PRESS RELEASE

2024.6.21

Lines—Aligning yourconsciousness
with the flow
2024.6.22 (Sat) 10.14 (Mon)

Exhibition Title

Lines —Aligning your consciousness with the flow

PeriodSaturday, June 22 – Monday/holiday, October 14, 2024

Hours

10:00-18:00（until 20:00 on Fridays and Saturdays）*Ticket sales end 30 minutes before closing

Venue

21st Century Museum of Contemporary Art, Kanazawa, Gallery 7 to 12, 14 and Public Zone

ClosedMondays (except July 15, August 12, September 16, 23, October 14),and July 16, August 13, September 17, 24, 2024

Number of Artists

16 groups

Number of works

35

Admission

Adults: ¥1,200 (¥1,000) / Students: ¥800 (¥600) / 18 and under: ¥400 (¥300) / 65 and over: ¥1,000*Fees in parentheses are for groups of 20 or more and web tickets*Tickets for this exhibition include admission (same day only) to “Collection Exhibition 1(until September 29, 2024) and “Collection Exhibition 2 (from October 12, 2024)

Timed-entry tickets

Web tickets for specific days/times are available on museum website(https://www.kanazawa21.jp)

Organized by

21st Century Museum of Contemporary Art, Kanazawa(Kanazawa Art Promotion and Development Foundation),
Japan Arts Council, Agency for Cultural Affairs, Government of Japan

Grants from

Scandinavia-Japan Sasakawa Foundation, Danish Arts Foundation

Sponsored by

NOZAKI Co., Ltd.

In Cooperation with YAMADA PHOTO PROCESS Co., Ltd., Kanazawa College of Art
Supported by

THE HOKKOKU SHIMBUN

Inquiries

21st Century Museum of Contemporary Art, Kanazawa
Tel: +81-(0)76-220-2800

Media Contact
Exhibition Curator: KUROSAWA Hiromi, NONAKA Yumiko
PR Office: ISHIKAWA Satoko, YOSHITOMI Tomohiro, OCHIAI Hiroaki
1-2-1 Hirosaka, Kanazawa, Ishikawa Prefecture, Japan 920-8509
Tel: +81-(0)76-220-2814 Fax: +81-(0)76-220-2802
https://www.kanazawa21.jp E-mail: press@kanazawa21.jp

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About
the Exhibition

In the quest for a more harmonious and balanced relationship between humans and nature, art,with its characteristically open and receptive mindset and willingness to question existing
assumptions, can serve as an important platform for reconsidering where we stand, living in thepresent moment, and the question of where to direct our consciousness. We believe that ouractive engagement with the natural world also has an impact on contemporary shifts inconsciousness and our understanding of ʻthe worldʼ. Referring to Tim Ingoldʼs idea that most ofwhat artists produce in their endless pursuit of the clues they find in nature proceeds along lines,
the exhibition “Lines —Aligning your consciousness with the flow” explores the world in terms ofa web of interconnected ecological processes and integrates our creative human practices into a
broader context, presenting works by artists who actively participate in explorations of theselines, understanding the act of tracing and following them as an ongoing process of a kind of
positive ʻbecomingʼ, continuing to stitch together a variety of rifts and cracks in order to live.

Chief Curator, Hiromi Kurosawa

Exhibition
Features

An exhibition inspired by the ideas of Tim Ingold,a British anthropologist who has garnered worldwide attention
British anthropologist Tim Ingold has continued to devote himself to the exploration of issues thatgo far beyond the traditional framework of cultural anthropology while crossing a diverse range offields such as philosophy, sociology, and ecopsychology, such as humans and animals, theconcept of evolution, and what the environment means for human beings. He has attracted
worldwide attention as one of the most remarkable thinkers of our time. Inspired by Ingold’s bookLines: A Brief History (Sayusha, 2014), the first work of his to appear in Japanese translation, thisexhibition examines everything that exists in the world from the perspective of lines. Throughthese works of art, it will serve as a place to think about how lines shape our lives and humanrelationships.

