This event has ended.
In "Japanese Kitchen", "Japanese Commuter Train", "public conVENience" and other works, the contemporary artist Tabaimo drew animated videos of the fragmentary landscape of contemporary Japanese culture, and with them composed three dimensional installations. The results of her work gained Tabaimo international acclaim. Right after her debut, in 2001, Tabaimo entered the first Yokohama Trienniale as the youngest participating artist. Ten years later, Tabaimo returns to Yokohama with five new video installations to open her largest solo exhibition yet.
As she enters her mid thirties, Tabaimo’s upcoming exhibition exhibits a theme informed by a personal sense of generations, a personal world view. Tabaimo’s early work juxtaposed common images of contemporary life. In more recent years, her work has become more introverted, as she adopted a motif that included fingers, hair, and internal organs. In the upcoming exhibition, this world around Tabaimo is symbolized in the shape of a housing complex. In rooms of the exact-same floor-plan, different lives unfold. Like inserting a kitchen knife, Tabaimo cuts open a "danmen" (cross-section) of the housing complex, and various lives are carved out in a harmonious union of past and present. Step foot into the flow of raw images of people and nature, connected in Tabaimo’s profound creative world.
Many events during the exhibition will diversely present Tabaimo’s world. In addition to talk events, other creators of Tabaimo’s generation, including a dancer, a musician, and a theater group will collaborate in live dance and theatrical performances.
See website for details on related events.
[Image: Tabaimo, "Dandan" (image), 2009, video installation. Courtesy the Artist and Gallery Koyanagi]
From 2009-12-11 To 2010-03-03
We look back at the gallery shifts and movements over the last twelve months, and some of the top exhibitions.
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TABAIMO DISSECTS JAPAN'S LOST GENERATION
For the Frankfurt School of Marxist cultural thinkers, the difference between “negative” and “affirmative culture” was important: as long as society languished in an imperfect, pre-utopian stage, the only true art was a disturbing or critical one that made people dissatisfied with society and drove them to change it. Affirmative art merely reinforced what they saw as a repressive status quo.