4-9-15, Nishitenma, Kita-ku, Osaka,

Japan, 530-0047

T/F  +81 (0)6 6364 0775
E-mail info@yodgallery.com
Open: 12:00-19:00 | Mon-Sun




TOP CURRENT FUTURE PAST ARTIST ACCESS
Past Exhibitions


□ Nobuo Sekine "Phase of nothingness-skin" 18th February - 11th March 2017

□ Hebime, Hidehito Matsubara and Masakazu Fujiwara "repetitive motion" 24th June - 15th July 2017

□ Mette Vangsgaard "Liquid Sunshine" 15th September - 14th October 2017

□ Eikoh Hosoe "Genesis: Portraits of Artists in their Formative Years" 28th October - 18th November 2017

□ Stitch Dog Solo Exhibition "Negated Sound Devices" 23th December 2017 - 27th January 2018






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□  Nobuo Sekine "Phase of nothingness-skin"
     18th February - 11th March 2017



 Exhibition Title
      Nobuo Sekine "Phase of nothingness-skin"

 Artist
      Nobuo Sekine

 Period/Hours
      18th February - 11th March 2017
      Hours: 12:00-19:00
      Closed: Sunday, Monday, Tuesday

 Venue 
      YOD Gallery
      4-9-15, Nishitenma, Kita-ku, Osaka, Japan 530-0047
      T/F +81(0)6 6364 0775 E-mail info@yodgallery.com
      www.yodgallery.com

 Contact
      YOD Gallery
      4-9-15, Nishitenma, Kita-ku, Osaka, Japan 530-004
      T/F +81(0)6 6364 0775 E-mail info@yodgallery.com


 Exhibition Outline
    YOD Gallery is pleased to present "Phase of nothingness-skin," by Nobuo Sekine (b.1942), his second solo exhibition at YOD Gallery. Sekine is a central figure of “Mono-ha,” now internationally recognized Japanese artist group in the ‘60s.

    One of Sekine’s earlier works “Phase—Mother Earth,” has become a monumental work to mark the beginning of “Mono-ha” movement. Since then, Sekine, now living in Los Angeles has been actively producing paintings and sculptures. Underlying theme in Sekine’s works is a concept of “topological space.” Through a series of paintings from 1978, titled, “Phase Conception,” the artist presented the idea of “painting” as “depthless membrane or surface film.” He considered all the paintings as one continuous spatial existence. Each painting becomes a mere “phase,” a cross-section of the whole. At this exhibition, Sekine presents his recent series of paintings "Phase of nothingness-skin."

    According to Sekine, “’Phase of nothingness’ indicates the state of the phase being open. That is, the phase is open widely and infinitely, free and unbound.” In the making of “Phase Conception” series, the paper is first damped, torn, scratched, cut and pasted. After drying, the paper is covered with gold or black lead leaves to capture accurately those actions performed. In "Phase of nothingness-skin," the artist uses canvas instead of paper. Though made in similar process, the canvas escapes the control of the artist, to bring the action of the artist and the material closer. In "Phase of nothingness-skin," therefore, each painting becomes a phase more flexible and elastic. This series not only lead the spatial recognition of the audience through vision to somatic sensation, to spiritual field, but to the field that is even more open and free. Please take this opportunity to see the new works of Nobuo Sekine in person at YOD gallery.



- Artist Statement -

Comments on the new painting series “Phase of nothingness-skin”

    With little clues I started working on a new series of paintings “Phase of nothingness-skin”, and I am still in the process of trial-and-error. In the making, certain forms are drawn on 20mm thick plywood; cut with a jigsaw; wrapped with large pieces of canvas; stretched out as much as possible to be stapled onto frames. When the surface of a painting is covered with Liquitex and dried out, it shrinks slightly. Small creases disappear into large ones. The act of wrapping, just like skin, generates wrinkles and folds indicating the movements on the surface. In a strict sense, it generates the four-dimensional painting.

    I titled this series as “Phase of nothingness-skin,” considering the paintings as flexible and elastic skin. I cannot question at this moment whether it speaks well of what I want to express through the paintings. Even if the intention is not perfectly carried through the work, I must keep making so as to develop and deepen the concept.

    What do I mean by “certain forms” here? It is my past experiences and memories that let me choose certain forms to make paintings. However, I cannot clearly state the reason for the choice. I sketch forms habitually, but it is only few times I am aware of what I draw, and otherwise my mind together with the form disappear into ambiguity.

