{"id":3373,"date":"2022-09-08T11:40:44","date_gmt":"2022-09-08T02:40:44","guid":{"rendered":"https:\/\/biscuitgallery.com\/?p=3373"},"modified":"2022-09-30T16:19:01","modified_gmt":"2022-09-30T07:19:01","slug":"notes-of-shadows","status":"publish","type":"post","link":"https:\/\/biscuitgallery.com\/en\/notes-of-shadows\/","title":{"rendered":"\u3010biscuit gallery Curator Projects\u3011vol.1\u301cCurated by Riho Matsue  &#8211; Duo exhibition Satoshi Kikuya\u30fbKasumi Maeda"},"content":{"rendered":"<ul class=\"bogo-language-switcher list-view\"><li class=\"en-US en current first\"><span class=\"bogoflags bogoflags-us\"><\/span> <span class=\"bogo-language-name\"><a rel=\"alternate\" hreflang=\"en-US\" href=\"https:\/\/biscuitgallery.com\/en\/wp-json\/wp\/v2\/posts\/3373\/\" title=\"English\" class=\"current\" aria-current=\"page\">English<\/a><\/span><\/li>\n<li class=\"ja\"><span class=\"bogoflags bogoflags-jp\"><\/span> <span class=\"bogo-language-name\"><a rel=\"alternate\" hreflang=\"ja\" href=\"https:\/\/biscuitgallery.com\/wp-json\/wp\/v2\/posts\/3373\/\" title=\"Japanese\">\u65e5\u672c\u8a9e<\/a><\/span><\/li>\n<li class=\"ko-KR ko\"><span class=\"bogoflags bogoflags-kr\"><\/span> <span class=\"bogo-language-name\"><a rel=\"alternate\" hreflang=\"ko-KR\" href=\"https:\/\/biscuitgallery.com\/ko\/wp-json\/wp\/v2\/posts\/3373\/\" title=\"Korean\">\ud55c\uad6d\uc5b4<\/a><\/span><\/li>\n<li class=\"zh-CN zh last\"><span class=\"bogoflags bogoflags-cn\"><\/span> <span class=\"bogo-language-name\"><a rel=\"alternate\" hreflang=\"zh-CN\" href=\"https:\/\/biscuitgallery.com\/zh\/wp-json\/wp\/v2\/posts\/3373\/\" title=\"Chinese\">\u4e2d\u6587<\/a><\/span><\/li>\n<\/ul>\n<p>biscuit gallery is pleased to announce our first Curatorial Project , a project to support the activities of young curators, with a duo exhibition by Satoshi Kikuya and Kasumi Maeda, &#8220;notes of shadows,&#8221; curated by Riho Matsue. The exhibition will be held using 3 floors of the gallery from September 8, 2022.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-3305 size-full\" src=\"https:\/\/biscuitgallery.com\/wp-content\/uploads\/2022\/07\/notes-of-shadows.jpg\" alt=\"\" width=\"1920\" height=\"1076\" srcset=\"https:\/\/biscuitgallery.com\/wp-content\/uploads\/2022\/07\/notes-of-shadows.jpg 1920w, https:\/\/biscuitgallery.com\/wp-content\/uploads\/2022\/07\/notes-of-shadows-300x168.jpg 300w, https:\/\/biscuitgallery.com\/wp-content\/uploads\/2022\/07\/notes-of-shadows-1024x574.jpg 1024w, https:\/\/biscuitgallery.com\/wp-content\/uploads\/2022\/07\/notes-of-shadows-768x430.jpg 768w, https:\/\/biscuitgallery.com\/wp-content\/uploads\/2022\/07\/notes-of-shadows-1536x861.jpg 1536w, https:\/\/biscuitgallery.com\/wp-content\/uploads\/2022\/07\/notes-of-shadows-1200x673.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" \/>biscuit gallery has been actively organizing exhibitions featuring young artists. Through this &#8220;biscuit gallery Curator Projects,&#8221; we will support the realization of free and experimental exhibitions by featuring young curators, and will promote cooperation in organizing exhibitions.<\/p>\n<p>The first curator we feature in this project is Riho Matsue, a master&#8217;s degree student in the Department of Art Studies and Curatorial Practices, Graduate School of Global Arts, Tokyo University of the Arts.