Chihiro Mori+Teppei Kaneuji+CMTK
2023.12.09~2024.01.12 開展 Opening | 2023.12.09 (六) Sat. 3 pm
此次發表作品包括「看不見的場所之神話」系列，金氏尋找既有的木雕工藝品，並將這些現成物打造成神話裡的怪物，以及將照片印刷於木板上，加工製作成雕塑作品的「Ghost in the Liquid Room」系列。
The collaboration by Chihiro Mori and Teppei Kaneuji under the name CMTK began with Kaneuji editing, making collages with, and connecting materials to photos Mori has long continued to shoot on a routine basis of streets, landscapes, TV screens, and other subjects as well as pre-existing images collected by various means. The output consists of sculptured works made using lenticular and other special printing techniques, printing on materials such as marble and concrete, and animation and other visual images. Mori’s photos capture the beauty and light of things and situations that are ephemeral or treated like rubbish. They sometimes seem like doorways leading to someplace other than where we are now. The material collages made by Kanueji turns them into new images that are complex mixtures of multiple disconnections and connections based on multiple perspectives, and swing back and forth between reality and unreality.
This exhibition will present new paintings and other works by Mori, new sculptures and other works by Kaneuji, and works by the two of them as CMTK that were produced for projects in various places.
The makeup of this exhibition is based on the following statement by the two artists: “Our artistic production begins by confronting the most familiar and immediate others, the mysterious, the things we share and cannot share with such beings, and their collision, connection, and juxtaposition. We attempt to imagine, remember, and invert distant times and places, and images and events there. We believe that every time, place, or situation has its own unique beauty.”
Yogurt Collage, the title of the exhibition, was chosen from notes they took of words that were unexpectedly voiced by their child. It sometimes seems to have the same function and strength as their works.
Besides scenery and logos that caught her eye in her distinctive observations of the city, Mori’s own works superimpose drawings and graffiti she made as a child. She also actively incorporates momentary misperceptions, mishearings, and words spoken by others, and reconstructs time, memory, value, and context, as if to recapture them. For the output, she applies painting and installation techniques. In addition to holding solo exhibitions in museums and galleries, she participates in major group exhibitions inside and outside Japan. In her latest works, she employs watercolor and Indian ink painting techniques in transforming small drawings produced instantaneously into paintings, creating images that seem to blow up and deform scale and time. Composed of sculptures and video works, her Fruits Catch series embodies the punk spirit of trashing entrenched rules and values pervading society through the sudden clash of foreign bodies along the lines of misplacements and misperceptions, in a both graceful and flowing manner.
Kaneuji applies collage-type techniques to create works using items in his surroundings, such as plastic products, toys, construction materials, and clippings from magazines and newspapers. He explores devices for a formative system that will bring out the relationship between material and image. While grounded in sculpture, his activities cover a wide range of other types of expression, from scenography to theater. In addition, he has been actively collaborating with other artists in ways that are extensions of the collage concept and methodology. This exhibition will show Myth of the Invisible Space, for which he dug deeper into or made additions to pre-existing works of wooden carving, and works from the Ghost in the Liquid Room series, which are sculptures using photos printed on wooden boards.