{"id":7971,"date":"2019-07-29T18:44:42","date_gmt":"2019-07-29T09:44:42","guid":{"rendered":"http:\/\/ga-beta.geidai.ac.jp\/?p=7971\/"},"modified":"2019-07-29T18:46:30","modified_gmt":"2019-07-29T09:46:30","slug":"intimate-distance-masterpieces-from-the-ishikawa-collection","status":"publish","type":"post","link":"https:\/\/geidai-ga.warpjapan.com\/en\/2019\/07\/29\/intimate-distance-masterpieces-from-the-ishikawa-collection\/","title":{"rendered":"Intimate distance. Masterpieces from the Ishikawa Collection"},"content":{"rendered":"

Intimate Distance. <\/span><\/h1>\n

Masterpieces from Ishikawa Collection<\/span><\/h1>\n

Dates\uff1a<\/strong>29 Jun\u00a0\u301c 29 Sep\u00a02019
\n<\/span>Venue\uff1a<\/strong>MO.CO. H\u00f4tel des collections
\n<\/span>Address\uff1a<\/strong>13 rue de la R\u00e9publique, 34000\u00a0Montpellier, France
\n<\/span>Tel\uff1a<\/strong>+33(0)434887979
\n<\/span>Opening Hours\uff1a<\/strong>12:00<\/span>\u301c19:00<\/span>
\n<\/span>Holidays\uff1a<\/strong>Mondays<\/p>\n

website<\/a>\u3000booklet<\/a><\/p>\n

\"\"<\/p>\n


\n\u30b9\u30c6\u30fc\u30c8\u30e1\u30f3\u30c8\uff1a<\/strong><\/p>\n

Intimate distance\uff5cYuko Hasegawa<\/strong><\/p>\n

 <\/p>\n

 <\/p>\n

Selecting works that belong to the world and sensibilities of a single collector and exposing them in a different place beyond his or her reach is something that in itself creates distance possessed of intimacy and coolness.<\/p>\n

This is the first time the Ishikawa Collection has been shown outside of Japan to such an extent, and it is also the first exhibition at this new museum, Montpellier Contemporain, aka MoCo. As to the nature of the show, while various budgetary constraints unfortunately mean that there are works that cannot be displayed, around forty pieces will be presented to the people of Montpellier, France, within a cluster of exhibition spaces under the title \u201cIntimate Distance.\u201d<\/p>\n

Most of the works are by European or North American artists and range from 1970s conceptual art to what is called post-conceptual art. They are primarily minimalist, non-spectacular works, and while they may incorporate intense emotions, politics or memories, at first sight they seem to have a calm appearance.<\/p>\n

Contemporary art, and in particular 1970s conceptual art, can be difficult to approach due to its ambiguity and abstrusity. It tends to lack materiality and corporeality, has little of the handmade feeling usually associated with \u201cself-expression,\u201d and the temperature of things created through the acts of \u201cchoosing\u201d and \u201cediting\u201d as opposed to \u201cmaking\u201d can feel cold. Such works are questions directed at an intellectual elite, whose replies take the form of changes or shifts in ways of seeing things or points of view.<\/p>\n

In the 1990s, contemporary art took on a more palpable form. While it retained its \u201ccontingency,\u201d \u201cambiguity\u201d and \u201ctendency to leave interpretation up to the viewer,\u201d the expressive language used by the artists became more \u201cintimate.\u201d At the same time, micro-utopias whose frames of reference are located in the interactions of each individual with society came to be shared in place of large-scale utopias.<\/p>\n

The works in the Ishikawa Collection have been chosen in such a way that the transition from \u201cabstruse\u201d to \u201cambiguous but open to an intimate something\u201d is more or less seamless in historical terms. The works in this exhibition, too, have been selected so that viewers can gain a sense of this flow. Looking at the works as a whole, such opposites as \u201cglobal\u201d and \u201clocal\u201d that are now so in vogue are strangely absent, instead of which an open landscape of relations between \u201csubjects\u201d (we as individuals) and society can be seen throughout the exhibition. Encounters with the works lead the audience\u2019s point of view away from existing ways of looking at things towards different imaginations and worldviews. The changes in awareness brought about by the effect of this represent a new reality that arrives in a form that almost catches us unawares.<\/p>\n

According to Boris Groys, there are two types of \u201cuniversality\u201d: traditional political universality, and a new universality. \u201cToday, however, to be universal means to be able to aestheticize one\u2019s identity as it is \u2013 without any attempt to change it. Accordingly, this already existing identity is treated as a kind of readymade in the universal context of diversity.\u201d (1)<\/p>\n

Today, at a time when having one\u2019s own identity is becoming universal, how will the relationships between sensation and meaning, awareness and unconsciousness, time perception and memory be reconstituted?<\/p>\n

 <\/p>\n

Artists\uff1a
\n<\/strong>Marcel Broodhaers \/ Peter Fischli & Weiss \/ Simon Fujiwara \/ Ryan Gander \/ Liam Gillick \/ Felix Gozalez-Torres \/ Pierre Huyghe \/ On Kawara \/ Mike Kelly \/ Haroon Mirza \/ Gerhard Richther \/ Rachel Rose \/ Anri Sala \/ Shimabuku \/ Motoyuki Shitamichi \/ Danh vo \/ Lawrence Weiner<\/span><\/p>\n

