Solo Exhibition “Setsuna 刹那 ” @Razklon Gallery, Republic of Bulgaria. 9 OCT – 6 NOV, 2020

Solo Show “Setsuna 刹那 “
@Razklon Gallery, Republic of Bulgaria.
9 OCT – 6 NOV, 2020

https://www.tsarino.org/razklon-catalogue

Location etc…..detail of Razklon Gallery
https://www.tsarino.org/razklon

https://www.instagram.com/tsarinoair/

Review :
コンテクストを全く持たないのに、
超自然環境の中に存在してるのが
すごく興味深い異次元的な感覚を発している。 
by Seiki Mori

Solo Exhibition “Conscious Unconscious 意識 無意識” @Still House, Hong Kong. 4 AUG ~ 12 OCT 2020

 

Solo Exhibition

“Conscious Unconscious 意識 無意識”

@Still House, Hong Kong.

4 AUG ~ 12 OCT 2020

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“Conscious / Unconscious 意識/無意識”

世界改變了,因為疫情關係,意識到我們需要對身處的世界進行更多反思。
我認為自己也應該感謝這半年的經驗,使世界得以淨化,從而創造了新創作。

我感覺到只有人類會認為世界已經改變了。在同一個空間中,察覺到動植物界的生活似乎安然無恙,相對而言人類則處於困難時期。動植物似乎在無意識中創造了和平與輕鬆的環境。而我嫉妒這種無意識。

意識・無意識是人們的基本感覺。人們為什麼不能控制自己的意識和無意識?

我非常強烈地認為這個世界是在無意識的情況下創建的。作品中白色網的物體代表了動植物世界的無意識。 而3D雕塑作品就代表“只有人類認為世界已經改變”的意識。
有瞭如此微妙的變化,我相信我的無意識生活在意識中。

這種龐大的裝置藝術表達了“意識”與“無意識”之間的交流。

STILL HOUSE
G/F, 25 Haven Street, Causeway Bay, Hong Kong.

https://stillhouse-store.com/

TEL: +852 2312 7007
EMAIL: info@stillhouse-store.com
STORE HOURS: 1300 – 2100

Homage 崇敬

Homage 崇敬

Paper, Ink jet-Print, Watercolor, Mixed media

210X297mm (each)

2020

 

Statement of  Homage 崇敬 ( Show at  V54 )

「Line 線」社區藝術展覽原定於今年二月舉行,但由於疫情關係(COVID-19)而推遲了四個月。此刻可以重新舉辦,感覺像奇蹟出現。

世界改變了,當下讓我們反思更多,我想,也應該要感謝數個月來這些讓世界得以淨化的體驗,促成了全新創作。

一種是平面作品。我留意到動植物界的生活似乎安然無恙,在人們叫苦的日子裡悠閑依然,就像「只有人類認為這個世界有所改變」的感覺。一方面我嫉妒,但另一方面也對那些靜靜生活的動植物致敬,為此創作水彩畫除了源自我個人素描習作外,靈感亦來自恩斯特·海克爾(Ernst Haeckel)科學著作「自然界的藝術形態」(1)。

另一種是關於無意識和意識依從性的3D作品,根據數月來的經驗,我非常強烈地認為這個世界是由所有無意識的人創造的。

這樣的潛移默化,存活在我潛意識中的記憶,在「剎那」回憶的零碎與片段裡,感受「過去」、「現在」與「未來」。

備註:

(1)恩斯特·海克爾(Ernst Haeckel,1834至1919年)生於波茨坦卒於耶拿德國生物學家博物學家哲學家藝術家。海克爾認為生物學在許多方面與藝術類似,例如自然界中的對稱,而單細胞生物中的放射蟲對他的藝術天賦也有很大啟發。尤其著名的是他畫的浮游生物水母的畫,這些圖畫生動地體現了生物世界的美。不論是在他的學術著作還是在他的科普著作中,都畫有優美的插圖。他的圖畫對20世紀初的藝術也有影響。他還描述了上百新的物種。此外他引入了使用演化樹來描寫生物學中的進化關係的表示方式。

12

Originally in February this year, the community arts exhibition of Line was postponed due to the COVID-19. It feels like a miracle that the exhibition can be opened NOW.

