, each with a fragile insect chrysalis dangling from its handle. By combining delicate chrysalises with modern objects, Teruya points to differences between naturally formed and human-made materials and juxtaposes the cycle of life of animals with human violence and death.
Torayan Head Train (2005) by Yanobe Kenji is an impressive sculpture that resembles a cross between a steam train and an underwater vehicle. Designed for Yanobe’s City of Children project, the miniaturised vehicle is an expression of his interest in retro-futuristic aesthetics and his desire to create machines that can aid human survival in a post-atomic world.
more, full text via:
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美術手帖 2/24(水) 16:03
full text, more @
Via AIDA Makoto’s Twitter account:
@makotoaida 9:16 AM · Feb 24, 2021·Twitter for iPhone
ちなみにハラム・チョウさん、クレバーで、笑顔が爽やかなハンサムです。→香港のコレクター、日本の現代美術作品をM+香港に寄付。会田誠やChim↑Pomも（美術手帖） – Yahoo!ニュース
Similar news via other media:
M+ Receives New Art Donation From Hong Kong Collector Hallam Chow
Joanne Soriano, February 24, 2021
The donation includes works by important Asian contemporary artists, including Aida Makoto, Lee Bul and Liu Wei
ArtAsiaPacific Magazine FEB 24 2021
HONG KONG COLLECTOR MAKES THIRD DONATION OF ARTWORKS TO M+
BY YUNA LEE