Exhibition/event has ended.
Hirofumi Isoya “Go, Go, Go, Said the Bird: Humankind Cannot Bear Very Much Reality”
SCAI Piramide
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Artists
Hirofumi Isoya
A number of intimate and personal photographs, such as whimsical experiments taken with an iPhone and discoveries made on a trip, come and go like unaddressed letters, a repetitive installation of photographs of mattresses and mattresses, and a motionless clock painted on a wall. Hirofumi Isoya creates sharp situational compositions and intellectual puzzles with materials found in his own living space, without using any special methods. By intervening in the image of a time axis that moves in one direction, from past to future, and by arranging multiple perspectives through his works, he has shown a creative means of shaking our perception of the present.
This exhibition, which references a passage from T.S. Eliot’s long poem “Four Quartets” (1943), rises from the landscape of these people as a quiet warning to civilization. In “Vitality” (2021), the artist returns a 5,000-year-old piece of earthenware to the mud and bakes it into a sphere the size of a basketball. This work, which reorganizes ancient relics condensed in time, is characterized by artificial manipulation to homogenize materials and purify forms. By stirring the ancient and the modern, along with the presentation of a certain violence that creation implies, the work mutually renews the time and context it contains and encourages the reactivation of knowledge.
In the installation “Flowers and Bees, Permeable History” (2018), in which orange luminescence envelops the surroundings, a fish collection lamp is dropped into a glass bottle filled with honey. The amber liquid is the fruit of the enormous labor of the pollinating bees, who have spent a long time storing and purifying it, and sometimes the honey, which has a high specific gravity, settles from the bottom and solidifies, forming layers of different sugar levels and states. In “Tautology and Heat” (2021), which dyes the white cube red, architectural LED lights are the light source, and a chain of dots depicts the moonlight and mistakenly flying insects striking the lights. These works, reminiscent of the order and habits of organized insect ecology, become an allegory for today’s questioning of privileged human existence, and a new interpretation emerges.
From the confectionery paper pasted to the window of an airplane, to the whiskers that pass through the seams of a t-shirt, to the broken glass that looks like a mountain, the exhibition is a multi-layered world that unfolds simultaneously as various languages and images run through it. Eliot, who worked as a bank clerk and continued to write poetry, also moved between the contemporary sphere of life he lived in and a timeless symbolic world where symbols come and go. The bird that appears in the poem admonishes the children as they play with laughter, and then passes overhead, leaving behind a profound mystery. Perhaps this bird’s perspective is what we need to escape the sense of time flowing in one direction, from the past to the future.
This exhibition, which references a passage from T.S. Eliot’s long poem “Four Quartets” (1943), rises from the landscape of these people as a quiet warning to civilization. In “Vitality” (2021), the artist returns a 5,000-year-old piece of earthenware to the mud and bakes it into a sphere the size of a basketball. This work, which reorganizes ancient relics condensed in time, is characterized by artificial manipulation to homogenize materials and purify forms. By stirring the ancient and the modern, along with the presentation of a certain violence that creation implies, the work mutually renews the time and context it contains and encourages the reactivation of knowledge.
In the installation “Flowers and Bees, Permeable History” (2018), in which orange luminescence envelops the surroundings, a fish collection lamp is dropped into a glass bottle filled with honey. The amber liquid is the fruit of the enormous labor of the pollinating bees, who have spent a long time storing and purifying it, and sometimes the honey, which has a high specific gravity, settles from the bottom and solidifies, forming layers of different sugar levels and states. In “Tautology and Heat” (2021), which dyes the white cube red, architectural LED lights are the light source, and a chain of dots depicts the moonlight and mistakenly flying insects striking the lights. These works, reminiscent of the order and habits of organized insect ecology, become an allegory for today’s questioning of privileged human existence, and a new interpretation emerges.
From the confectionery paper pasted to the window of an airplane, to the whiskers that pass through the seams of a t-shirt, to the broken glass that looks like a mountain, the exhibition is a multi-layered world that unfolds simultaneously as various languages and images run through it. Eliot, who worked as a bank clerk and continued to write poetry, also moved between the contemporary sphere of life he lived in and a timeless symbolic world where symbols come and go. The bird that appears in the poem admonishes the children as they play with laughter, and then passes overhead, leaving behind a profound mystery. Perhaps this bird’s perspective is what we need to escape the sense of time flowing in one direction, from the past to the future.
Schedule | Sep 9 (Thu) 2021-Oct 16 (Sat) 2021 Opening Hours Information
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| Fee | Free | ||||||
| Venue | SCAI Piramide https://www.scaithebathhouse.com/en/  | ||||||
| Location | 3F Piramide Bldg., 6-6-9 Roppongi, Minato-ku, Tokyo 106-0032 | ||||||
| Access | 1 minute walk from exit 1a or 1b at Roppongi Station on the Hibiya or Toei Oedo line. | ||||||
| Phone | 03-3821-1144 | ||||||
| Related images | Click on the image to enlarge it |
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