始めまして播磨です。
現在ニューヨークにて開催されている個展の日程が延長されました。こちらにお住まいの方、ご旅行の予定のある方、期間中是非足を運んで頂けたら幸いです。11月15日まで。
MIDORI HARIMA EXTENDED THROUGH NOVEMBER
PLEASE NOTE THAT OUR SOLO EXHIBITION BY MIDORI HARIMA HAS BEEN EXTENDED THROUGH WEDNESDAY NOVEMBER 15TH, 2006.
FOR IMMEDIATE RELEASE:
MIDORI HARIMA
breathe
September 15th - November 15th, 2006
Opening Reception: Friday September 15th, 2006 6-8PM
HOLASEK WEIR Gallery is proud to present an exhibition of works by Japanese artist Midori Harima, on view from September 15th through November 15th, 2006. The exhibition will include drawings and a group of Harima's three-dimensional sculptures created from black and white xeroxes of images found in books, magazines and the Internet.
Midori Harima belongs to a generation of artists raised in a post-World War II Japan, rebuilt under American cultural control. Harima questions how her art can stand against physical and social gravity through experimentation with the physical tension and gravity involved in the art making process. "Most of my work can not physically stand up by itself," says Harima. "It is a reflection of the position of contemporary art in Japan, far from both Japanese tradition and real Western sources."
Using non-traditional materials, the hollow figures constructed with the fragments of ordinary mass media images correspond to our managed and disconnected experiences of reality. The end result combines characteristics of physical, psychological and mystical worlds leaving the viewer somewhere between illusion and reality. Harima believes that when perceiving an object, we impose upon it our preconceived notions. "There is so much information out there that we experience things before we actually experience them with our eyes."
In "Rain Fall", roughly 300 wires suspend a horse. The wires both pierce and surround the animal, creating a barrier preventing the viewer from getting too close. Each wire resembles falling rain but at the same time it physically suspends the horse. This creates a tension between the visual information and the physical structure.
Harima holds a BA from Women's University of Fine Art in Kanagawa, Japan. She has exhibited in several institutions in the Bay Area such as the Yerba Buena Center for the Arts, The Kala Arts Institute, Richard L. Nelson Gallery and others. She has also exhibited in Japan at the Toyota Municipal Museum of Art, Gallery Jin, and 300days gallery. This will be her first solo exhibition in New York.
For further information please contact Vanina Holasek at vanina@holasekweir.com or (212) 367-9093.
現在ニューヨークにて開催されている個展の日程が延長されました。こちらにお住まいの方、ご旅行の予定のある方、期間中是非足を運んで頂けたら幸いです。11月15日まで。
MIDORI HARIMA EXTENDED THROUGH NOVEMBER
PLEASE NOTE THAT OUR SOLO EXHIBITION BY MIDORI HARIMA HAS BEEN EXTENDED THROUGH WEDNESDAY NOVEMBER 15TH, 2006.
FOR IMMEDIATE RELEASE:
MIDORI HARIMA
breathe
September 15th - November 15th, 2006
Opening Reception: Friday September 15th, 2006 6-8PM
HOLASEK WEIR Gallery is proud to present an exhibition of works by Japanese artist Midori Harima, on view from September 15th through November 15th, 2006. The exhibition will include drawings and a group of Harima's three-dimensional sculptures created from black and white xeroxes of images found in books, magazines and the Internet.
Midori Harima belongs to a generation of artists raised in a post-World War II Japan, rebuilt under American cultural control. Harima questions how her art can stand against physical and social gravity through experimentation with the physical tension and gravity involved in the art making process. "Most of my work can not physically stand up by itself," says Harima. "It is a reflection of the position of contemporary art in Japan, far from both Japanese tradition and real Western sources."
Using non-traditional materials, the hollow figures constructed with the fragments of ordinary mass media images correspond to our managed and disconnected experiences of reality. The end result combines characteristics of physical, psychological and mystical worlds leaving the viewer somewhere between illusion and reality. Harima believes that when perceiving an object, we impose upon it our preconceived notions. "There is so much information out there that we experience things before we actually experience them with our eyes."
