The master in Beijing…
Must to see if you is around.
Archive for February, 2008
For his New York gallery debut, Danish-born artist Jeppe Hein tests visitors’ eyes. Instead of placing his works prominently in the gallery space, Hein works with more minimalist spatial interventions. All the works in this exhibition are installed in almost invisible places – in a corner, behind a column, at the end of a wall – so that the visitor does not notice them at first glance. The viewer is invited to take a close look around the gallery to search for the works and discover them. Hidden in a corner you find ‘Sugar Cube’, 2008, a white cube consisting of 36 small sugar cubes installed on a shelf. Towards the end of the exhibition the visitor walks into the ‘Spinning Ball’, 2008, a high polished steel ball that spins around its diagonal axis reorienting our experience of gravity.
Jeppe Hein activates the visitor’s relationship to space – turning the spectator into a participant. The viewer sees her/himself reflected in the surface of a neon piece which invites them to ‘PLEASE ENJOY RELAX STEAL DANCE TOUCH FLIRT SMOKE WONDER FEEL MUSE EAT SING LISTEN TALK ASK TOUCH NEON LOOK COMMUNICATE TOUCH EACH OTHER USE CAMERA FLASH.’ The dialectical opposition catalyzed by language is echoed in the dissociative sensation of seeing one’s own reflection behind instructive “rules” created for our own heeding.
In 2007 Jeppe Hein was included “The World as a Stage” at Tate Modern, London which will travel to the Institute of Contemporary Art, Boston. Last year Jeppe Hein also had solo exhibitions at the Sculpture Center, New York, Barbican Art Center, London and at the Carré d’Art – Musée d’art contemporain de Nîmes, which was accompanied by a catalogue. In 2008 will participate in an exhibition at the Museum of Contemporary Art Kiasma, Finland, as well as the Folkestone Triennial. In 2009 Hein will have a one-person exhibition at the AROS Kunstmuseum, Århus, Denmark accompanied by a public project and a solo exhibition at the Contemporary Art Gallery, Vancouver, Canada. The same year he will have a solo exhibition at the Indianapolis Museum of Art, Indiana. Jeppe Hein has previously exhibited at the Centre Georges Pompidou, Paris, Sprengel Museum, Hannover, Lenbachhaus Muenchen, Germany, and P.S.1, New York.
Their success stems in part from his surprisingly large vocabulary of terse little doodles
and in part from the range of contrasts he coaxes from the black and white gouache.
It gives the piles a harsh, almost glittery light that catches the eye, communicating something
driven and serious.
Roberta Smith, New York Times
Taka Ishii Gallery is pleased to announce our first solo exhibition with artist Tomoo Gokita.
Born in Tokyo, Gokita has published and exhibited extensively within Japan as well as participated
in group and solo exhibitions in New York, Los Angeles and Berlin.
Tomoo Gokita’s work has had a strong presence within the world of contemporary culture internationally
for a number of years; however, it is only recently that his practice has been recognized within the
contemporary art world. A cult figure, Gokita’s earlier practice consisted primarily of works
executed in an off-hand manner, presented on paper within the context of an exhibition or, more
frequently, within the pages of a magazine for a creative or commercial project.
Gokita’s recent works mark a change; while retaining the tone and palette of pencil-on-paper as well as
his delight in found, marginal subject matter, Gokita’s recent paintings on canvas, executed in the
medium of gouache and gouache-based paints reveal a new interest in materiality. Gokita’s painted
figures exist as illustrated abstractions – this fact often made explicit by their deterioration
into non-representational painted swathes and blobs. As much “about“ the range of possibilities
inherent in varying shades of black and white, and the material flatness and contrastingly sharp
tones resulting from gouache applied to canvas, Gokita’s paintings are graphic re-presentations of
Gokita continues to create works on paper; however, rather than stand-alone works (with the exception
of painted studies), new drawings are presented in a continually growing group which, by the time of their
presentation at Taka Ishii Gallery will number into the hundreds. Contradicting their status as parts amongst
a whole, Gokita’s drawings are each presented within their own frame.