Our world has changed in just 4 months with experience that made us to think of the MOMENT and MOMENT. At now, I suppose I have to be grateful for some of these experiences that purified world. I created new style artworks with cluster and pieces of memories of Setsuna, while the experience of these few months inspired in one space where you can feel and think of Past, Now, and Future is incorporated.

In this room, there are two types of artwork which created under the emotional moment encountered in this few months.

One is the two-dimensional work that expresses the feeling which only humans may think the world has changed. In the same space, animals and plants seem like spending in peaceful time every day while human are in hard time.  On the one hand I have jealous, but also pay homage to plant and animal that live quietly. Those watercolor artworks are based on my sketches and Ernst Haeckel’s biological sketches of Art Forms of Nature (1) .

Another is the three-dimensional work expressing unconsciousness and consciousness’s adherence which I feel very strongly that the world made by all unconscious from my recent experience.

In this way, the space where the unconscious memories filled with lumps and fragments of thoughts that came to me are exhibited slowly, you can feel and think about Past, Present and Future.

Note:

(1) Ernst Haeckel (1834 – 1919) was a German zoologistnaturalist, philosopher, physician, professor, marine biologist, and artist who discovered, described and named thousands of new species, mapped a genealogical tree relating all life forms, and coined many terms in biology, including ecology, phylum and phylogeny. The published artwork of Haeckel includes over 100 detailed, multi-colour illustrations of animals and sea creatures, collected in his Kunstformen der Natur (Art Forms of Nature).

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Solo Exhibition “Line 線” @V54, Hong Kong. 6 ~21 Jun 2020

世界, 總在一晃眼的瞬間變了樣.
這一「剎那」, 便成了「現在」, 究竟時間如直線流過, 還是會循環不息?
從早春到初夏, 2020年V54的首個藝展, 與你連成一線.

Photo by Eric Hong

社區藝術展覽 Community Arts Event
「LINE線」Ayumi Adachi Solo Exhibition
日期 Date: 6-21/6/2020
地點 Venue: V54 駐留大宅 Art Residence
(香港跑馬地山村道54號 No. 54, Village Road, Happy Valley, Hong Kong)
免費入場 (需網上登記)
Free Admission (Online registration required)
https://forms.gle/4vaoRcqzWfNtx26p9

節目查詢 Inquiry: (852) 2277 8209

V54 register + AYUMI  ADACHI.jpg

Admission Free . Visitor need to register !

https://forms.gle/4vaoRcqzWfNtx26p9

Facebook even Page!

https://www.facebook.com/events/256455738807652/

節目查詢 Inquiry: (852) 2277 8209

 

 

FB Bunner ol

日藉藝術家 Aymui Adchi 首度與保良局社區青年藝術計劃合作,並運用V54駐留大宅呈現全新裝置藝術創作,展覽將延續藝術家遊走日本、台灣等地的創作歷程與體會,以其對線條的獨特觸覺,嘗試在V54這幢歷史建築裡梳理出生命循環的迷思。

藝術家運用再造紙作創作,把V54建構成獨特的裝置藝術空間,透過「Line線」主題表達時間與生命的剎那關係,讓觀眾透過「過去、現在、未來」及「出生、死亡、再生」等展區及佈置反思人生際遇與價值。

展覽期間將設現場導賞、藝術家分享及公眾參與活動,密切留意有關詳情。

 

“Line” is an installation art project newly curated with resigned materials from experience of past works by the Japanese visual artist, Ayumi Adachi. It is the first collaboration of the “Community Youth Art Development Scheme” and the artist, by presenting the impressive art piece of 2D drawing artistically transformed into 3D installation at V54.

The process of creating paper work are divided in few acts, including drawing straight line, crumpling of paper and its spreading into a curve ultimately. It represents the complicated dealing and circumstances of human life in a certain period of time, eventually inspiring audience to look into moment of the Passed, Now and the Future!

Guided tour and youth workshop will be arranged. Please stay tuned for details.