<\/p>\n<div id=\"attachment_3306\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-3306 size-full\" src=\"https:\/\/biscuitgallery.com\/wp-content\/uploads\/2022\/07\/RihoMatsue.jpg\" alt=\"\" width=\"2191\" height=\"2304\" srcset=\"https:\/\/biscuitgallery.com\/wp-content\/uploads\/2022\/07\/RihoMatsue.jpg 2191w, https:\/\/biscuitgallery.com\/wp-content\/uploads\/2022\/07\/RihoMatsue-285x300.jpg 285w, https:\/\/biscuitgallery.com\/wp-content\/uploads\/2022\/07\/RihoMatsue-974x1024.jpg 974w, https:\/\/biscuitgallery.com\/wp-content\/uploads\/2022\/07\/RihoMatsue-768x808.jpg 768w, https:\/\/biscuitgallery.com\/wp-content\/uploads\/2022\/07\/RihoMatsue-1461x1536.jpg 1461w, https:\/\/biscuitgallery.com\/wp-content\/uploads\/2022\/07\/RihoMatsue-1948x2048.jpg 1948w, https:\/\/biscuitgallery.com\/wp-content\/uploads\/2022\/07\/RihoMatsue-1200x1262.jpg 1200w, https:\/\/biscuitgallery.com\/wp-content\/uploads\/2022\/07\/RihoMatsue-1980x2082.jpg 1980w\" sizes=\"(max-width: 2191px) 100vw, 2191px\" \/><p class=\"wp-caption-text\">\u677e\u6c5f\u674e\u7a42 Riho Matsue<\/p><\/div>\n<hr \/>\n<p>\u00a0 A duo exhibition by Satoshi Kikuya and Kasumi Maeda, &#8220;notes of shadows,&#8221; will be held at biscuit gallery under the curation by me, Riho Matsue .<br \/>\n\u00a0 \u201cShadows&#8221; have been literally lying beside us since ancient times, stimulating people&#8217;s imagination.<span class=\"Apple-converted-space\">\u00a0<\/span>For example, according to a Greek legend recorded in the &#8220;Natural History&#8221; of Pliny the Elder, a Corinthian maiden traced the outline of her departed lover&#8217;s shadow in the light of a lamp and left it on a wall, which is said to be the origin of painting. Shadows have also appeared in many stories as an alter ego, like a doppelg\u00e4nger. Dark shadows, which are the counterpart of light, are often seen as psychologically negative. In this exhibition, however, we would like to get closer to every substantial being, pick up the nature of shadows that appear in different dimensions, and superimpose them on the stance and method of expression of each artist in their creation.<br \/>\n\u00a0 For example, Kikuya, who has created surrealistic two-dimensional and animation works, which are a mixture of Pop Art, modern Western-style paintings and illustrations, using daily documental pictures and movies left on his iPhone, locates his work in the shadow of the history of painting, and simultaneously<span class=\"Apple-converted-space\">\u00a0 <\/span>accepts pictorial expression frankly as a &#8220;shadow&#8221; of the real world, an image without record or substance. Maeda, on the other hand, has often expressed a sense of inadequacy and dissatisfaction with her body by using mirrors and projectors. Her method of projecting her own body onto a flat surface and transforming its contours and traces of its existence back into a three-dimensional work with substance is one of her attempts to accept the gaps in the body and to find a way to coexist with a sense of inadequacy.<br \/>\n\u00a0 To note shadows is to remember that something, someone, or ourselves was there. In today&#8217;s world, where everything passes so quickly, the attempts of these two artists to find their own place in relation to the world by looking at the shadows at their feet will also stir our imagination like the shadows.<\/p>\n<p style=\"text-align: right;\">Riho Matsue, curator of \u201cnotes of shadows\u201d<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p>********************************************************************************************<\/p>\n<p>One Note of The Shadow<\/p>\n<p>Text: Riho Matsue<br \/>\nTranslator: Perera Shereen<\/p>\n<p>Many years ago, I was invited to a gathering and ended up at a house of a stranger. It was there in a room, on a table, a single flower was in bloom in a vase. It was a branch of a cherry blossom. I went to take my iPhone out of my pocket to take a photo, when a person in the room called out to me, \u201cSeems like someone broke off that branch willfully, it\u2019s not really something they should have done, so you probably shouldn\u2019t take a photo\u201d. I can\u2019t recall the face or name of those people from that day, but in my iPhone, there remains not a photo of the branch itself, but a shadow of it.