Witness the diversity of lines that weave surfaces together
and shape the world
As the title suggests, the theme of this exhibition is “lines.” Artists discover the lines spun out by
everything that exists on this Earth, and through their creative processes, these lines are woven
together to form a web of surfaces that shape a new world around us. These creative practices,which unfold by going beyond the galleries of the museum, invite us to discover clues to how wemight actively engage and participate in the world.

Commemorating the 20th anniversary of the museum’s opening,
35 works by 16 artists from 10 countries,
including those in the museum collection, will be exhibited
The 21st Century Museum of Contemporary Art, Kanazawa has collected approximately 4,200
works of contemporar y ar t since 2000, before the museum opened. This exhibitioncommemorates the 20th anniversary of the museum’s opening by presenting a selection ofworks from the collection that reveal various lines, as well as 35 works by 16 artists (includinggroups) with diverse cultural backgrounds from 10 countries: Japan, Vietnam, Australia, Ghana,France, the Netherlands, Denmark, the Czech Republic, the United States, and Brazil.

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Exhibiting artists(in alphabetical order)

Main works inthe exhibition

El Anatsui, Tiffany Chung, Sam Falls, Mirdidingkingathi Juwarnda Sally Gabori,Marguerite Humeau, Mark Manders, Gabriella Mangano & Silvana Mangano,Shinji Ohmaki, Henrique Oliveira, Oksana Pasaiko, Eugenia Raskopoulos,
SUPERFLEX, Sarah Sze, Judy Watson, Yuna Yagi, Nami Yokoyama

In front of Gallery 7

Nami Yokoyama
Shape of Your Words[In India 2023/ 8.1-8.19], 2024
Nami Yokoyama creates words and images meant for consumption using real neon, and faithfully
depicts them in the medium of painting. Her most recent work is Shape of Your Words, a collageof the words “I am” written by people other than herself for the first time, produced as a result ofher residency in India. These handwritten letters produced by manual movements guided by theeye and mind create unique traces that reflect the intentions, feelings, and thoughts of the personat that particular moment. Yokoyama describes the process of transforming these drawings ofhandwritten letters into three-dimensional forms with neon tubes and then back into twodimensions as the act of “faithfully depicting another person’s body,” as expressed by the phrase“I am.” These handwritten lines have the ability to connect the mind, body, and outside world toeach other directly, in a way that goes beyond the meaning of the words.
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Nami Yokoyama, Shape of Your Words [in India 2023/8.1-8.19], 2024
Private collection
Courtesy of KENJI TAKI GALLERY© Nami Yokoyama
photo : ITO Tetuso

Gallery 7

Shinji Ohmaki
Plateau 2024, 2024
The Sea of Japan is a marginal sea surrounded by Eurasia
continent and the Japanese archipelago and is fed by the Tsushima Warm Current from theTsushima Strait. The Noto Peninsula, which was hit by the earthquake of 1 January 2024, is thepeninsula that protrudes most into this Sea of Japan. In Plateau 2024 by Shinji Ohmaki, thedynamic movement of the continents that make up the world is depicted on a disc, a silver object
set above it depicts the sky and ocean above Yamato-tai, and the topography of Yamato-tai isengraved in grooves on a pendulum that moves quietly on the disc. The relationship between
land and sea, which changes with time, is always in a state of 'becoming', marking a time different
from the axis of time shared by human society. Ohmaki suggests in this work that entities should
not be seen as fixed and static, but as something that is captured in a web of relationships andconstantly changing in its interaction with the environment, representing the fluctuating'movement' between the mass of quantity and the environment surrounding it.