Art Appraisal Club by Yang Yeung

@ 社區藝術展覽「Line 線」Ayumi Adachi Solo Exhibition, V54, Happy Valley – A grammar of peace and a grammar of life that the artist meticulously, liberally, graciously brings out of an interior space marked at first sight by culture and history. “Peace” as in coming to terms with acknowledged troubles, making them transparent to oneself and others, provisionally suspending them and not at all erasing or avoiding them, experimenting with a different way of touching it, as distant from antagonisms as possible, for now. A state of equanimity in movement.

By what means? The coming-into-Being of fantastical, mythical thinking: tracing paper inscribed with lines of varying volumes encroaches floor tiles and mantelpieces, dysfunctioning their symmetry and apathy. Pieces after pieces of paper lean, hug, cuddle, as corals would the coast. Some are held up by the seal between window and frame. Others spread toward the perspiring pane: is it modesty or pride that it acts upon, in every inch, to stay dry?

There is something erotic about certain potions the artist has prescribed. I must say, tributing Audre Lorde, that the erotic “is a question of how acutely and fully we can feel in the doing.” (in The Master’s Tools Will Never Dismantle the Master’s House, Penguin 2017). The erotic isn’t the pornographic – no. It is the manifestation of the sexual in the spiritual – starkly different from other schools of thinking that juxtapose these two as opposites. Yes,「Line 線」could instil fear – one bends to enter a cave, ambiguously a labyrinth that disorientates. But the artist stops right where the structures must live – balancing gradation of light and shadow, dramatic and contemplative delights, and most importantly perhaps of all, her joy of connection and disconnection. Hearing water in its multiple ways of flow – dripping, gurgling, murmuring – accentuates the connection of the artist’s and ours. The primal in the contemporary. Here’s Lorde again: “Another important way in which the erotic connection functions is the open and fearless underlining of my capacity for joy. In the way my body stretches to music and opens into response, hearkening to its deepest rhythms, so every level upon which I sense also opens to the erotically satisfying experience, whether it is dancing, building a bookcase, writing a poem, examining an idea.” What the endless lines on crumbled paper combined do is to displace linear time, to turn built grids in the room into strength of a different kind.

The artist demonstrates the simplicity of the making – take an A4-size tracing paper – blank, future-time. Put a marker to it short-end-to-short-end; a line is drawn, and another and another; time-past. Crumble each piece of paper; put one against/ along the other; lines meet and miss each other; time-clashed.

And there it is – circumscription engenders a life-form; like Virginia Woolf looking intensely at the mark on the wall, miniaturising it by making it as big as one’s attention can manage.

I can go on and on, because the artist’s interpretation of life as full of uncertainty and the multitude of things that could happen in Setsuna (ksana/ 剎那) goes on and on, is so rich with a sensibility of the times and of an individual’s singular need, that is ecological and dependent, while also uncompromising for being independent.

There is more: nestled upstairs are drawings touched, again, by water. On ink-jet prints of Ernest Haeckel’s drawings of nature’s lives, the artist brushes in water as dots and strokes. And so, “Homage” to nature, to the changes it ceaselessly brings.

Lastly, to backtrack: Steps up V54 are brief but steep. Land on a plain, panting, and be immediately challenged – this time by the artist, the way she spreads her plains.

A must-see if committed to being art-challenged. (Yang Yeung)

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“Ripple” on sale @ Hong Kong Museum of Art. The Bookshop , Hong Kong

Series of “Ripple” on sale @Hong Kong Museum of Art. 

The Bookshop 

G/F. Hong Kong Museum of Art, 10 Salisbury Road, Tsim Sha Tsui, Kowloon, Hong Kong
Monday to Sunday   10:00 – 19:00    Except Thursdays     12:00 – 19:00
Christmas Eve & Chinese New Year’s Eve    10:00 – 17:00
Closed on the first & second days of Chinese New Year

 

Have many artwork on sale here!
Please  +852 2886 2611  info@thebookshophk.com

 

 

Artist background detail on site!
https://www.moa.thebookshophk.com/ayumi-adachi

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