<\/p>\n<p>A branch of a cherry blossom is indeed a cherry blossom, but the shadow of one was not cherry blossom itself (that\u2019s why I was allowed to take a photo of it).\u00a0 In that way, the \u2018shadow\u2019 shows evidence of what was -or what was not- present. But it does not and cannot equate to the object in of itself. The photograph of the shadow obscured the characteristic outlines of the branch. Therefore, stimulating my imagination, leading to thoughts such as perhaps that cherry blossom was an artificial flower or other kind of flower. In that sense, shadows wander, or exist separately from reality itself.<\/p>\n<p>Sorry for the long preamble, Kage wo shitatameru (notes of shadows) showcases the works of two artists, Satoshi Kikuya and Kasumi Maeda, and hopes to \u2018illuminate\u2019 their two works related to shadows. Kikuya&#8217;s work occupies the space on the 1st floor of the exhibition venue. Based on familiar documentary photos and videos left on the iPhone, he has created two-dimensional works and animations that mix pop art, modern Western paintings, and illustrations while interweaving fact and fiction. Many of his works use shadows as secondary by-products of the real world, such as recorded landscapes and circulating images. 22.7\u00d715.8cm works lined up on the walls of this room have the word esquisse in their titles and so we can understand them to be sketches for other works. Although there are individual themes such as camping and running, all of them were inspired by Kikuya&#8217;s memories, and were improvised and continuously produced as he came up with them. In addition, the eye-catching LED work &#8220;Lightning Dog (Jake)&#8221; is a work with a motif of a dog and a person that literally emit light, and it can be connected to the dog figure seen in the works of the esquisse series.<\/p>\n<p>The exhibition space on the 2nd floor is mainly composed of Maeda&#8217;s new works. Starting with her sense of inadequacy and dissatisfaction with the materiality of her own body, she has produced video works and three-dimensional works that record her behavior. Lined up in the center of the exhibition room, \u2018The way to move a hill\u2019 is an armrest-like iron tool and monitor made to match the size of Maeda&#8217;s body. This is an installation work composed of the written instructions to record Maeda&#8217;s performance. The numbers and names of body parts written on the instruction plate correspond to the movements in the video, and although it is possible to roughly imagine the flow of the performance. But the very close-up footage makes it difficult to understand the whole artist\u2019s actual movement. The screen simply shows the realistic texture of the skin, and it recalls the existence of Maeda who once touched the tool. But it seems there is a gap between the partial vivid image of the skin on a screen and the actual artist\u2019s body. This creates a similar impression as \u2018vis-a-vis\u2019 in front of the exhibition room.\u00a0 This video work in which Maeda hides her face with the palm of her hand and the camera follows her. In this work, the image of a palm that continues to be projected in the center of the screen gradually unravels, leaves Maeda&#8217;s unique body, and appears to transform into something else like a floating shadow.