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Shinji Ohmaki, Plateau 2024, 2024
Installation view: “Lines —Aligning your consciousness with the flow” ,21st Century Museum of Contemporary Art, Kanazawa, 2024
Collection of the artist
photo: Shinji Ohmaki Studio

Gallery 8

Judy Watson
memory scar finger lime root casuarina yeronga studio found object, 2020
standing stone, ochre net, spine, 2020
great artesian basin springs, the gulf (jiwil, wanami), 2019skullduggery, 2021
Judy Watson references her Australian Indigenous Aboriginal heritage to create monotypes*,
sculptures, and installation works that position traditional Indigenous art forms and symbols of
their lives and culture in a contemporary context. Her skillful use of materials such as pigments,
ochre, and natural dyes, as well as her incorporation of found objects and archival materials into
her works integrate layers of time and memory with her own physicality as a person of Indigenous
heritage in a way that imbues them with a rich depth and significance.
*Monotype: A printmaking technique in which the image drawn on the plate is transferred to thepaper by drawing directly on the plate using drawing materials such as ink or oil paint, and thenplacing the paper on top of the plate and applying pressure.
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3. Judy Watson
great artesian basin springs, the gulf (jiwil, wanami), 2019
Collection of the 21st Century Museum of Contemporary Art, Kanazawa©Judy Watson photo: KIOKU Keizo
4. Judy Watson
memory scar finger lime root casuarina yeronga studio found object, 2020
Collection of the artist
ｐhoto: Rhett Hammerton. Image courtesy of the artist and Milani Gallery, Meanjin / Brisbane.

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Gallery 8

El Anatsui
Perspectives, 2015
Anatsui’s iconic works are often intricate tapestries
made from discarded materials such as metal bottlec aps, milk c an lids, and aluminum str ips. By
painstakingly sewing and weaving these materials
together, he transforms them into monumental
sculptures. This work measuring 12 meters highshows the organic intertwining of these materials
through human hands, and the shared passage oftime that is directly manifested in the textile, speaking
to themes of sustainability, resourcefulness, andcommunity resilience in the face of economic andenvironmental challenges. This large-scale work
reflects the global impact of consumer culture and its
sensitivity to the cultural, social, and political context
of Africa in a dynamic manner.

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El Anatsui, Perspectives, 2015
Collection of the 21st Century Museum ofContemporary Art, Kanazawa© El ANATSUI photo: KIOKU Keizo

Galleries 9-10

Marguerite Humeau
The Brewer, The Guardian of Termitomyces, Fallen Leaf II, The Honey Holder
Collective Effervescence, 2023
Known for her diverse and interdisciplinary artistic practice, the work of contemporary Frenchartist Marguerite Humeau often blurs the boundaries between art and mythology. Through theinvestigation of speculative bodies of knowledge, Humeau explores themes such as the origin oflife, ancient civilizations, and the relationship between humans and animals. Her sculptural works
often explore the relationship between non-human creatures and their environment, highlighting
the interconnectedness of all living things.
The complex systems and methods of communication that insects employ in order to thrive intheir ecosystems can be understood as both formally and conceptually insightful, making
Humeau’s sculptures – which contemplate the essence of these perceived creatures – stand out
and come to life. Often incorporating elements of sound, light, and scent into her installations, she
combines traditional media such as sculpture, drawing, and installation with meticulous researchand thoughtful storytelling in simulations of the secret life within insect communities seen from acollapsing human society, offering the viewer a premonition of future gatherings where newly
formed groups are in the process of synchronizing with each other.
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Marguerite Humeau, The Honey Holder, 2023
© Marguerite Humeau. Photo © White Cube (Eva Herzog)
Courtesy of the artist and White Cube
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In front of Gallery 11