In "Rain Fall", roughly 300 wires suspend a horse. The wires both pierce and surround the animal, creating a barrier preventing the viewer from getting too close. Each wire resembles falling rain but at the same time it physically suspends the horse. This creates a tension between the visual information and the physical structure.
Harima holds a BA from Women's University of Fine Art in Kanagawa, Japan. She has exhibited in several institutions in the Bay Area such as the Yerba Buena Center for the Arts, The Kala Arts Institute, Richard L. Nelson Gallery and others. She has also exhibited in Japan at the Toyota Municipal Museum of Art, Gallery Jin, and 300days gallery. This will be her first solo exhibition in New York.
For further information please contact Vanina Holasek at vanina@holasekweir.com or (212) 367-9093.
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コメント(1)
マイアミのKevin Bruk Galleryにて個展のお知らせです。
２００６年にギャラリー人で発表した立体をつぶして額に入れた作品のシリーズの新作５点と、２００４年のインスタレーション"Transparent Story"その他新作の立体を発表します。
お近くにお越しの際は是非お立ち寄りくださいませ。３月１０日より５月５日まで。
播磨
MIDORI HARIMA
March 10 -May 5, 2007
Opening Reception: Saturday, March 10, 7-9 pm
2249 NW 1st Place, Miami, Fl 33127
Kevin Bruk Gallery is pleased to present its first solo exhibition of work
by Japanese artist Midori Harima. The opening reception will be held on
Saturday, March 10, 2007 from 7-9 pm coinciding with the monthly Wynwood
Gallery Walk, and will remain open to the public during regular gallery
hours until May 5th.
Born in Yokohama, Japan in 1976, Midori Harima grew up in an environment
oversaturated by foreign influence. Coping with post World War II cultural
control by the United States, Japan had faced a difficult loss of its own
identity. Many facets of everyday life existed only on the surface, as
nothing seemed to be grounded any longer. Imported products, story lines,
and fashions became all too commonplace. There was no genuine connection
between surface and structure, and Harima has reacted against this with her
art.
In the way we make sense of reality by piecing together bits of information
and stimulus from our environments, the artist materializes her sculpture
(often of the human figure and animals) from bits and fragments of mass
media found in various publications, as well as the Internet. Once desirable
images are chosen, they are xeroxed in black and white, cut, and adhered to
the surfaces of the sculptures to give the texture of the subject at hand.
The sculptural mold, which these clippings are covering, can be thought of
as the skin of the figure, as they are completely hollow, again
referencing Harimaケs making of art within the large contradictions that
occur between the existing infrastructure her country and the Western
blanket of influence that has enveloped it.
The sculptures are treated more as installation pieces, as they are often
exhibited by being hung or suspended from the ceiling by various materials
such as monofilament, fishhooks, or wire. According to Harima, ウMost of my
work cannot physically stand up by itself. It is a reflection of the
position of contemporary art in Japan, for from both Japanese tradition and
real Western sources.
Interestingly, it appears that the artist has often chosen a traditional
icon of Japanese culture to help convey her opinions of foreign cultural
intrusion. Tiny spotted deer have become a reoccurring theme in the artistケs
work, which bear an uncanny resemblance to sika deer, a sacred animal that
has existed in the Kasuga Hills east of Nara, Japan since prehistoric times.
Kasuga Mandela are medieval era paintings from Nara depicting these deer, in
relation to deities and celestial bodies.
Midori Harima has, in a sense, taken the integrity of a Kasuga Mandela and
subjected it to her scrutinizing views on the diminishing of her culture in
a cutting-edge way. She is showing that nothing is sacred by ウsacrificingイ
something that wholly belongs to her culture and involving it in her
critical and somber commentary on the unfortunate outcome of affairs between
two cultures that at one time where entirely apart from one another.
Midori Harima has exhibited in a solo and group show in New York at Vanina
Holasek Gallery, and several institutions in the Bay Area such as the Yerba
Buena Center for the Arts, The Kala Arts Institute, and the Richard L.