<\/p>\n<p>Prior to that, Maeda had approached the materiality of her own body in a variety of ways, but her previous work often used her projectors and mirrors. \u201cThe Distant Body\u201d exhibited on the 3rd floor is a video work. Maeda&#8217;s figure that she was stroking her own leg is projected onto a screen. Then actually she also appears, but her body is partitioned off by a screen and she tries to fill in her misaligned contours of the body in an inconvenient state with clay. In addition, \u201cDancing on the Wall #3,\u201d #4, and #6 use both the right and left hands to draw the outlines of one&#8217;s own body reflected in the mirror and layer them on two acrylic boards and the lines are replaced with stone powder clay. Both works include a process of understanding\/reclaiming her true sense while measuring the distance between her own awkward body. When Maeda thinks about her body, there is simultaneously a lightness that tries to push her away from herself and a weight that pulls her towards her.<\/p>\n<p>And on display in the back of the 3rd floor is Kikuya&#8217;s video work \u2019Nodebook animated 1\u2019. If you look at this video, you will notice that all the works in front of the 1st and 3rd floors are parts that appear in the animation. At the time of his solo exhibition held in Kanazawa, one commented, &#8220;[Kikuya&#8217;s work] separates the background [world] from the motif [world], creating a unique world as if the motif were floating.&#8221; If we borrow the term \u2018floating image\u2019, the fragments used in the animation production process but separated from the animated works (esquisse, time-lapse parts, LED works, etc.) are also a \u2018floating image\u2019 and can be considered to overlap with the properties of shadows. This animation itself is a gradual montage based on memories and inexperienced images such as photos and records left on his smartphone, and his own memories. What is here is a sense of floating, traveling back and forth in time, like dogs sniffing out the lingering scents of the past and signs of future rain.<\/p>\n<p>The philosopher Plato once said, &#8220;Those who are bound and stare at the wall see only shadows and take them for real.&#8221; These recorded things and insubstantial images, their fragments and traces are patched together and montaged in memory, and it looks like a story from the present point of view. Like historical revisionists, it may sometimes be a mistake to assume that this alone is true. However, the shadows and traces of the trivial past give us a sense of reality for a moment and have a great potential to drive our imagination. Like Kikuya and Maeda, I believe that with the practice of Kage wo shitatameru (note of shadows) under your own feet can allow you too to come back to this moment someday and rethink, reconsider and relearn something.<\/p>\n<p>I still have a photo of that shadow branch on my iPhone.<\/p>\n<p>I can\u2019t recall if there actually was a flower anymore.\u00a0<\/p>\n<p>But sometimes such things lead to the present.<\/p>\n<p>&nbsp;<\/p>\n<p>\u3010biscuit gallery Curator Projects\u3011<br \/>\nA project to support activities of young curators in organizing art exhibitions.<\/p>\n<p>This is an ongoing project to support all aspects of exhibition such as curators, curation cost for artists, exhibition cost, venue, management, and promotion\/publicity.