Jan 31 – Mar 28, 2026
PACE Gallery, Los Angeles
Noritoshi Hirakawa Himmelstrasse
原口典之 Noriyuki Haraguchi 個展 「Black Surface」
Moon Kyungwon & Jeon Joonho "Dialogue Manual"
Erina Matsui Solo Exhibition Astral Dreamer
Chim↑Pom from Smappa!Group 穴の中の穴の中の穴
Enokura Koji: A Retrospective
Metal - Chu Enoki, Maiko Endo, Élodie Lesourd
Ebosi Yuasa｜Sea of Mud/Clod of Mud
LEE Kit - Some broken days and broken fingers
Sat, 13 December, 2025Sat, 31 January, 2026
ShugoArts Roppongi
Roppongi Crossing - What Passes Is Time. We Are Eternal
ANDY WOLL New Objectivity
Ternary - Paul Becker, Amalia Schulthess, Julia Yerger
KAYLA WITT In Circles, Still Forward
Austrian Expressionism and Otto Kallir
YOU MUST CHANGE YOUR LIFE - Rachel Corbett
AFTER JUST TEN DAYS with Rodin, Rilke sent his new master a letter. He confessed that it might seem strange to write since they saw each other so often, but he felt the language barrier prevented him from fully expressing himself. In the quiet of his little room he could work out the words to tell Rodin precisely how much he had inspired him. He had given him the strength to suffer through loneliness, to accept sacrifice and to "disarm even the anxieties of poverty." He told him that his wife had agreed with him on this, and would be joining him in Paris soon. If they could both find work there, they hoped to stay indefinitely. He sensed that this journey would prove "the great rebirth of my life."
You must change your life, Rachel Corbett page 90
Rodin did not await inspiration, for some pure expression to flov from his soul onto passive materials, as Rilke had always done. To Rodin, god was "too great to send us direct inspiration." Instead, it was up to the artist to create "earthly angels." That's why Rodin approached unformed clay "without knowing what exactly would result, like a worm working its way from point to point in the dark, Rilke would write in the monograph. He would grab hold of it with his huge hands, work it over, spit on it and come to know it entirely, energizing the object and stirring it to life in the process. "The creative artist has no right to select. His work must be imbued with a spirit of unyielding dutifulness," Rilke wrote.
Rodin's hyper-animated style of sculpting produced no less dynamic bodies of work. Rodin manipulated light to enhance the sense of movement in his figures. When the geometry of the planes aligned just right, light would coast and dart across the surfaces and create the illusion of motion. Sometimes Rodin measured the success of this effect by employing a candle test, which illuminated the points of intersection between light and shadow. Rodin once demonstrated the test to a student at the Louvre. Arriving in the evening, just before the museum closed, he held up a candle to the Venus de Milo. He instructed the student to watch the light as he moved it around her contours. Notice how it glided across over the surfaces without jumping at a single hollow, rift or seam. Candlelight revealed all flaws, he believed.
You must change your life, Rachel Corbett page 92
Each day after the library closed, the poet walked back toward his hostel along the Seine, pausing at the ile de la Cité to watch the sun set over the two towers of Notre Dame. The cathedral built for the Virgin Mary had been ravaged and restored in battle after battle, its ornaments were looted, yet its walls stood as strong as its namesake's will was chaste. To Rilke, it was all the more beautiful for enduring that humiliation. This was the hour when the river turned to "gray silk" and the city lights glowed like stars fallen from the sky. Once darkness fell, people would once again pollute the air with their music and perfume, but cathedrals always offered asylum from the senses. Like a forest or an ocean, a cathedral was a place where the world hushed up and time stood still.
You must change your life, Rachel Corbett page 93
Rodin's mantra, Travailler, toujours travailler, contradicted everything Rilke had learned about the fusion of art and life in Worpswede. But the poet had spent years watching the clouds, anxiously awaiting a muse that never came. Rodin's example gave him permission to act. Now, to work was to live without waiting. More than that, Rilke con-cluded, "to work is to live without dying."
You must change your life, Rachel Corbett page 93,94