    When the plywood forms are covered with canvas 30% larger than the wood frame, unexpectedly complicated wrinkles and folds appear. The canvas is like a skin enfolding the space. I must let the canvas be, for the forms of wrinkles and folds are hard to predict. In other words, I can only design the outline of the work, but for the rest, I cannot. The details such as the shapes appear on the surface, and the shades of wrinkles that follow are left to take their own course. The act of letting them be, is very interesting and extremely pleasant to me. It brings me to the state of oblivion.

    In terms of Einstein’s theory of relativity, it is said that the stars in the outer space existing as masses. They warp the space, and their light beams curve. It is a well-known story that the astronomer Arthur Eddington’s observations of a solar eclipse have confirmed the Eistein’s theory. Again, as a scheme of nature, the stellar masses warp the space in the outer space. What if we consider the surface of a painting as infinite outer space then? Those stellar masses in outer space are brought into the painting space as certain forms. In other words, the forms generate wrinkles and folds, making the (painting) space warp.

    They are beyond my control. However, what do you think if I say---I would be content if the acts happening in the making process itself could deliver the vividness and richness of the nature, and this is at the end, the lifelong theme of my art making? Further, it is Mono-ha and my wish that our act of making to become one with the nature. It is our ever-present theme. I use the title “Phase of nothingness” since early times. “Phase of nothingness” means a phase being open, widely and limitlessly, and of no constraint.

    Looking back at the past, my art-making activity has started when I became aware of my main subject in contemporary art, which is to present a new spatial perception and interpretation. Since then, I have long been committed to topology, disregarding the well-known Euclidean geometry. It is easy to understand topology if you think of a space as a skin or membrane that is flexible and variable. It seems that there is always an idea of skin and membrane at the deep bottom of my inner senses. This new series of paintings “Phase of nothingness-skin” is coming from such historical theme of my own.

    1/18/2016 Nobuo Sekine


 Nobuo Sekine Biography

Born in Saitama, Japan in 1942. Graduated with M.F.A. in Painting from Tama Art University in 1968. In the same year, Sekine presented “Phase—Mother Earth” in Kobe, which marks the beginning of “Mono-ha” movement. A series of painting “Phase of Nothingness” was chosen for the Venice Biennale in 1970 and a numbers of solo exhibitions were held subsequently in Europe. Sekine established Environmental Art Studios, a public art agency in 1973 to produce landscapes and monuments for public spaces, and phase paintings. Now living in Los Angeles, Sekine continues to make works up to the present time. Solo exhibitions were held internationally since 1969, including the one at Kawagoe City Art Museum in 2003. Major group exhibition in recent years are the Busan Biennale (Korea), 2002; “A Secret of History of Clay,” the Tate Gallery, Liverpool, 2004; “Mono-ha, Reconsidered”, the National Museum of Art, Osaka, 2005; “Tokyo 1955-1970: A New Avant-Garde”, the Museum of Modern Art, New York, 2012. Many of Sekine’s works are included in museum collections in many countries.

 






*Images from top
"Phase of Nothingness—Skin 63", 2016
101.6 x 81.3 cm, Acrylic on canvas, wooden frame, plywood

"Phase of Nothingness—Skin 27", 2016
127 x 101.6 cm, Acrylic on canvas, wooden frame, plywood

□  Hebime, Hidehito Matsubara and Masakazu Fujiwara "repetitive motion"
     24th June - 15th July 2017



 Exhibition Title
      "repetitive motion"

 Artist
      Hebime, Hidehito Matsubara and Masakazu Fujiwara

 Period/Hours
      24th June - 15th July 2017
      Hours: 12:00-19:00
      Closed: Sunday, Monday, Tuesday

 Venue 
      YOD Gallery
      4-9-15, Nishitenma, Kita-ku, Osaka, Japan 530-0047
      T/F +81(0)6 6364 0775 E-mail info@yodgallery.com
      www.yodgallery.com

 Contact
      YOD Gallery
      4-9-15, Nishitenma, Kita-ku, Osaka, Japan 530-004
      T/F +81(0)6 6364 0775 E-mail info@yodgallery.com

 

□  Mette Vangsgaard "Liquid Sunshine"
     15th September - 14th October 2017



   



 Exhibition Title
      "Liquid Sunshine"

 Artist
      Mette Vangsgaard

 Period/Hours
      15th September – 14th October 2017
      Hours: 12:00-19:00
      Closed: Sunday, Monday, Tuesday

 Venue 
      YOD Gallery
      4-9-15, Nishitenma, Kita-ku, Osaka, Japan 530-0047
      T/F +81(0)6 6364 0775 E-mail info@yodgallery.com
      www.yodgallery.com

 Reception
      15th September 18:00 - at YOD Gallery

 Contact
      YOD Gallery
      4-9-15, Nishitenma, Kita-ku, Osaka, Japan 530-004
      T/F +81(0)6 6364 0775 E-mail info@yodgallery.com




 Exhibition Outline
    YOD Gallery is pleased to present " Liquid Sunshine," by Mette Vangsgaard (b.1968), as a collaborative project with Marie Kirkegaard Gallery, Denmark.