<br \/>\nFor inquiries, please contact: info@biscuitgallery.com<\/p>\n<p>\u3010Exhibition information\u3011<\/p>\n<p>Duo exhibition Satoshi Kikuya\u30fbKasumi Maeda<br \/>\n&#8220;notes of shadows&#8221;<\/p>\n<p>September 8th, Thu \u201525th, Sun 2022<br \/>\nbiscuit gallery (biscuit bldg. 1F\u301c3F, 1-28-8 Shoto, Shibuya-ku, Tokyo, JAPAN, 150-0046)<br \/>\nProject plan\uff1aRiho Matsue<\/p>\n<p>*Closing party is scheduled on September 25th, 15:00-18:00<\/p>\n<p>\u3008Curator Biography\u3009<br \/>\nRiho Matsue<br \/>\n1994 Born in Aomori<br \/>\n2019 Graduated from Kanazawa College of Art, Department of Fine Arts, Art Science<br \/>\n2020- Enrolled in the Master&#8217;s Program in the Department of Art Studies and Curatorial Practices, Graduate School of Global Arts, Tokyo University of the Arts.<br \/>\n2021 Temporary appointed curator at The Museum of Modern Art, Saitama<\/p>\n<p>\u3008Artist Biography\u3009<br \/>\nSatoshi Kikuya<br \/>\n1989 Born in Wakkanai City, Hokkaido<br \/>\n2011 Graduated from Kanazawa College of Art, Department of Fine Arts, Oil Painting Course<br \/>\n2013 Completed Master&#8217;s program in Oil Painting, Department of Painting, Kanazawa College of Art<\/p>\n<p>Major solo exhibition in recent years<br \/>\n2018 &#8220;Play a role&#8221; Sojiro (Itami, Hyogo)<br \/>\n2021 &#8220;Beautiful Animals&#8221; IN SITU (Nagoya, Aichi)<br \/>\n2022 &#8220;Moving Picture&#8221; Ishiguro Building Basement (Kanazawa, Ishikawa)<\/p>\n<p>Major group exhibitions in recent years<br \/>\n2017 &#8220;VOCA2017&#8221; The Ueno Royal Museum, Ueno, Tokyo<br \/>\n2019 &#8220;The Optic nerve and The Devices&#8221; CRISPY EGG Gallery, Fuchinobe, Kanagawa<br \/>\nOther<br \/>\n2019 &#8220;3331 Art Fair 2019 -Various Collectors&#8217; Prizes-&#8221; 3331 Arts Chiyoda (Sotokanda, Tokyo)<br \/>\n2020 &#8220;Genron Chaos*Lounge New Art School 5th Final Selection Results Exhibition &#8220;Playroom&#8221;&#8221; Genron Cafe (Gotanda, Tokyo)<\/p>\n<p><div id=\"attachment_3308\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-3308 size-full\" src=\"https:\/\/biscuitgallery.com\/wp-content\/uploads\/2022\/07\/KikuyaSatoshi.jpg\" alt=\"\" width=\"572\" height=\"324\" \/><p class=\"wp-caption-text\">\u300aNOCTURNAL ANIMAL\u300b(2022\u5e74)\u3001\u6620\u50cf\uff088\u52061\u79d2\uff09<\/p><\/div> <div id=\"attachment_3307\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-3307 size-full\" src=\"https:\/\/biscuitgallery.com\/wp-content\/uploads\/2022\/07\/KikuyaSatoshi1.jpg\" alt=\"\" width=\"721\" height=\"858\" srcset=\"https:\/\/biscuitgallery.com\/wp-content\/uploads\/2022\/07\/KikuyaSatoshi1.jpg 721w, https:\/\/biscuitgallery.com\/wp-content\/uploads\/2022\/07\/KikuyaSatoshi1-252x300.jpg 252w\" sizes=\"(max-width: 721px) 100vw, 721px\" \/><p class=\"wp-caption-text\">\u300aM\u5e02\u306e\u6563\u7b56\u8005\u300b2019\u5e74\u3001 \u30ad\u30e3\u30f3\u30d0\u30b9\u306b\u6cb9\u5f69\u3001H1920\u00d7W1620mm<\/p><\/div><\/p>\n<p>Kasumi Maeda<br \/>\n1991 Born in Tokyo, Japan<br \/>\n2017 Graduated from Musashino Art University, Department of Sculpture, Faculty of Art and Design<br \/>\n2019 Completed Master&#8217;s Course in Sculpture, Department of Fine Arts, Graduate School of Art and Design, Musashino Art University<\/p>\n<p>Major solo exhibition in recent years<br \/>\n2017 &#8220;Short Hands&#8221; (&#8220;I&#8217;d rather compare it with&#8221;, a series of solo exhibitions by Haruki Ohno, Kasumi Maeda, and Kazuki Oishi), mime Tokyo Zokei University of Fine Arts and Music<br \/>\n(a series of solo exhibitions by Yosei Ohno, Haruhami Maeda, and Kazutaka Oishi), mime Tokyo Zokei University<\/p>\n<p>Major group exhibition in recent years<br \/>\n2019 &#8220;D.A.AURA