Yuna Yagi
The Series of “Passes”, 2024
The term “miketsukuni” refers to the regions where marine products and other foods consumed
by the Imperial family in ancient times were delivered to the Imperial Court. The Manyoshu
contains poems that express admiration for how the Ise, Shima, and Awaji Provinces fulfilled thisfunction. Wooden manuscripts from the Nara period (710-794) and the Engishiki (a detailed set ofcodes and regulations from the mid-Heian period, 794-1185) show that Wakasa was a provincethat made such gifts (minie) to the Imperial Court. Even today, the route known as the “Saba
Kaido” (Mackerel Road) is still marked on maps as a line showing where this human traffic
occurred. Yuna Yagi has been working with chef Atsushi Nakahigashi for two years since 2021,
capturing in delicate, translucent photography the rich bounty of ingredients associated with the
Saba Kaido, such as Wakasa guji tilefish, drunken mackerel, Kumagawa arrowroot, and Kintoki
carrots, as well as the scenery that represents the seasonal changes that accompany therepetitions and cycles of the natural world. This series of 50 works reminds us that humanactivities are not composed of dots: rather, they constantly shift and interact with each other as abeautiful web connecting time and space, as if we were actually walking along the “MackerelRoad.”
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Yagi Yuna 35.52899496960655, 135.80684021577034 2023.5.11, 2023/ From “Passes”
Collection of the artist ©Yagi Yuna

Gallery 11

Mirdidingkingathi Juwarnda Sally Gabori
Nyinyilki, 2010
Dibirdibi Country, 2008
Dibirdibi Country, 2009
Sweers Island, 2008
Birmuyingathi Maali NETTA LOOGATHA, Mirdidingkingathi Jurwunda SALLY GABORI,
Warthadangathi Bijarrba ETHEL THOMAS, Thunduyingathi Bijarrb MAY MOODOONUTHI,
Kuruwarriyingathi Bijarrb PAULA PAUL, Wirrngajingathi Bijarrb DAWN NARANATJIL,
Rayarriwarrtharrbayingat AMY LOOGATHA

Sally Gabori is an Indigenous Australian artist best known for her vibrant land and sea scapepaintings pertaining to her cultural beliefs of her native Bentinck Island, Queensland. She
launched her career as a painter after turning 80 years old, developing a style characterized bybold colors unfolding across unique rhythms and patterns that are quite different from thepointillism, line, and geometric motifs found in traditional Aboriginal painting. Focusing on her
people, the Kaiadilt, Gabori depicts the land, sea and sky, inherited by their Aboriginal ancestors
and passed down from one generation to the next, as if looking down on the Earth from theperspective of a bird in the sky. Her vibrant and vital body of work is a powerful expression of her
personal life and the cultural story of her people, filled with empathy for them and nature.

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Mirdidingkingathi Juwarnda Sally Gabori, Nyinyilki, 2010
Private collection© The Estate of Sally Gabori / Copyright Agency Australia

Gallery 11

Mark Manders
Composition with Four Yellow Verticals, 2017-2019
Composition with Yellow Vertical, 2019-2020
Composition With All Existing Words, 2005-2022
Composition with Two Colours, 2005-2020
Mark Manders has been creating installations, sculptures, works on paper and drawings since1986, in line with his concept of “self-portrait as a building.” These works are seen as metaphorsfor imaginary buildings, divided into separate “rooms” that have no exact shape or size, and nosense of a temporal beginning or end. Based on this concept, Manders uses familiar materials
such as clay, bronze, and wood to create statues that appear more fragile than the actual
materials would suggest. Most of these unfinished or broken bronze figures can be seen as
reflections of the uncertainties and ambiguities of human existence, as well as the vaguely
anxious and bleak outlook people have in our time. These works, interwoven with each other likea mesh of unidentifiable places, times, and figures, lead the viewer into a mixture of tranquility
and disquiet.
9Mark Manders, Composition with Four Yellow Verticals, 2017-2019
Collection of the 21st Centruy Museum of Contemporary Art, Kanazawa©Mark MANDERS
photo: KIOKU Keizo

