Japanese Painting Bloom

OKETA COLLECTION 2024「Golden Memories」

“ALL RIGHT BITE” by Ayako Rokkaku

Hiroshi Fujiwara: ambnt　旅、仕事、環境、を切り取る - LEICA Tokyo

2024年4月12日（金）- 7月28日（日）
ライカギャラリー表参道 （ライカ表参道店2F）

LEICA Omotesando

Jorge Peris: Permafrost

April Bey I Know All About What You Want to Know All About

Aly Helyer Everything is Borrowed

April 6 — May 18, 2024

VIELMETTER Los Angeles, Gallery III

Sadie Benning The Touch, the Amulet and the Saltation

A NEW HISTORY OF WESTERN ART by Koenraad Jonckheere

  • A NEW HISTORY OF WESTERN ART by Koenraad Jonckheere

  • page13

    • To explain the nature of art, (Johannes) à Porta (D’net Der Beeltstormers, The Net of the Iconoclasts, 1591) came up with an affecting metaphor. Imagine a young woman, he wrote, recently married and still deeply in love. But her husband must go to war (an everyday reality in 1591). He will be gone for months at least and might never return. Just before he leaves, he gives her a small portrait of himself - her only keepsake. What happens then, Johannes à Porta says, is magical: the meaning (the declaration of love) merges with the object. You could imprint it on your memory, you could even create a perfect copy, yet the relic value assumed by that original portrait makes it irreplaceable. For the young woman, the likeness of her husband could never be replicated. The panel would become her treasured possession. It is the same reason you carry a crumpled photo of a loved one in your wallet for years and cannot bring yourself to tear it up, even though nowadays you could easily copy or digitise it.

    • According to à Porta, this is precisely what happens with art: if a powerful connection arises between the meaning of an object and its viewer owner, that meaning will merge with the object itself. The work of art or the image becomes the physical relic of a raw emotion or a compelling memory. Something irreplaceable. Art to à Porta was a question of faith: a work of art becomes important if you believe in its history, its significance, and so forth - in every layer of meaning, in short, that inheres within the object.The stronger the cognitive and emotional bond, the more powerful the effect. It is for the same reason that a mechanically produced urinal can become a world-famous work of art. If it is presented as art at the right time, in the right place, in the right context and by the right artist, the original does not even have to be preserved. I refer, of course, to Fountain (1917) by Marcel Duchamp, which now exists purely in the form of replicas. Yet placed on a pedestal behind glass in the world’s most prestigious museums, even those appeal to the imagination.

Li Songsong The Past

Akakdemie-X, Christopher Williams

[[akademie-X]], [[Christopher Williams]]

  • Lesson 35 - No Plexiglas, No Electricity, No Humour; or Love is Colder Than Death, page 36

  • PAYING ATTENTION TO OTHERS - Pay attention to what other artists are doing. It gets harder and harder as the amount of art being produced keeps growing, but it’s super important to know what your colleagues are up to. To be able to think about the present historically, you have to look at as much as you can right now. There’s a more social aspect to it as well, which is that, if you expect people to pay attention to your work, you need to pay attention to theirs… artists such as John Baldessari and Ed Ruscha continue to go to galleries every month, getting to know younger artists and constantly looking at other people’s work.

  • It’s important to absorb as much information as possible but then to think through your materials.

Does the Future Sleep Here? ――Revisiting the museum’s response to contemporary art after 65 years

Apichatpong Weerasethakul "Solarium"

SARAH AWAD To Hold a Thing

DEREK BOSHIER Strange Lands

Akademie-X, Christopher Williams

  • Lesson 35 - No Plexiglas, No Electricity, No Humour; or Love is Colder Than Death

  • So many young artists I meet don't seem to have understood that they're going to spend their whole lives as artists. They're in a hurry because they feel that if they're not a success right out of the gate they're going to be a lifelong failure. I encourage you to think in a much longer arc, to take it easy and do it for the long haul - not to have a preconceived idea of what success is in relation to a durational framework. Some artists are successful early on, others later. Sometimes students also have misconceptions about what success is, mistaking the social aspects associated with success for actually making a successful artwork. To have a gallery, to have a big studio and to make money isn't necessarily to make good art. Don't confuse those two things.

  • I encourage you to think more historically and consider what your contribution to art could be, not about what your art practice can bring you in terms of material things.

  • I don't like to stand behind the camera or in front of the camera; I like to stand beside the camera. I figured out pretty early on - or I came up with the idea - that the camera is actually not the only agent involved in the production of meaning. There are also chemical designers, optical designers and industrial designers. There are economic and social issues. So I try to move around the photographic programme and occupy different positions at different times. Even though I didn't' get assignments in art school, I do treat myself like a commercial photographer: I give myself assignments. I become a product photographer, or I become a photojournalist, and I pick a subject as though it were a journalistic assignment.

Paolo Colombo