calendario eventi  :: 

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30/10/2009

Four exhibitions

Museum of Contemporary Art MOT, Tokyo

Rebecca Horn
Dialogue between Raven and Whale
31 October 2009 – 14 February 2010

Chief curator: Yuko Hasegawa
Curators: Naoko Seki, Kazuhiko Yoshizaki

The Museum of Contemporary Art Tokyo is pleased to announce a solo exhibition this fall of the work of Rebecca Horn, a major representative of the contemporary German art world. This will be the first large-scale exhibition of her work in Japan.

Horn has been known for her performance works involving the wearing of feathers, horns, and mirrors. Since her participation in the 1972 Documenta show in her 20s, she has energetically pursued a range of artistic activity that continues to tackle new territories of art, one after the other—beginning with kinetic sculpture as well as film, and continuing on to capture the fascination of a great number of people—audiences with an interest not only in visual art, but that include film and dance enthusiasts as well. Her performances, which began in the late 1960s, sought to expand the functions of the human body, improve communications with others, and develop a rapport with mythical animals and nature. The devices that attached to the body and enhanced its physical perceptions were first used in performance, then eventually developed into independent, kinetic-mechanical sculptural works. Later, in what amounted to over ten years of life in New York, Horn undertook the production of highly narrative, full-length films, and incorporated the sculptures and movements from her earlier work into this new context of film, transforming their significance. Since the 1980s, after moving back to her home country of Germany, Horn’s work that directly confronts modern historical issues has been acclaimed for its ability to tie together personal experience and social memory. One early example of this work involves the conversion of the interior of an abandoned tower in the city of Münster into a piece that utilizes its history as the subject matter. In recent years, Horn has been working on large- scale installations and stage designs using music composed by Hayden Chisholm. She has also made, without the use of tools, a series of unrestrained drawings that emphasize direct human movement, developing a completely free mode of creation.

This exhibition is a full-scale presentation of Horn’s work. With all representative film footage, which includes the performance records from the 1970s and the full-length narrative films from the 1990s, as well as installations and two- and three-dimensional works that she has been producing since the 1990s, a total of forty exhibits allows one to trace the development of relationships between the various media in which Horn works. The flow of various invisible energies of humans and nature are transformed into visible form via movement, light, and the traces of such. The exhibition promises to be an unparalleled opportunity to experience this highly original, creative trajectory in MOT's vast space.

Long-awaited, first solo exhibition in Japan
Because of her early international activities and through her performances and documentaries, Horn’s name has become quite well known in Japan. In spite of this, opportunities to see her actual work in Tokyo have been limited. For the first time, the full range of Horn’s oeuvre covering nearly all of the genres in which she works will be actualized here in Japan.

Important performances from her early period
Problems with the new sculptural materials Horn employed after completing art school led her to spend time in a medical isolation facility. Since then, the exploration of expanded physical functions and the recovery of communications with others have been pressing and constant matters of interest in Horn’s artwork. In these valuable documentary films of Horn’s performances, we are able to learn of how the artist and her friends wore perception-enhancing devices made of materials such as fabric and feathers, and developed performances that explored the relationships between themselves and their surrounding spaces.

Quietly moving machinery
The soft feathers, binoculars, musical instruments, and such are objects that arouse all five senses, as they continuously move quietly and intermittently, as if mediated by humans. From the most delicate of bells to the great spectacle of a grand piano, each of the objects speaks to a great variety of sensory and imaginative experiences.

Full-scale, feature-length films with subtitles can be appreciated at one’s leisure
During her stay in the US in the late 1970s, Horn wrote screenplays for and directed several full- length films. In them, she inserted her previous performative and sculptural works, and explored the changes in meaning that arose from the new contexts. Her films, each over one hour long, are of epic scale, and feature prominent cast members such as Donald Sutherland, Geraldine Chaplin, and the cellist Mischa Maisky. One can spend an entire day enjoying these films at the Museum.

New installations by the artist as poet
Horn has also been active as a poet, and recent years have seen publications of her poetry. One can directly experience her collaborative work with the musician Hayden Chisholm, which features Horn’s poetry in a space-transforming installation with music.