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Gallery 12

Sam Falls
Midnight Rainbow, Live Forever, Petrichor, Night Music, 2023
Sam Falls’ canvas works make use of natural elements such as sunlight, rain, and wind to place
plants on canvas and leave them outdoors for weeks at a time. This approach produces a
symbiotic relationship between the environment and the artwork, blurring the line between
traditional artistic creation and the forces of nature. Through this unique process, Falls explores
themes of impermanence, transience, and the passage of time. A more important considerationin thinking about his work, however, is his emphasis on the act of creation as a form of artistic
expression as much as the final product, and the embracing of spontaneity and improvisation in
his practice.
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Sam Falls, Petrichor, 2023
Private collection©Sam Falls

Gallery 14

Tiffany Chung
reconstructing an exodus history: boat trajectories from Vietnam and flight routes
from refugee camps and of ODP cases, 2020
If Water Has Memories, 2022
Terra Rouge: entangled landscape of circular earthwork sites,
rubber plantations, abandoned airfields, 2022
Terra Rouge Circular Earthwork Study No.7, 2022
Tiffany Chung (b.1969- Vietnam/USA) is globally noted for her interdisciplinary practice, cultivatedthrough rigorous research and qualitative analysis into the history, culture, ecology, andlandscape archaeology of different locales—spanning from cities to continents, from ancient torecent times. Chung’s work traces the complex entanglements of socio-political, economic, andenvironmental processes, entwined in conflicts, climate related events, and human migrations.
Such entanglements are depicted in her Terra Rouge series of works on paper, which show
traces of the [2300-300 BC] Neolithic Circular Earthworks’ earthen walls in the southwest regionof Vietnam, with 19th century French colonialists’ rubber plantations, as well as abandoned
airfields from the Vietnam War. Using the tool of mapping and retrieving governmental andintragovernmental correspondence cables from the UNHCR Archives, reconstructing an exodus
history charts the sea and land escape routes and the Orderly Departure Program trajectories ofpost-1975 Vietnamese refugees to all over the globe, including Africa, the Middle East, and Latin
America. In If Water Has Memories, Chung suggests that water holds certain memories including
sediments or substances dissolved in it, such as human body’s physical matter. Based on
UNHCR records and coordinates of locations of pirate attacks on Vietnamese refugee boats in
the Gulf of Thailand, Chung’s video installation takes us to the site of historical trauma with asymbolic burial at sea for those assaulted and lost their lives in the water. The work reminds us
not only of the complex experience of forced migration, but also of the humanity buried
underneath the inhumanity in our world through these gestures of remembrance and healing.

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Tiffany Chung,reconstructing an exodus history: boat trajectories from Vietnam and flight routes
from refugee camps and of ODP cases, 2020
©Tiffany Chung

Around Gallery 14

Oksana Pasaiko
Short Sad Text (based on the border of two countries), 2023-2024
The obscurity of Oksana Pasaiko, whose biographical12

details are difficult to trace except that she was born in
Ruthenia in 1982, is entirely intentional, and hercreations extend to the artist’s very existence. Whenshe participated in Manifesta 5 in 2004, she asked forher exhibition catalogue biography to read: “inaccordance with the artist’s wishes, no details will be
published about her life.” Short Sad Text (based on theborder of two countries) is a piece of soap with strandsof human hair fixed to it, a metaphorical representationof disputed borders. Ruthenia is not an official state,
but a region of Eastern Europe sandwiched between
Poland, Slovakia, Hungary, Romania, and Ukraine.
Even though forests, mountains, and oceans are also
not individual entities with inherently separate borders,the act of division by artificial national borderlines isclosely intertwined with the wars and conflicts that
Eastern European history has faced over the centuries.

