Roland Hagenberg Photographs
NEW YORK FRIENDS

Jean-Michel basquiat
©Roland Hagenberg

Andy Warhol
©Roland Hagenberg

Part1: 10 Sept. Sat. – 1 Oct. Sat. 2022
Part2: 22 Oct. Sat. – 25 Nov. Fri. 2022

Imura art gallery is pleased to present an exhibition of photography by Roland Hagenberg. Hagenberg came to know the artists who defined the 1980s New York art scene, and was able to photograph them naturally in his own inimitable style. According to the photographer, “interviewing Andy Warhol got me hooked on his fleeting expressions that were only visible through the viewfinder. I began to shoot artists from that point on.” Hagenberg’ s portraits of Jean-Michel Basquiat recently caught the world’s attention as part of the exhibition Basquiat: Boom for Real at the Barbican in London and at the Foundation Louis Vuitton in Paris. The Imura art gallery exhibition presents some of Hagenberg’ s portraits of other artists in addition to photographs of Basquiat and Warhol.

Yuzo Imura

Roland Hagenberg

Roland Hagenberg was born in Austria and brought up in Vienna. He currently lives and works in Tokyo and Kyoto. A multimedia creator, his artistic talents can be seen in a number of genres, including his work as a photographer and as a writer. His photography and articles have often been carried by publications such as VOGUE and Architectural Digest, and in the 1980s he collaborated with many artists in print media projects that visually documented the New York art world. More recent projects have included providing photographs of Basquiat that became the main visuals and catalogue photographs for Basquiat retrospectives at the Barbican Center in London and the Mori Arts Center in Tokyo, gracing the cover of the Barbican catalogue. Recent exhibitions by Hagenberg include New York Portraits: 1983 Revisited (Ace Hotel, Kyoto, 2021) and Basquiat and NY Artists: Photographs by Roland Hagenberg (Mitsubishi Jisho Artium, Fukuoka, 2018).

Roland Hagenberg in New York
From 1979 to 1982 Roland Hagenberg lived in Berlin. At that time, the Western part of the city was still surrounded by the “Berlin Wall” (in the middle of communist East Germany). This unnatural situation (to lock up an entire modern city inside a wall) was bemoaned by regular citizens, but it attracted and inspired artists and musicians from all over the world. It is here, where Hagenberg wrote his first art book “Painters in Berlin” together with his friend Volker Diehl: A collection of interviews and photographs of contemporary German artists. A year later, Hagenberg visited New York for German magazine “Stern” to report on two young graffiti artists: Michael Stewart and Keith Haring. (Stewart had just been killed in a subway tunnel by police officers while painting walls. Haring was about to become world famous). After that, Hagenberg decided to move to New York in 1983 and continued his work among artists that were about to shape art history.

yumu kumada Exhibition

27 Sept.Tue.- 2 Oct.Sun.2022

Ion Fukazawa Solo Exhibition
“Accelerated Erosion”

8 July Fri.- 31 July Sun.2022
open on fri., sat., and sun. 12:00-18:00
appointments are available on weekdays

In July 2022, eN arts will present a solo exhibition “Accelerated Erosion” by the talented uprising artist Fukazawa Ion. After graduating from an international school in Tokyo, Fukazawa advanced to and graduated from the University of New South Wales, Australia, with Bachelor of Design. Fascinated by ceramics, Fukazawa returned to Japan to study in earnest the techniques and styles of ceramics at the respected Tajimi City Pottery Design and Technical Centre (Ishoken) in Gifu Prefecture, Japan.

Fukazawa, having taken an interest in weathering and erosion, started to experiment on whether it is possible to recreate these natural phenomena. While observing and controlling how an artificially shaped object created by his own hands usually deforms and how the applied glaze applied naturally drips – but can be controlled, Fukazawa learned that the material and object can become “naturally artificial.” He can express going back and forth between “natural and artificial” and “random and predictable” in his works.

This exhibition, Fukazawa’s first in Kyoto, comes three years after his return to Japan and presents new works from his series “Rotation”, “Accelerated Erosion”, and “On a Rock”. We sincerely hope that you will enjoy the exhibition.

eN arts

Accelerated Erosion
My work is an exploration of the vase form. Using ceramics and experimental making processes, I test the physical boundaries of the form itself and attempt to expand the idea of ‘vase-ness’ to aspects of civilization. When working with the natural material of clay, I often wonder to what extend is the process of making natural or artificial? A similar question arises when observing coastal cliff erosion: is this process accelerated by our consumption of the environment? To what degree is it artificial? Throughout my practice I work within these ambiguous boundaries. These ideas are expressed materially through the form of the vase and the rock-like texture of the clay offering the illusion of being shaped by natural elements. As though dissolved and shaped by natural elements, the forms suggest coastal erosion, and question the degree of the clay’s natural movement and my intervention as a ceramicist.