Recent paintings
Although she is better known for her three-dimensional works, in recent years Horn has worked on a painting series entitled “Bodylandscapes.” These vivid, unrestrained paintings, which are made without the use of any tools, directly communicate the movements of the body. They easily transverse various genres, and provide us with a breath of the artist’s freedom in developing her creativity.

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Luxury in fashion Reconsidered
31 October 2009 – 17 January 2010

The word “luxury” denotes a richness that derives from excess—an item gorgeous to behold, our special feelings when wearing such an item, our psychological satisfaction at its high refinement. Today, we know lives of material plenty as a result of industrial development. We also face the hard challenges of the global problems our materialistic way of life has created. In these circumstances, our views of luxury, as a manifestation of the richness we desire, are changing dramatically.

This exhibition examines our changing times and values from the perspective of luxury, through fashion—a field that sensitively reflects human desire and the trends of society. Featured are some 100 fashion creations from the collection of The Kyoto Costume Institute (KCI), dating from the 17th century to current times, carefully selected from multiple perspectives and representing everything from visual luxury to a more personal, intellectual luxury, closer to the spirit of play.

Ostentation
Pascal declared, "to be spruce is to show one's power." One of the aims of clothing is to flaunt wealth and power. The act of adorning oneself with rare and costly materials arguably represents this eternal human desire, while history has proven that this insatiable passion for adornment has supported and nurtured craftsmen and stimulated the arts and industry.
"Ostentation," the theme of this section, focuses on garments featuring a lavish use of gold and silver thread, and sumptuous dresses representing hundreds of hours of labor and handiwork.
Main exhibits:
Bodice gifted to Elizabeth I (17th Century), Dress (robe à la française made of silk brocade (18th Century), Reception dress by Maison Worth (c.1900), Party costume for la 1002e nuit
by Paul Poiret (1910s), Maison Worth, Chanel (1920s), Elsa Schiaparelli, Christian Dior (1940-50s), Roy Lichtenstein, Pierre Cardin, Courrèges and Yves Saint Laurent (1960s), Chanel (Karl Lagerfeld), Thierry Mugler (1980-90s), Balenciaga (Nicolas Ghesquière), Louis Vuitton (Marc Jacobs) and Viktor& Rolf (2000-)
High resolution images of 15 works, presented by PLAYSTATION®3

Less is more
Although people in the past tended to favor clothing that was showy and glamorous, the tendency in the modern age has been to avoid excessive glamour, and instead to prefer simplicity. This tendency has been particularly pronounced with the current and strong demand for comfort and function in design. However, garments that are simple and yet make the wearer appear beautiful require designs that create shape, the appropriate fabrics, and outstanding skills on the part of the creator. This section showcases haute couture, the epitome of simplified design, quality, and exquisite craftsmanship as seen in Chanel's functional ensembles and Balenciaga's architectural dresses.
Main exhibits:
Paul Poiret (1910-1920s), Chanel, Madeleine Vionnet (1920-1930s), Grès, Christian Dior, Balenciaga, and Courrèges (1940-1960s), Yves Saint Laurent, Issey Miyake (1980-90s), Lanvin (Alber Elbaz) (2000-) Clothes are free-spirited

A Tokyo Culture Creation Project Luxury in fashion Reconsidered:
Special Exhibit
Kazuyo Sejima Spatial Design for Comme des Garçons
Luxury is not simply about material and financial wealth. A designer attempts to create a garment that has never been seen before. A wearer encounters that garment, and becomes the receptor of the passion that the designer has directed into that garment. The intense relationship that is generated between the designer and the wearer that surrounds the act of "wearing" is a form of "mental" luxury. This section examines the relationship between clothing and luxury by featuring the designs of Rei Kawakubo who subverted conventional values surrounding "beauty" and "sophistication.“

Main exhibits:
Comme des Garçons (Rei Kawakubo)(1980s-), Photo of exhibit works by Naoya Hatakeyama.
Uniqueness
Although everyone accepts that rarity in itself adds value, what constitutes rarity for someone may not apply to another. Even objects in everyday life can become "unique" if placed within a completely different context. This is particularly relevant in today's society, with the growing move away from mass-consumerism.
This section features one-off garments by Maison Martin Margiela that represent contemporary concepts of luxury, such as "one-off," "recyclability," and "hand-made.“
Main exhibits:
Artisanal collection by Maison Martin Margiela (1990s- )