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Oksana Pasaiko,
Short Sad Text (based on the border of two countries),
2023-2024
Collection of the artist©Oksana Pasaiko

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Around Gallery 14

Eugenia Raskopoulos
re-ma(r)king, 2010
Eugenia Raskopoulos uses a variety of media, including photography, video, and installation, to
explore how marks (signs) and gestures can carry meaning and convey personal or cultural
narratives. The title re-ma(r)king suggests a process of reinterpreting or re-imagining existingmarks and symbols, highlighting her interest in the ways meaning is constructed andcommunicated through visual language. These lines represent paths of movement, growth, andconnection, while the yarn symbolizes the threads that weave through different aspects of life.
Marking and making represent traces of human activity in relation to the environment, while
individuals in turn participate in the ongoing process of world-making through their daily lives.
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Eugenia Raskopoulos, re-ma(r)king, 2010
©Eugenia Raskopoulos

Around Gallery 14

Gabriella Mangano & Silvana Mangano
Falling possibilities, 2009
Gabriella and Silvana Mangano have crafted a unique aesthetic in their video works, condensed
into private and intimate gestures. In Falling possibilities, the two sisters’ arms move as if they are
painting in space, while the tape becomes entwined around their hands, tracing a graceful dancewith quick gestures. The tape constantly connects Gabriella and Silvana as it is exchanged
between them amid these movements. The work begins with a ballet-like grace and movementsthat seem to engage in a kind of mutual response to each other. As time goes on, however, theexchange becomes more tense. Since gestures are not isolated acts, but are intricately linked to
culture, history, and embodied experience, they also provide an opportunity to recognize theinterconnectedness of social norms, personal identity, and past experiences.
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Gabriella Mangano & Silvana Mangano, Falling possibilities, 2009
Collection of the Art Gallery of New South Wales©Gabriella Mangano & Silvana Mangano

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Public Zone

SUPERFLEX
Jakob Fenger, Bjørnstjerne Reuter Christiansen, Rasmus Rosengren Nielsen
Power Toilet Death Masks, 2024
Vertical Migration, 2021
Power Toilet Death Masks features a series of molds for casting death masks of sanitary fixtures:toilets, faucets, toilet paper holders with toilet rolls, tiles, and flush buttons. Each mold representsa toilet at the United Nations Framework Convention on Climate Change Secretariat, a private
space accessible only to a limited number of people at the headquarters with the authority to doso, and the sculptures, cast in unfired clay, are fragmentary analogues of this space. These
sculptures will be replicated using Kanazawa clay and can be displayed in any number and in any
combination. By reconstructing the site of daily excretion of the toilet as a public domain, this work
confronts the notion of authoritative architecture, questioning the relationship between original
and copy, exclusivity and inclusivity, and ultimately the infrastructure of power and its everyday
manifestations.
With the support of: Kanazawa College of Art, Hirotake Imanishi, Rintaro Koiwai
Vertical Migration is a video work based on the idea that humans are participants in an ecologicalsystem. Due to rising sea levels, we will migrate vertically to higher elevations and skyscrapers in
the coming centuries. The story of jellyfish and other social organisms, collections of multiple
beings that live underwater, is also our story. While flesh-and-blood humans cannot travel
through these jet-black depths, we can observe and examine them to recognize that we areconnected, our actions affect each other, and we share a common destiny. Sensors allow theseorganisms to move away from us as we approach them, and if we humbly maintain our distance,
the organisms will eventually make their way slowly across the screen.
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SUPERFLEX, Power Toilet Death Masks, 2024
Installation view at ICA North, San Diego, 2024.
Collection of the artist ©SUPERFLEX

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Honda-Dori Entrance

Henrique Oliveira
Mar Morto (Dead Sea), 2024
Henrique Oliveira often sources discarded furniture and wood to be used as materials for his
works from construction sites and other urban environments, transforming them into sculpturesand dynamic installations and giving them a new lease of life. In contrast to the consequences ofmodernization, which has brought processed wood from natural trees into artificial spaces thathave been developed from nature, Oliveira’s use of scrap wood has multiple layers of meaning,
including a reflection on consumption, waste, and the relationship between humans and theenvironment. These winding, organic forms still seem to be growing as they partially dominate thespace, blurring the boundaries of the natural world. Here, Oliveira presents a new work at theentrance door of the building, where the museum’s interior and exterior are made visible byhuman traffic.
16［Reference image］
Henrique Oliveira, Corupira, 2023
©Henrique Oliveira
Galeria Millan (São Paulo)
Galerie G.P.&N. Vallois (Paris and New York)