Residency Open Studio&#8221;, D.A.Aura (Gwangju, Korea)<br \/>\nWALLA Opening Exhibition&#8221;, WALLA, Tokyo<br \/>\nDenchu Strut: Taking a Star,&#8221; Kodaira City Kodaira Hirakushi Denchu Art Museum, Tokyo, Japan<br \/>\n&#8220;Betsujin&#8221;, Geishuku 103, Ishikawa<br \/>\nGunma Biennale for Young Artists 2019&#8243; The Museum of Modern Art, Gunma<br \/>\n2020 &#8220;Book of Kirinuki&#8221; Zui-Un-An (Kyoto) <br \/>\nWALLAby\/Warabi&#8221; Ginza Tsutaya, Tokyo<br \/>\n2021 &#8220;Possessing Manners&#8221;, Koganei Art Spot Chateau 2F (Tokyo, Japan)<br \/>\nPolyphonic Process + Pressure&#8221; Hashikko, Tokyo<br \/>\nPerformance<br \/>\n2022 &#8220;Putting down the soft cane&#8221;, WALLA (Tokyo, Japan)<\/p>\n<p><div id=\"attachment_3310\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-3310 size-full\" src=\"https:\/\/biscuitgallery.com\/wp-content\/uploads\/2022\/07\/KasumiMaeda.jpg\" alt=\"\" width=\"715\" height=\"715\" \/><p class=\"wp-caption-text\">\u300a\u9060\u3044\u4f53\u300b2019\u5e74\u3001\u6620\u50cf(9\u520612\u79d2)\u3000\u64ae\u5f71\uff1acomuramai<\/p><\/div> <div id=\"attachment_3309\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-3309 size-full\" src=\"https:\/\/biscuitgallery.com\/wp-content\/uploads\/2022\/07\/KasumiMaeda1.jpg\" alt=\"\" width=\"562\" height=\"849\" srcset=\"https:\/\/biscuitgallery.com\/wp-content\/uploads\/2022\/07\/KasumiMaeda1.jpg 562w, https:\/\/biscuitgallery.com\/wp-content\/uploads\/2022\/07\/KasumiMaeda1-199x300.jpg 199w\" sizes=\"(max-width: 562px) 100vw, 562px\" \/><p class=\"wp-caption-text\">\u300amark on water\u300b2021\u5e74\u3001\u30f4\u30a3\u30c7\u30aa\u30a4\u30f3\u30b9\u30bf\u30ec\u30fc\u30b7\u30e7\u30f3\uff0f\u30c9\u30ed\u30fc\u30a4\u30f3\u30b0 \u5199\u771f\uff1a\u67f3\u5834\u5927<\/p><\/div><\/p>\n","protected":false},"excerpt":{"rendered":"<p>biscuit gallery is pleased to announce our first Curatorial Project , a project to support the activities of young curators, with a duo exhibition by Satoshi Kikuya and Kasumi Maeda, &#8220;notes of shadows,&#8221; curated by Riho Matsue. The exhibition will be held using 3 floors of the gallery from September 8, 2022. biscuit gallery has [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":3305,"comment_status":"open","ping_status":"open","sticky":false,"template":"page-news-s.php","format":"standard","meta":{"_acf_changed":false,"footnotes":"","_locale":"en_US","_original_post":"https:\/\/biscuitgallery.com\/?p=3242"},"categories":[4],"tags":[11],"acf":[],"aioseo_notices":[],"wps_subtitle":"","_links":{"self":[{"href":"https:\/\/biscuitgallery.com\/wp-json\/wp\/v2\/posts\/3373"}],"collection":[{"href":"https:\/\/biscuitgallery.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/biscuitgallery.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/biscuitgallery.com\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/biscuitgallery.com\/wp-json\/wp\/v2\/comments?post=3373"}],"version-history":[{"count":18,"href":"https:\/\/biscuitgallery.com\/wp-json\/wp\/v2\/posts\/3373\/revisions"}],"predecessor-version":[{"id":3442,"href":"https:\/\/biscuitgallery.com\/wp-json\/wp\/v2\/posts\/3373\/revisions\/3442"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/biscuitgallery.com\/wp-json\/wp\/v2\/media\/3305"}],"wp:attachment":[{"href":"https:\/\/biscuitgallery.com\/wp-json\/wp\/v2\/media?parent=3373"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/biscuitgallery.com\/wp-json\/wp\/v2\/categories?post=3373"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/biscuitgallery.com\/wp-json\/wp\/v2\/tags?post=3373"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}