KOTA TAKEUCHI “Re:Eyes on Hand” - SNOW …snowcontemporary.com/pdf/PR_201503_en.pdfKOTA TAKEUCHI “Re:Eyes on Hand” ... Eyes%on%Hand"%by%Takeuchi.% ... %%%%%GENDAI,Tokyo%

PRESS RELEASE SNOW Contemporary

2015/2/1

KOTA TAKEUCHI “Re:Eyes on Hand”

study for “Eyes on Hand”

session：2015/3/7(Sat) ‒ 22(Sun) 13:00 ‒ 20:00 ＊closed on Mondays

opening reception： 3/7(Sat) 18:00 ‒ 20:00

venue：SNOW Contemporary  (XYZ  collective)  2-­‐30-­‐20  1F  Tsurumaki  Setagaya  Tokyo

■Kota  Takeuchi  -­‐  Re  :  Eyes  on  Hand  

SNOW  Contemporary  is  pleased  to  announce  Kota  Takeuchi  solo  exhibition  from  March  7th  (Saturday)  

through  March  22nd,  2015.    

Takeuchi  in  his  previous  works  had  for  example  suddenly  appeared  as  a  proxy  workman  pointing  on  the  

Fukuichi  live  camera  as  in  solo  exhibition  "Open  Secret"  (2012/SNOW  Contemporary,  Tokyo)  and  made  

viewers  of  disasters  come  to  appearance,  or  had  followed  memories  engraved  in  buildings     as  in  solo  

exhibition  "Sight  Consuming  Shadow"  (2013/Mori  Museum,  Fukushima),  continuously  allowing  people's  

viewpoints  and  consciousness  towards  the  public  expressed  in  his  artwork.  Those  artworks  contain  the  

universalistic  characters  of  the  currently  society,  and  had  being  exhibited  and  highly  evaluated  not  only  

in  Japan  but  also  overseas.    

          left：Finger   Pointing   Worker   “Pointing   at   Fukuichi   live-­‐cam”   video   24min50sec      

right：”Demolition   of   Mihako-­‐Theater”   2013   video   installation      

This  exhibition  entitled  "Re:Eyes  on  Hand"  will  become  his  third  solo  exhibition,  and  would  featuring  

new  works  including  installations  and  video  works.  

"Eyes  on  Hand"  is  a  Yokai  (Japanese  monster)  with  an  eyeball  on  his  palm.    

What  kind  of  landscape  are  we  seeing  from  our  palms,  where  now  everybody  carries  a  device  in  our  

hands  which  provide  us  with  such  vast  and  various  information?  Within  this  exhibition,  Takeuchi  further  

deepens  his  interest  from  before,  and  recaptures  our  memory  and  imagination  within  the  society  which  

we  live  everyday.  Please  look  forward  to  the  world  of  "Re:Eyes  on  Hand"  by  Takeuchi.  

■inquiries       We  thank  you  for  your  collaboration  in  helping  advertising  this  exhibition.  

SNOW  Contemporary            

2-­‐30-­‐20  1F  Tsurumaki  Setagaya  Tokyo  JAPAN  154-­‐0016         tel  :  +81  (0)50-­‐1148-­‐7964    

mail  :  [email protected]        

HP  :  http://officekubota.com/snowcontemporary  

Please  contact  Mifuyu  Ishimizu  

■Re  :  Eyes  on  Hand  –  Artist  Statement  

The  title  of  this  exhibition  "Re:Eyes  on  Hand"  represents  the  attempt  to  revoke  a  "Eyes  on  Hand",  a  kind  

of  Japanese  Yokai  (monster)  in  shape  of  a  Zatp  with  an  eyeball  in  its  palm.  Its  theme  are  people  trying  to  

"touch  there  eyes"  seeking  for  their  memory.  *note  

People  wandering  around  with  their  cell  phone  devices  with  monitors  are  just  alike  "Eyes  on  Hand".  The  

device  allowing  things  without  existence  to  be  seen  with  their  hands  are  alike  allowing  a  partial  function  

of  the  eye  being  transferred  to  the  hand.  It  is  a  haptic  device.  Perhaps  seeing  the  world  through  lenses  

and  monitors  are  blind  behaviors,  like  using  a  torch  in  daytime.    

The  people  looking  at  photographs/video  images  with  their  tools  are  alike  wandering  around  the  

transparent  space  with  an  indicator  in  hand  and  seeking  for  fractional  light,  trying  to  "touch"  the  object  

with  their  eyes.  Perhaps  are  they  not  trying  to  redeem  their  physical  feeling  in  the  world  and  technology  

harsh  for  grasping  trails,  by  "touching  with  their  eyes."  An  experience  of  transparency,  projection,  

numerical,  and  seeking  for  light.    

