CULTURE CITY OF EAST ASIA 2018 KANAZAWA Cooperative Projects
2018.9.8 (Sat.) - 2019.3.3 (Sun.)
Through writing, primarily using the Chinese traditional calligraphy he learned as a child, QIU Zhijie has continually inquired into universal, primordial human existence. Fujian Province, where he was born, was once a vital center for seaborne trade, rich in cultural exchange born from commerce and immigration. Qiu’s works with their dynamic, free perspective are deeply influenced by the culture of his home region. This exhibition examines the art and expressive power of Qiu Zhijie, who sees the world comprehensively and merges his own existence with representation of the relationships between people and things.
Propagator in the Darkness 2008
© QUI Zhijie
2018.7.7 (Sat.) - 2019.3.24 (Sun.)
DeathLAB, founded by Karla Rothstein at Columbia University in 2013, is an interdisciplinary initiative exploring the space and social consequence of urban disposition and memorialization. Housed at the Graduate School of Architecture, Planning and Preservation, DeathLAB’s cross-cutting research engages diverse academic fields, including architecture, environmental engineering, religious studies and sociology. We will introduce the lab’s ongoing work, which intertwines sacred space and civic life.
Constellation Park 2014
©LATENT Productions and Columbia GSAPP DeathLAB
2018.4.28 (Sat.) - 2018.9.24 (Mon.)
Taking as her theme the vastness of nature seen in mountains and forests, and the ephemerality of rainbows and mist, NANAKARAGE Ayano (1987-) meditates on such natural phenomena and, blending in her own interpretations and analogies, evokes its qualities in wood sculptures. Her “rainbows edge” series, featured in this exhibition, conjoins her own fabric-draped figure with the shapes of dried banana stems and other dried and withered plants. Her fusion of withered and gnarled plants with smooth drapery (a human figure) conveys a disquieting impression of old age melded with youth or some bizarre creature hidden under the fabric. At the same time, the works evoke the serenity of Buddhist or Shinto deity sculptures as well as the dread of having seen something forbidden. Vibrant living organisms age with time and grow dry and gnarled, and slowly change form. In such transformation, Nanakarage discovers a transcendent beauty. Her eye, as such, has the power to refresh our values as people of contemporary society conditioned to look away from deterioration and decay.
rainbows edgeI 2015