Exhibition/event has ended.
Form Comes To Mind
The Anzai Gallery
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Artists
Dela Anyah, Joseph Awuah Darko, Andres Ribon, Rebecca Ayansola
In the heart of Tokyo, Anzai Gallery presents a group exhibition exhibition "Form Comes To Mind" unveiling a remarkable confluence of artists from Ghana, Nigeria, and Colombia. This intrepid anthropological group show, featuring emerging artists- Dela Anyah and curator Joseph Awuah Darko from Ghana, Andres Ribon from Colombia, and Rebecca Ayansola from Nigeria encompasses painting, sculpture, and tapestry, celebrating the myriad perspectives and diversity inherent in their lived experiences within the global south.
Moreover, the multiple artistic mediums yield an investigative approach to form and structure come together to create an effervescent atmosphere of liberation and rhythm within the context of the space. Reflecting the cultural tapestry of their respective regions, the artists in Form Comes To Mind offer a multifaceted exploration of contemporary art in Ghana, Nigeria, and Colombia. The exhibition's carefully curated selection showcases diverse artistic practices deeply rooted in tradition, creating a harmonious blend of styles and themes that resonate universally. The works like “Restauration” [2023] by Andres Ribon speak to the human experience echoing the sentiments of the African Roman Playwright Publius Terentius Afer [ 195 BCE ] who famously stated “Homo sum: humani nil a me alienum puto” meaning “I am human: Nothing human can be alien to me”. Like the other exhibited practitioners, his work invites empathy through steel form.
Through the canvas of tradition, our art becomes a silent dialogue within history, summoning the unspoken narratives of our ancestors and shaping a visual legacy that transcends time. When you look at the Afrofuturistic kente tapestry of Joseph Awuah-Darko, we see the application of contemporary ideas to a 200-year-old weaving technique that speaks to form and the human condition. In the work “Jata Frankaa” [2023] the artist envisions his sentinels and horses amongst flora and fauna through these pictographic forms created on levels as a metaphor for decision-making.
For many of the emerging artists exhibiting this will be the first time they present their work in Tokyo, showcasing their dedication to artistic practice within the complex socio-political landscapes of their home countries. Form Comes To Mind serves as a powerful platform, amplifying the visibility of emerging artists from the global south in Tokyo—a city renowned as a global art hub. The exhibition strategically engages with Tokyo's diverse cultural landscape, addressing universal themes that transcend geographical boundaries and resonate with the city's vibrant artistic energy.
In Anasola’s work, the energy of her portraiture conveys this sense of intimate world-making as she seeks to invite softness and empathy within the viewer. In her piece, “Sunflower II” (2023), a young girl stares hopefully into the distance with an optimistic bunch of sunflowers in hand. Within Dela Anyah’s biomorphic tapestries take organic forms, but they speak poetically to the human condition as they are made from abandoned upcycled car tires – found within the dystopian reality of environmental degradation. His piece “Ekplorm” [2023] speaks to this universal reality of beauty within decay speaks to living within the excess of consumerism. The poetry of man vs nature presents itself throughout the show in small and large moments.
The exhibition delves into the opportunities and challenges faced by emerging artists from the global south through the lens of relentless art-making and shedding light on their struggles within the socio-political infrastructure or lack thereof. Tokyo becomes a witness to the emergence of voices that carry the essence of regions, breaking barriers and fostering a deeper understanding of interconnectedness. As viewers immerse themselves in "Form Comes To Mind," they embark on a journey transcending the human experience, connecting with the artists' narratives that underscore the importance of community, heritage, and shared humanity. The exhibition invites Tokyo to witness the convergence of diverse artistic voices, where form seamlessly intertwines with profound narratives, leaving an indelible mark on the city's vibrant art scene.
Moreover, the multiple artistic mediums yield an investigative approach to form and structure come together to create an effervescent atmosphere of liberation and rhythm within the context of the space. Reflecting the cultural tapestry of their respective regions, the artists in Form Comes To Mind offer a multifaceted exploration of contemporary art in Ghana, Nigeria, and Colombia. The exhibition's carefully curated selection showcases diverse artistic practices deeply rooted in tradition, creating a harmonious blend of styles and themes that resonate universally. The works like “Restauration” [2023] by Andres Ribon speak to the human experience echoing the sentiments of the African Roman Playwright Publius Terentius Afer [ 195 BCE ] who famously stated “Homo sum: humani nil a me alienum puto” meaning “I am human: Nothing human can be alien to me”. Like the other exhibited practitioners, his work invites empathy through steel form.
Through the canvas of tradition, our art becomes a silent dialogue within history, summoning the unspoken narratives of our ancestors and shaping a visual legacy that transcends time. When you look at the Afrofuturistic kente tapestry of Joseph Awuah-Darko, we see the application of contemporary ideas to a 200-year-old weaving technique that speaks to form and the human condition. In the work “Jata Frankaa” [2023] the artist envisions his sentinels and horses amongst flora and fauna through these pictographic forms created on levels as a metaphor for decision-making.
For many of the emerging artists exhibiting this will be the first time they present their work in Tokyo, showcasing their dedication to artistic practice within the complex socio-political landscapes of their home countries. Form Comes To Mind serves as a powerful platform, amplifying the visibility of emerging artists from the global south in Tokyo—a city renowned as a global art hub. The exhibition strategically engages with Tokyo's diverse cultural landscape, addressing universal themes that transcend geographical boundaries and resonate with the city's vibrant artistic energy.
In Anasola’s work, the energy of her portraiture conveys this sense of intimate world-making as she seeks to invite softness and empathy within the viewer. In her piece, “Sunflower II” (2023), a young girl stares hopefully into the distance with an optimistic bunch of sunflowers in hand. Within Dela Anyah’s biomorphic tapestries take organic forms, but they speak poetically to the human condition as they are made from abandoned upcycled car tires – found within the dystopian reality of environmental degradation. His piece “Ekplorm” [2023] speaks to this universal reality of beauty within decay speaks to living within the excess of consumerism. The poetry of man vs nature presents itself throughout the show in small and large moments.
The exhibition delves into the opportunities and challenges faced by emerging artists from the global south through the lens of relentless art-making and shedding light on their struggles within the socio-political infrastructure or lack thereof. Tokyo becomes a witness to the emergence of voices that carry the essence of regions, breaking barriers and fostering a deeper understanding of interconnectedness. As viewers immerse themselves in "Form Comes To Mind," they embark on a journey transcending the human experience, connecting with the artists' narratives that underscore the importance of community, heritage, and shared humanity. The exhibition invites Tokyo to witness the convergence of diverse artistic voices, where form seamlessly intertwines with profound narratives, leaving an indelible mark on the city's vibrant art scene.
Schedule | Feb 10 (Sat) 2024-Mar 2 (Sat) 2024 Opening Hours Information
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| Fee | Free | ||||
| Website | https://www.theanzaigallery.com/formcomestomind | ||||
| Venue | The Anzai Gallery https://www.theanzaigallery.com/ | ||||
| Location | 3F Terrada Art Complex Ⅱ, 1-32-8 Higashi-Shinagawa, Shinagawa-ku, Tokyo 140-0002 | ||||
| Access | 7 minute walk from exit B at Tennozu Isle Station on the Rinkai line, 8 minute walk from the South exit of Tennozu Isle Station on the Tokyo Monorail line, 9 minute walk from the North exit of Shimbamba Station on the Keikyu Main line. | ||||
| Related images | Click on the image to enlarge it |
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