On  the  other  hand  there  is  the  image  of  actually  layering  the  "imprinted"  image  as  a  trace  of  the  sight  

vision,  light  ray  and  heat,  onto  the  surface  of  a  paper.  The  object  exposed  to  light  then  undergoes  a  

relay  of  an  optical  relay,  and  then  results  in  a  state  of  "being  touched  with  an  eye"  on  the  surface  of  the  

printed  paper.  The  experience  of  non-­‐transparency,  physicality,  the  skin  (the  film),  and  receiving  light.    

However,  if  photography/video  films  are  simply  understood  as  something  to  be  "touched  with  an  eye"  

and  being  received,  or  something  which  provides  an  evidence  to  the  human  eye,  only  what  becomes  

visualized  would  be  valued.  This  brings  up  the  debate  of  authenticity  —  what  is  true  and  false.  I  would  

like  understanding  what  kind  of  eyesight  would  be  guided,  and  what  kind  of  desire  of  the  

photographer/the  editor  is  exposed  there  —  for  example,  how  they  scrabbled  for  the  haptic  sense  

within  the  world  of  transparency  with  technology  where  physical  traces  are  lean,  and  including  such  

condition  of  the  eyesight  and  the  hand,  I  would  like  to  call  them  images  and/or  memories.    

In  this  exhibition,  the  reappearance  of  photography/film  images  as  tools  are  exaggerated.  The  artwork  

does  not  become  an  evidence  of  actuality.  Instead,  it  intends  to  edge  into  the  eyesights  of  the  viewers,  

and  reassemble  the  relationship  of  traces  and  memories  (or  in  other  words,  the  relationship  of  "history  

and  imaginary"),  through  replication  as  the  "Eyes  on  Hand."  With  an  old  photograph  from  the  past,  and  

the  future  technology  in  our  hand.    

December  22nd,  2014  

*note  

I   came   up  with   the   idea   inspired   by   people  wandering   around  with   radiation   counters   and   cameras,  

news  reporting  troubles  caused  by  walking  while  operating  the  smart-­‐phones,  and  the  action  of  Masao  

Okabe  who  was  making  frottages  in  Namie  and  Minami  Soma.  

■biography  

2008  Tokyo  University  of  the  Arts,  B.A.  in  Department  of  Inter  Media  Art,  Tokyo  

■SOLO  EXHIBITION  

2013  “Site  Consuming  Shadow”  Mori  Museum,  Fukushima  

2012  "Open  Secret",  SNOW  Contemporary  Tokyo  

■GROUP  EXHIBITION  

2014  "The  Fifth  Season"  James  Cohan  Gallery,  NY  /  USA    

2013  "Media  /  Art  Kitchen",  Bangkok  Art  &  Culture  Centre,  Bangkok/Thailand  

          "Art/Domestic:  Temperature  of  the  Future  after  Takashi  Azumaya"  ARATANIURANO|YAMAMOTO      

            GENDAI,  Tokyo  

          "MOT  Collection  After  images  of  tomorrow"  Museum  of  Contemporary  Art,  Tokyo    

          "SIDE  CORE  -­‐  Body  /  Media  /  Graffiti"  Terratoria,  Tokyo    

          "The  42th  exhibition  of  Iwaki",  Iwaki  City  Art  Museum,  Fukushima  

2012  "Tomorrow  is  today  I  see  for  the  first  time.  "  SNOW  Contemporary,  Tokyo  

          "Dance  on  a  Thin  Line"  Center  for  Developing  Culture,  Daegu/Korea  

          "Turning  Around"  Watari  Museum  of  Contemporary  Art,  Tokyo  

2011  "Social  Dive  -­‐  Exploratory  Imagination",  3331  Arts  Chiyoda,  Tokyo  

2010  "Eun  Hyung  Kim,  Emilija  Skarnulyte,  Kota  Takeuchi"  RM  Gallery,  Auckland/New  Zealand  

          "THE  10th  Gunma  Biennale  for  Young  Artists  2010",  The  Museum  of  Modern  Art,  Gunma  

          "Kyoto  Open  Studios  2010",  Kenbundou-­‐Studio,  Kyoto    

2009  "101TOKYO  Contemporary  Art  Fair  2009"  

          "101  DISCOVERIES",  AKIBA-­‐SQUARE,  Tokyo  

          "FRESH  SELECTION",  ARTZONE,  Kyoto    

2008  "FRESH"  URBAN  BACK-­‐SIDE  LABORATORY  R2,  Chiba  

■RESIDENCE  PROGRAM  

2010  "Wongok-­‐dong  Recipe"  Litmus  Community  Space,  Ansan/Korea  

■AWARD  

2013  prize  in  "The  42th  exhibition  of  Iwaki"  

2010  encouragement  award  "THE  10th  Gunma  Biennale  for  Young  Artists  2010"  

■PUBLIC  COLLECTION  

Museum  of  Contemporary  Art,  Tokyo