\"\"<\/p>\n

PIERRE HUYGHE<\/p>\n

Zoodram 4<\/em><\/p>\n

2011<\/p>\n

\u00c9cosyst\u00e8me marin vivant, aquarium en verre, syst\u00e8me de filtration, coquille en r\u00e9sine d\u2019apr\u00e8s La muse endormie<\/em>de Constantin Brancusi (1910)<\/p>\n

Living marine ecosystem, glass tank, filtration system, resin mask of Constantin Brancusi\u2019s \u2018Sleeping Muse\u2019 (1910)<\/p>\n

Fondation Ishikawa, Okayama<\/p>\n

Courtesy de l\u2019artiste, Esther Schipper, Berlin, et Anna Lena Films, Paris<\/p>\n

\u00a9 Pierre Huyghe<\/p>\n

\"\"<\/p>\n

RYAN GANDER<\/p>\n

Ftt, Ft, Ftt, Ftt, Ffttt, Ftt, or somewhere between a modern representation of how a contemporary gesture came into being, an illustration of the physicality of an argument between Theo and Piet regarding the dynamic aspect of the diagonal line and attempting to produce a chroma-key set for a hundred cinematic scenes <\/em><\/p>\n

2010<\/p>\n

Plastique, caoutchouc, acier<\/p>\n

Plastic, rubber, steel<\/p>\n

Fondation Ishikawa, Okayama<\/p>\n

Courtesy TARO NASU, Tokyo<\/p>\n

\u00a9 Ryan Gander<\/p>\n

\u00a9 Adagp, Paris, 2019<\/p>\n

\"\"<\/p>\n

ANRI SALA<\/p>\n

Another Solo in the Doldrums (Serpentine) <\/em><\/p>\n

2011<\/p>\n

Caisse claire personnalis\u00e9e avec haut-parleur incorpor\u00e9<\/p>\n

Customized snare drum with inbuilt speeker<\/p>\n

Montage audio \/ Sound editing and mixing : Olivier Goinard<\/p>\n

Remerciement sp\u00e9cial \/ Special thanks : Sehring Audio Systems, Berlin<\/p>\n

Fondation Ishikawa, Okayama<\/p>\n

\u00a9 2011 Anri Sala<\/p>\n

ANRI SALA<\/p>\n

Answer Me <\/em><\/p>\n

2008<\/p>\n

Vid\u00e9o HD, couleurs, st\u00e9r\u00e9o<\/p>\n

HD video, color, stereo<\/p>\n

4\u201951\u2019\u2019<\/p>\n

\"\"<\/p>\n

ON KAWARA<\/p>\n

Date Paintings <\/em><\/p>\n

1994<\/p>\n

Acrylique sur toile (ensemble de 12 peintures)
\nAcrylic on canvas (a set of 12 paintings)<\/p>\n

Fondation Ishikawa, Okayama<\/p>\n

Courtesy Mus\u00e9e national d\u2019art moderne, Tokyo<\/p>\n

\"\"<\/p>\n

HAROON MIRZA<\/p>\n

Backfade_5, (Dancing Queen) <\/em><\/p>\n

2011<\/p>\n

Techniques mixtes<\/p>\n

Mixed media<\/p>\n

Fondation Ishikawa, Okayama<\/p>\n

Courtesy Galerie Lisson, Londres<\/p>\n

\u00a9 Haroon Mirza<\/p>\n","protected":false},"excerpt":{"rendered":"

Intimate Distance. Masterpieces from Ishikawa Collection Dates\uff1a29 Jun\u00a0\u301c 29 Sep\u00a02019 Venue\uff1aMO.CO. H\u00f4tel des collections Address\uff1a13 rue de la R\u00e9publique, 34000\u00a0Montpellier, France Tel\uff1a+33(0)434887979 Opening Hours\uff1a12:00\u301c19:00 Holidays\uff1aMondays website\u3000booklet \u30b9\u30c6\u30fc\u30c8\u30e1\u30f3\u30c8\uff1a Intimate distance\uff5cYuko Hasegawa     Selecting works that belong to the world and sensibilities of a single collector and exposing them in a different place beyond his or her reach is something that in itself creates distance possessed of intimacy and coolness. This is the first time the Ishikawa Collection has been shown outside of Japan to such an extent, and it is also the first exhibition at this new museum, Montpellier Contemporain, aka MoCo. As to the nature of the show, while… Continue reading Intimate distance. Masterpieces from the Ishikawa Collection<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":7955,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[],"post_series":[],"class_list":["post-7971","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-events-en","entry"],"_links":{"self":[{"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/posts\/7971","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/comments?post=7971"}],"version-history":[{"count":0,"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/posts\/7971\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/media\/7955"}],"wp:attachment":[{"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/media?parent=7971"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/categories?post=7971"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/tags?post=7971"},{"taxonomy":"post_series","embeddable":true,"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/post_series?post=7971"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}