Ion Fukazawa

NAKAMURA Haruhiko Exhibition

30 Sept.Fri.– 15 Oct.Sat.2022

HASENAKA Kazuo Exhibition
ceramic works

30 Sept.Fri.– 15 Oct.Sat.2022

Koji TAKAKI Exhibition
（fiber）

24 Sept.Sat.– 9 0ct.Sun.2022

“philippines independent artists”
Louie Cordero
Ling Quisumbing
Mariano Ching
MM Yu
Yasmin Sison
Hitoshi Kanamura

Louie Cordero×Mariano Ching

MM Yu

Ling Quisumbing

18 Nov.Fri.- 4 Dec.Sun.2022

* Art Collaboration Kyoto

Utsushi no Manazashi:
With Works from the Collection
of the KCUA Art Museum

17 Sept.Sat.- 6 Nov.Sun.2022

Satoshi Kawata,
Hako Irie, Shime Hayashi, Hiroshi Iwai, Hisashi Iwakura, Akira Kinoshita, Michio Miyamoto

Curated by
Kyoto City University of Arts Art Gallery @KCUA
Organized by
Kyoto City University of Arts

The University Art Museum, Kyoto City University of Arts collection features many examples of Meiji-period (1868–1912) model books and sketches (preliminary drawings, copies, realistic studies, etc.), which were used as teaching materials. Students learned the basics of drawing and painting by studying what the artist was attempting to express, and then copying it. Due to efforts by the likes of Hako Irie and Shime Hayashi, who undertook careful research on old paintings through making reproductions in the early to mid-twentieth century, this approach to studying through copying (utsushi) subsequently developed into a copying-based education that aimed to form an original style of painting. Painters did not copy only old Japanese artworks; their aspirations to learn stretched across the world. Hiroshi Iwai, for instance, who succeeded Shime Hayashi as a teacher of copying, focused on similarities between nihonga (Japanese-style painting) and frescoes, and on two occasions in the 1970s, along with nihonga teachers Hisashi Iwakura and Akira Kinoshita, used nihonga painting materials to produce copies of the Stories of Saint Ursula, a fresco cycle by Tommaso da Modena that is part of the collection of the Musei Civici Treviso in Italy.

Centering on six works from these reproductions of the Saint Ursula fresco cycle, this exhibition highlights the copies made by paintings involved with this style of education at Kyoto City University of Arts, and explores the “copying gaze” (utsushi no manazashi) that emerged from that. It also features the work of Satoshi Kawata, a contemporary artist who uses fresco techniques to explore our relationship with urban space through murals, and who will attempt to respond to this gaze with his paintbrush. In recent years, Kawata has developed a practice of separating art from spatiality and temporality to create provisional states by removing a mural, transporting it, and reconstructing it through the fresco technique of strappo, which involves pulling a painting from a wall, attaching it to another surface, and then transferring (utsushi) it. Every day when the gallery is closed during the exhibition, Kawata will engage with the copied artworks, employing his unique approach to transfer and reinterpret elements of them as new murals. What did those painters see? What did they feel? What were they trying to express? Exploring such questions, Kawata’s gaze of transference intersects with his and his predecessors’ gazes of copying/reproduction across the roughly one hundred years since the copies were produced, and the even longer time since the originals were created, conjuring forth one after the other whole new vistas in the gallery.

(Translated by William Andrews)

Reika Nakayama
“Intertwined daily life”

21 Sept. Wed. – 23 Oct. Sun. 2022

〈1・2 F〉
Takesada Matsutani・Ritsuwo Kanno
Exhibition

20 Sept.Tue.– 2 Oct.Sun.2022

〈1・2 F〉
HATTA Tetsu Exhibition

4 Oct.Tue.– 9 Oct.Sun.2022

〈Back Yard〉
KISHIRO Yoshiji　UJIGAWA Hisashi

21 June Tue.– 25 Dec.Sun.2022

Mischa Leinkauf
— Encounter the Spatial

《Fiction of a Non-Entry》
©Mischa Leinkauf –
alexander levy - VG Bild/Kunst

《Endogenous Error Terms》
©Mischa Leinkauf –
alexander levy - VG Bild/Kunst

1 Oct.Sat.- 23 Oct.Sun.2022

KYOTO EXPERIMENT 2022

Exploring invisible borders
Walk, hide, play
We see the figure of Mischa Leinkauf from behind—as he walks slowly with his gaze forward, the sand on the ocean floor disperses. Here, the artist is trying to capture the invisible “border.” This is a space between Israel and Jordan or Egypt, or that between Morocco and the Spanish enclave of Ceuta by the Strait of Gibraltar. This work, Fiction of a Non-Entry, is also a documentary about the artist himself trying to cross the border, not by the overland routes which would be arduous to traverse, but at the bottom of the ocean beyond the reach of humans.

Another work which will be on exhibit is Endogenous Error Terms. Starting in Tokyo immediately after the Tohoku earthquake, Leinkauf has moved to Russia, Mongolia, Athens, and Vienna, among other places—delving into the massive infrastructure, such as underground waterways, sewers and shelters which uphold the security of each city. This work observes the outside world from the darkness of these structures.