Nelson Gallery. She has also exhibited in Japan at the Toyota Municipal
Museum of Art, Gallery Jin, and 300days gallery. This is her first solo
exhibition in Miami.
KEVINBRUKGALLERY
2249 NW 1st Place Tel. 305.576.2000
Miami, FL 33127 Fax. 305.576.2001
nfo@kevinbrukgallery.com
visit us at www.kevinbrukgallery.com
２００６年にギャラリー人で発表した立体をつぶして額に入れた作品のシリーズの新作５点と、２００４年のインスタレーション"Transparent Story"その他新作の立体を発表します。
お近くにお越しの際は是非お立ち寄りくださいませ。３月１０日より５月５日まで。
播磨
MIDORI HARIMA
March 10 -May 5, 2007
Opening Reception: Saturday, March 10, 7-9 pm
2249 NW 1st Place, Miami, Fl 33127
Kevin Bruk Gallery is pleased to present its first solo exhibition of work
by Japanese artist Midori Harima. The opening reception will be held on
Saturday, March 10, 2007 from 7-9 pm coinciding with the monthly Wynwood
Gallery Walk, and will remain open to the public during regular gallery
hours until May 5th.
Born in Yokohama, Japan in 1976, Midori Harima grew up in an environment
oversaturated by foreign influence. Coping with post World War II cultural
control by the United States, Japan had faced a difficult loss of its own
identity. Many facets of everyday life existed only on the surface, as
nothing seemed to be grounded any longer. Imported products, story lines,
and fashions became all too commonplace. There was no genuine connection
between surface and structure, and Harima has reacted against this with her
art.
In the way we make sense of reality by piecing together bits of information
and stimulus from our environments, the artist materializes her sculpture
(often of the human figure and animals) from bits and fragments of mass
media found in various publications, as well as the Internet. Once desirable
images are chosen, they are xeroxed in black and white, cut, and adhered to
the surfaces of the sculptures to give the texture of the subject at hand.
The sculptural mold, which these clippings are covering, can be thought of
as the skin of the figure, as they are completely hollow, again
referencing Harimaケs making of art within the large contradictions that
occur between the existing infrastructure her country and the Western
blanket of influence that has enveloped it.
The sculptures are treated more as installation pieces, as they are often
exhibited by being hung or suspended from the ceiling by various materials
such as monofilament, fishhooks, or wire. According to Harima, ウMost of my
work cannot physically stand up by itself. It is a reflection of the
position of contemporary art in Japan, for from both Japanese tradition and
real Western sources.
Interestingly, it appears that the artist has often chosen a traditional
icon of Japanese culture to help convey her opinions of foreign cultural
intrusion. Tiny spotted deer have become a reoccurring theme in the artistケs
work, which bear an uncanny resemblance to sika deer, a sacred animal that
has existed in the Kasuga Hills east of Nara, Japan since prehistoric times.
Kasuga Mandela are medieval era paintings from Nara depicting these deer, in
relation to deities and celestial bodies.
Midori Harima has, in a sense, taken the integrity of a Kasuga Mandela and
subjected it to her scrutinizing views on the diminishing of her culture in
a cutting-edge way. She is showing that nothing is sacred by ウsacrificingイ
something that wholly belongs to her culture and involving it in her
critical and somber commentary on the unfortunate outcome of affairs between
two cultures that at one time where entirely apart from one another.
Midori Harima has exhibited in a solo and group show in New York at Vanina
Holasek Gallery, and several institutions in the Bay Area such as the Yerba
Buena Center for the Arts, The Kala Arts Institute, and the Richard L.
Nelson Gallery. She has also exhibited in Japan at the Toyota Municipal
Museum of Art, Gallery Jin, and 300days gallery. This is her first solo
exhibition in Miami.
KEVINBRUKGALLERY
2249 NW 1st Place Tel. 305.576.2000
Miami, FL 33127 Fax. 305.576.2001
nfo@kevinbrukgallery.com
visit us at www.kevinbrukgallery.com
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