Clothes are free-spirited
A Tokyo Culture Creation Project Luxury in fashion Reconsidered:
Special Exhibit
Kazuyo Sejima Spatial Design for Comme des Garçons
Luxury is not simply about material and financial wealth. A designer attempts to create a garment that has never been seen before. A wearer encounters that garment, and becomes the receptor of the passion that the designer has directed into that garment. The intense relationship that is generated between the designer and the wearer that surrounds the act of "wearing" is a form of "mental" luxury. This section examines the relationship between clothing and luxury by featuring the designs of Rei Kawakubo who subverted conventional values surrounding "beauty" and "sophistication.“
Main exhibits:
Comme des Garçons (Rei Kawakubo)(1980s-), Photo of exhibit works by Naoya Hatakeyama.

Uniqueness
Although everyone accepts that rarity in itself adds value, what constitutes rarity for someone may not apply to another. Even objects in everyday life can become "unique" if placed within a completely different context. This is particularly relevant in today's society, with the growing move away from mass-consumerism.
This section features one-off garments by Maison Martin Margiela that represent contemporary concepts of luxury, such as "one-off," "recyclability," and "hand-made.“
Main exhibits:
Artisanal collection by Maison Martin Margiela (1990s- )

Organized by: Tokyo Metropolitan Foundation for History and Culture, Museum of Contemporary Art Tokyo/ The Kyoto Costume Institute

Exhibition Catalogue published by Kyoto Costume Institute ¥2,500(w/TAX) Japanese-English 207pgs

Enquiries and requests for Tokyo Culture Creation Project:
E-mail. info@bh-project.jp Tel. +81 (0)3 5638 8800 Fax: +81 (0)3 5638 8811

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Swedish fashion
Exploring a New Identity
31 October 2009 – 17 January 2010

Swedish fashion has traditionally strongly inclined toward functionality and simplicity of design. In recent years, however, experimental Swedish designers who display strong individuality, unfettered by traditional values, have successively come to the fore and attracted attention from the international fashion world. This exhibition introduces thirteen young fashion designers who have made their debut since 2000. These include Sandra Backlund, who is known for knitted dresses of bold sculptural design, and Ann-Sofie Back, who often challenges stereotypes and transforms original functions of clothes, for example turning shirts into skirts.

Produced by: Swedish institute
Cooperated by: Embassy of Sweden

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MOT Collection
Third period: October 31-January 25,2010

"MOT Collection" is the general title of a continuing series of exhibitions using work from the permanent collection to make contemporary art more understandable to museum visitores. Four exhibitions will be organized per year on different themes, higihlighting a large number of works from the collection and revealing the variety of ways in which they can be seen.


Image: Rebecca Horn, Light imprisoned in the belly of whale, 2002, Photo: Heinz Hefele © 2009: Rebecca Horn

Public Relations: TEL:03-5245-1134 (Direct) FAX: 03-5245-1141
Kumiko Ohara k-ohara@mot-art.jp, Reiko Noguchi r-noguchi@mot-art.jp
Press Contact
Mutsu Yoshikawa TEL: +81（0）3-5245-1134（Direct）FAX: +81（0）3-5245-1141 m-yoshikawa@mot-art.jp

Museum of Contemporary Art Tokyo
4-1-1 Miyoshi, Koto-ku, Tokyo 135-0022 Japan
Opening Hours: 10.00 -18.00 (*Last admission into the exhibition 17.30)
Closed on: Monday (Except November 23rd & January 11th: closed next day), December 28th _ January 1st
Admission: Adult ¥1,200(960) / University & College Student ¥900(720) / High School & Junior High School Student ¥600(480) / Adult over 65 ¥800(640) / Elementary School & Below \Free
*( ) price for a group, over 20 people
*Free entry to MOT permanent collection for ticket holders
*Combined ticket with ‘Rebecca Horn’ is also available.
Adult ¥1,800 / Student ¥1,500/ High School & Junior High School Student ¥1,000 / Adult over 65 ¥1,400

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