    Mette Vangsgaard is a Copenhagen based cross-media artist who works with wide range of materials from ceramic, glass, oil and watercolor paintings to woodprints. Through visualizing the artist’s personal memory and experience, Vangsgaard’s works speak of much larger contemporary problems such as evolution, civilization, coexistence, loneliness, public spaces, modern social thinking, and the turning down of old environments towards new constructions.

    This year marks the 150th anniversary of Japan-Denmark diplomatic relations that inspired this collaborative project between two galleries. Please take this opportunity to see the works of Mette Vangsgaard at YOD gallery.



- Artist Statement -
Mette Vangsgaard “Liquid Sunshine”

    Scandinavian climate is changing, the four seasons are becoming one, it rains and storms like never before. The Common Brimstone, The European Peacock and similar butterflies, all native to Scandinavia, are all vanishing due to this change. Liquid Sunshine aim to explore how we as humans perceive nature and its changes.

    Together with Yod Gallery I’m showcasing a collection of works inspired by the poem “Butterfly Valley: A Requiem. “by acclaimed Danish poet Inger Christensen. The exhibiting includes an installation done in ceramic, glass and fabric, and a series of new watercolours which are expressions of personal stories of raindrops, reflections, cloudbursts and memories of rainy landscapes.

    The pieces create a spectrum of narratives about the western civilisation and the everyday life of today. From thoughts on, how new tendencies constant redefines our life, how public spaces shapes our understanding of a society, to our perception of nature.





 Mette Vangsgaard Biography

Born in 1968, Denmark. Lives and works in Copenhargen. Graduated from The Royal Danish Academy of Fine Arts in 1996. In 2011, received the 3-year working grant from the Danish Arts Foundation. Vangsgaard’s works are included in museum collections such as Kunsten Museum of Modern Art, Vejen Art Museum and Museum of International Ceramic Art Grimmerhus.

 




*Images from top
"Ellipses in the water", 2017
57 x 76cm
Watercolor and gouache on paper

"3 happy pigs", 2017
66 x 102cm
Watercolor, gouache and lacquer on paper

"Shady", 2017
51.5 x 38 cm
Watercolor on paper


□  Eikoh Hosoe "Genesis: Portraits of Artists in their Formative Years"
     28th October - 18th November 2017



   



 Exhibition Title
      "Genesis: Portraits of Artists in their Formative Years"

 Artist
      Eikoh Hosoe

 Period/Hours
      28th October - 18th November 2017
      Hours: 12:00-19:00
      Closed: Sunday, Monday, Tuesday

 Venue 
      YOD Gallery
      4-9-15, Nishitenma, Kita-ku, Osaka, Japan 530-0047
      T/F +81(0)6 6364 0775 E-mail info@yodgallery.com
      www.yodgallery.com

 Reception
      28th October 18:00 - at YOD Gallery

 Contact
      YOD Gallery
      4-9-15, Nishitenma, Kita-ku, Osaka, Japan 530-004
      T/F +81(0)6 6364 0775 E-mail info@yodgallery.com




 Exhibition Outline
    YOD Gallery is delighted to present “Genesis: Portraits of Artists in their Formative Years,” the second solo exhibition of Eikoh Hosoe since 2014. Photography, for Hosoe, has been ‘the art of relation between a photographer and a subject’. In producing a collaborative work entitled Barakei (‘Ordeal by Roses’, published in 1963) with the radical novelist Yukio Mishima, Hosoe has developed a procedure of what he calls ‘subjective documentary’ by exploring the essence of subjects through an intuitive eye.

    Constituting the basis of this exhibition is Hosoe’s latest published collection, ‘Genesis: Portraits of Artists in their Formative Years’ (2012), which is largely a compilation of portraits by Hosoe between 1967 and 1975. Artists interpreted in Hosoe’s works, including the writer Tatsuhiko Shibusawa and the Butoh dancer Tatsumi Hijikata, are today renowned for performing leading roles in various fields, ranging from the literary world to performance arts in Japan.

    Based on a survey for visitors of “Barakei: Ordeal by Roses” exhibition in 2014, this exhibition features eleven works showing artists including Taro Okamoto, Sawako Goda, Shuji Terayama, Tadanori Yokoo, Yoshiharu Tsuge, Simon Yotsuya, Kazuo Ohno, Min Tanaka, and Tamasaburo Bando, with a significant addition of large-sized photographic portrait of Yayoi Kusama that was specially produced for this exhibition.