In the context of contemporary art, perhaps Leinkauf’s most well-known work is the film, Symbolic Threats, in which he and Matthias Wermke swapped out the stars and stripes on the Brooklyn Bridge for a white flag. This exhibition offers a glimpse of Leinkauf's new explorations, where he plays with the distortions of large control systems and the tangible spaces between cities and nations.

“NEW INTIMACIES -WILD WILD WEST- ”

11 Sept.Sun.- 25 Sept.Sun.2022

curation Kaoru Kan + Kazuhito Tanaka
organaized by soda + Gallery PARC

Moeko Machida solo exhibition

24 Sept. Sat. – 8 Oct. Sat. 2022
13:00-18:00
Open only on Friday, Saturday and Sunday

talk event: 2 Oct.Sun. 17:00-18:00
guest: Hiroshi Yoshioka

SHIMIZU Saki solo exhibition
“reel”

27 Sept.Tue.- 2 Oct.Sun.2022

SHIMIZU Saki (b.1992,ISHIKAWA pref,lives and works in Kyoto) is a wire-illustration artist who make cityscapes wituout people and wihout any national symbol.
She graduated from Illustration Area, Department of Design at Saga University of Arts.

ETO Natsumi Solo Exhibition
“Stitches and Memory“

4 Oct.Tue.- 9 Oct.Sun.2022

OKOSHI Madoka solo exhibition
“Invisible”

11 Oct.Tue.- 16 Oct.Sun.2022

OKOSHI Madoka (b.1997, Akita pref, lives and works in Gifu) is a collapsing the photo-images artist who consider the relationship between smartphones and humans.
She is an active graduate student in IAMAS -Institute of Advanced Media Arts and Sciences.

〈1Ｆ＋ 2F〉
KOBAYASHI Satoru　SATAKE Ryuzo
MAEDA Ryuichi　Exhibition

29 Sept.Thu.– 9 Oct.Sun.2022

〈1Ｆ〉
OHMORI Akira Exhibition
PAYSAGE

11 Oct.Tue.– 16 Oct.Sun.2022

〈2 F〉
Group Exhibition
Self Portrait

11 Oct.Tue.– 16 Oct.Sun.2022

Fuyumimi ×Tai・Tetsuya Exhibition

3 Sept. Sat. –25 Sept Sun.2022

“Infectious World”
Group Exhibition Nanako Kawaguchi, Ikumi Nagasawa, and UMA

24 July Sun.– 7 Aug.Sun.2022
Opening reception: 24 July (Sun) 17:00

Physical venue: Gallery G-77
Metaverse venue: https://oncyber.io/spaces/T6TEdaNFiXH9gbGyealr

Yukiko Sugano
“Petting, Cuddling, Holding a Leash”

“Positive loop #1” 2022
H110 × W88 × D74 cm
H43.3 × W34.6 × D29.1 in.

8 Sept. Thu. – 5 Oct. Wed.2022

Sokyo Gallery is pleased to present Yukiko Sugano’s solo exhibition “Petting, Cuddling, Holding a Leash.”Sugano, based in Hyogo Prefecture, poetically expresses narrative works using ultra-fine transparent glass lines. Recently she has been gaining international attention, including the Grand Prize at the 4th Triennale of KOGEI in Kanazawa in 2019. This exhibition, Sugano’s first solo show at Sokyo, will feature 14 of her works.

Sugano's works are made by various techniques such as burner work, kiln work and gluing, and by appropriately selecting and combining materials such as glass, copper wire mesh and plaster clay. She carefully selects from a wide variety of techniques and materials to make clothes look like clothes and hair look like hair, and creates multiple textures and expressions for each work. Observers are often in disbelief to discover that her works are made of glass.

Sugano, who creates works using people and creatures as motifs, takes her own experiences and feelings as the starting point for her creations. She draws hints from the fact that in nature, plants and creatures with varied characteristics gather together to create a single world, of which humans are a part, and that it is always changing and in flux.

The production process is time-consuming, as the work is done in small steps, but Sugano feels as if the work grows by itself, leaving her own hands, as the glass is multiplied by the accumulation of lines and dots. Glass is a material that can form light, and light is said to be a phenomenon that has strongly appealed to the human aesthetic sense since ancient times. Sugano sees potential in glass which has such characteristics.

In this exhibition, focusing on the relationship between pets and humans, Sugano embodies the sensations and emotions transmitted through "touch." The works show the relationship between pets and humans, which is not visually recognizable but which is definite, and expresses the physical and mental changes that occur when people come into contact with their pets. In today's society, where people can easily connect with each other even when separated, we hope that this exhibition will help viewers feel the importance of "touch" as a reliable physical and mental sensation.

Yuichiro Kikuma
“Traces of the Summer”

6 Oct. Thu.- 5 Nov. Sat. 2022

（SSS Building 3F
　375 Ichinofunairi-cho, Nakagyo-ku, Kyoto）