"Space for Your Future" Exhibition
This event has ended.
The personalization of information, diversification of values, and a variety of networks characterize the 21st century. The genre crossovers and creative direction of the past few years evoke images of the beginning of the twentieth century when academic studies unified, aiming for a utopia as symbolized by the ideas of Buckminster Fuller. A major difference is that our physical world is faced with an even more complex situations and the crossing over and synergy of genres such as biotechnology and genetic engineering has actually risen as much-needed survival tactics.
This exhibition will feature visual creations in a variety of fields by 34 artists from 13 countries. The "space" in the title "Space for your Future" refers to space as an environment that encompasses oneself and one's exterior, as well as purely physical space. The selected architects, designers, artists pursue their creative activities by juggling multiple expressive techniques and methods based on a unique vision, not unlike DNA programming. This exhibition will be a cultural manifesto transmitted from Tokyo, city of multidisciplinary creativity.
[Image: Ernesto Neto, referenced image "Humanoids" (2001), Courtesy of Galeria Fortes Vilaca, San Paulo/Tanya Bonakdar/Tomio Koyama Gallery/Gallery Koyanagi, photo(c)Manfred Wegener]
From 2007-10-27 To 2008-01-20
Open December 24th and January 14th, closed December 25th and January 15th.
Artists from around the world are challenged to present their visions of space in the future, resulting in a fantastical experience.
「SPACE FOR YOUR FUTURE」出品作品が話題を呼んでいる建築家・石上純也氏へのビデオインタビュー
New MOT curator aims to do a lot with a little
By Edan Corkill
Japan Times Staff writer
On the lookout for other opportunities Yuko Hasegawa "wondered which museum it was in Tokyo that was fulfilling the role of the Pompidou Center in Paris or the Tate Modern in London — a museum with a collection, mind you. I decided that all we had was MOT. It was a question of responsibility to the public" ...
"Space for your future" I was expecting an exhibition somehow similar to the Wired Magazine issue co-edited by OMA/AMO in which 20 new spaces were proposed.
The exhibition presents different works dealing with space (even if I did not understand why some where there).
The curator idea is not clearly explain, at least not in english. Therefore the risk is to turn the museum into a funfair for adults with a university degree. In some moments I did have this feeling.
I would recommend to people not too much into art/architecture, many works are really well known.
-Ishigami Junya will be the next big thing of japanese architecture
-video art needs to much time to be seen, maybe only 5% watch a 3min video so it should be communicated in a different way
-the work of Carsten Nicolai was a bit disappointing
This was perhaps the worst exhibition yet shown. the title should be called "Tokyo Takes Over Chinatown Fakes; The Future is Theft." One pathetic soul had the audacity to copy Ernesto Neto on the way to seeing Ernesto's work! imagine that the chutzpah! Then there was the poorly illustrated Thomas Demand escalator work (concurrently with his exhibition at Taka Iishi Gallery) as ell as a complete rip off of Tomoko Sawada's work; let's see what else was there? hmmm, oh there was the architecture materials 101 course o the skeletal framework that we did in our first course with balloons and concrete to the effect of not breaking and being sloppily glued together as if it really worked. Then there was Andrew Krep's artist, Ricci Albenda who was combined to Frank Gehry's titanium shingles to produce a space altering balloon, PULEEZE. Where was this curator scraping these hacks from? Does she think adding 2-3 legitimate artists makes the show beyond reproach? Did the curator send in 2 cereal boxtops and 100yen for her license? What fools does she take her public for? And they charged money to see this drek? It was a very insulting experience. The "New York" team ultra vivid dumbasses was predictablly mundane.
I have to agree with yourboringandpatheticart that this was a dreadful show, and charging 1300 yen for it is offensive. While I too found most of the work second-rate, that is OK. If the curator's taste does not agree with mine, then so be it. The problem was the sloppy way in which it was presented. For example, Olafur Eliason's lamp which was positively dazzling at Koyanagi last year was just wasted here.
Even worse was the attitude of the staff: I was harshly reprimanded when my toes apparently crossed some line on the floor (and this in front of a piece that if it wasn't interactive was just a pile of junk!), but when I asked them something about the works they were utterly clueless.
And then it got really silly. Somebody has had the bright idea to lay a carpet beneath the huge balloon, and in order to enter the huge atrium where it hangs, you have to take off your shoes. However, once you have done so, you discover that you are only allowed to proceed about one meter or so - you are not allowed to get remotely close to the piece, or heaven forbid beneath it. So what's the point of having people taking off their shoes? Worse, due to what I can only assume is a planning mistake, the carpet covers the entire passageway to an inner room, with a regular wooden floor, where an intriguing video by the Thai director Apichatpong Weerasethakul was shown. In Thai, without subtitles! Give me a break! What the hell was going on here? The shoe-collector had no idea, of course. But I can see several possibilities here: either the curators had forgotten about the need for subtitles altogether or just couldn't be arsed (or couldn't get them ready in time, or couldn't pay for the translation, or whatever). But given the general lack of attention to detail, it is also quite possible that there actually WERE subtitles on the DVD, but the staff had forgotten to turn them on because they couldn't operate the DVD player - or weren't allowed to touch it.
My money back, please!
Roger McDonald on Space For Your Future in his weblog, The Tactical Museum.
SANAA soared.....much of the rest remained decidedly bound by the box.....SEE