“Genesis: Portraits of Artists in their Formative Years” presents vivid imprints of artists who Hosoe had faced as a young aspiring photographer.



 Eikoh Hosoe Biography

1933 Born in Yonezawa, Yamagata
1954 Graduated Tokyo College of Photography

During his time at the Tokyo College of Photography, Hosoe was exposed to the spirit of avant-gardism by Ei-Q who was the founder of Demokrato Artist Association. In 1959 ― a momentous year of transition in Japanese postwar photography ― Hosoe established a photographers’ group called ‘VIVO’ (Esperanto: ‘Life’) with Shomei Tomatsu, Ikko Narahara and others. The group advocated new alternatives to the postwar realism movement by pursuing increasingly subjective and artistic expressions in the seemingly ‘objective’ medium. Hosoe has been recognised as a leading photographer of post-1950s Japan.

 




*Images from top
"Tamasaburo Bando", 1971
11 x 14 in
Gelatin Silver Print

"Tadanori Yokoo;, 1970
66 x 102cm
Watercolor, gouache and lacquer on paper

"Tatsumi Hijikata", 1967
11 x 14 in
Gelatin Silver Printr


□  Stitch Dog Solo Exhibition
       “Negated Sound Devices”"

     23th December 2017 - 27th January 2018



   



 Exhibition Title
      “Negated Sound Devices”

 Artist
      Stitch Dog

 Period/Hours
      23th December 2017 - 27th January 2018
      Hours: 12:00-19:00
      Closed: Sunday
      *︎closed Dec. 29 (Fri), 2017 - Jan. 7 (Sun), 2018 for holiday

 Venue 
      YOD Gallery
      4-9-15, Nishitenma, Kita-ku, Osaka, Japan 530-0047
      T/F +81(0)6 6364 0775 E-mail info@yodgallery.com
      www.yodgallery.com

 Reception
      23th December 18:00 - at YOD Gallery

 Contact
      YOD Gallery
      4-9-15, Nishitenma, Kita-ku, Osaka, Japan 530-004
      T/F +81(0)6 6364 0775 E-mail info@yodgallery.com




 Exhibition Outline

    YOD Gallery is delighted to present the first solo exhibition of Stitch Dog, “Negated Sound Devices.” As a labour that is suggested to have been deployed to alienate women from political and social activities, embroidery is purposely used by the artist like a double-edged sword. Stitch by stitch, motifs including laptops and circuit boards are transferred onto juxtaposing materials. Yet these works reject adjectives – such as ‘soft’ and ‘light’ – conventionally attached to embroidery in order to express the artist’s struggle against social repression.

    In this exhibition, visitors will be confronted by invisible sound rendered as solid and negated objects ― dismantled and embroidered sound devices and circuit boards, sound waves enclosed in gelatine, and a turntable congealed by lead. The act of insulation embodies the artist’s resistance against oppression as well as a society in which voiceless voice of the vulnerable echoes. The active and the passive intermingle within a work of art while interrogating the viewer’s standpoint.

    Handiwork and mass production. Art and craft. Masculinity and femininity manipulated by society – ‘Negated Sound Devices’ exhibits an endeavor for liberation from these restraining binaries.

    




 Stitch Dog Profile

Born and lives in Osaka
Graduated from Kyoto Saga Art College School
2007 Started executing stich works

[Solo exhibitions]
2010 SOLO EXHIBITION, KEN HAMAZAKI RED MUSEUM, Osaka
2011 SOLO EXHIBITION, KEN HAMAZAKI RED MUSEUM, Osaka
2013 SOLO EXHIBITION, SPES-LAB, Tokyo


[Group exhibitions]
2010 MAKE: Tokyo Meeting 06, Tokyo Institute of Technology, Tokyo
2012 Maker Fair Tokyo, National Museum of Emerging Science and Innovation, Tokyo
2014 Young Art TAIPEI(YOD Gallery), Taipei
2014 Group EXHIBITION, Tambourin Gallery, Tokyo
2014 Group EXHIBITION, Galaxy gallery, Osaka
2015 Young Art TAIPEI(YOD Gallery), Taipei
2015 Group EXHIBITION, Links Gallery, Osaka
2016 VOLTA 12 (YOD Gallery), Basel, Switzerland
2016 Rhizomatiks Presents "ANALOG" vol.01, Tokyo

 





"Protective coverall, noise ", 2017
180 x 50 cm
DuPont chemical protective suit,lead,felt and embroidery thread




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