StairsSarah Sze
The Art of Losing, 2004
Many of Sarah Sze’s works are delicate and exquisite

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installations that combine commonplace everyday
objects such as paper, metal, wood, plastic, and foundobjects like bottles, chairs, and light bulbs as materials.
The Art of Losing suggests a state of constant flux, as
if objects are in the process of being assembled ordisassembled, in a stunning reflection on the duality of
the concerns of chaos and order that Sze explores, aswell as how objects can be arranged and composed tocreate a sense of both complexity and balance. This isa work that explores how we perceive and navigate theworld around us along various lines as it tracescomplex structures and flirts with the tension between
chaos and order.
Sara Sze, The Art of Losing, 2004
Collection of the 21st Centruy Museum ofContemporary Art, Kanazawa© Sarah SZE

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Artists
ProfileNami Yokoyama
1986 Born in Gifu. Lives in Seto, Aichi.
Yokoyama has been questioning the values of things and words throughpaintings. “The First Object” is a series focusing on the objects that have been
consumed and are about to be thrown away. In her “Neon” series, she depicts
the wiring and mounting as well as the neon tubes in detail, giving equal value
to each of these individual things.
Her recent solo exhibitions include “Remembering Someone in the Distance”,
Kenji Taki Gallery (2024), and “Aperto 10 YOKOYAMA Nami: Memories ofLove and Me”, 21st Century Museum of Contemporary Art, Kanazawa (2019).
She participated in the group exhibitions “Before/After”, Hiroshima City
Museum of Contemporary Art (2023), and “Roppongi Crossing 2022: Coming& Going”, Mori Art Museum (2022).

photo: Gunji Takumi

Shinji Ohmaki
Shinji Ohmaki’s artistic activity explores the theme and questionof ”Existence”. The external world involving the environment andothers, the internal world of memory and consciousness; this is an
exploration of the body, which lies in between the boundaries of theseworlds, aiming to create a bodily experience that captures theambiguity of how these worlds interact with each other and move
Pic by paul barbera / where they create
according to space and time.
His main solo exhibitions include “Interface of Being” (The National
Art Center /Tokyo,2023), “Before and After the Horizon” (Hirosaki Museum of Contemporary Art/Hirosaki,2023) , “Depth of Light” (A4 Art Museum/Chengdu, 2023) and “Rustle of Existence” (Kuandu
Museum/Taipei, 2020). In recent years, he further explores performance art, such as “Rain”(Aichi
Prefectural Arts Theater/Nagoya, 2023), YOKOHAMA DANCE COLLECTION 2019／Ella Rothschild“Futuristic Space”(Yokohama Red Brick Warehouse) etc. He has also created public art in many places
around the world, including Tokyo Garden Place Kioicho, Ijlst-11 fountain project (the Netherlands),
Morpheus hotel at City of Dreams (Macau), and Takamatsu Port.

Judy Watson
Born in Mundubberra, Queensland in 1959, Watson is a Waanyi descendant ofnorth-west Queensland. Her ancestry and personal experiences have greatly
influenced her artistic practice, which spans a variety of media including
painting, printmaking, video, sculpture and installation.
She often addresses the complex history of colonialism and its impact on
indigenous communities. She explores themes of migration, survival andrecovery, seeking to bring awareness and understanding to these issues. Her
work is a powerful means of storytelling and a form of cultural preservation.
Exhibiting extensively since the 1980s, Watson co-represented Australia at the1997 Venice Biennale and won the Works on Paper Award at the 23rd National
Aboriginal and Torres Strait Islander Award in 2006. She was also the recipient
Judy Watson, 2022.
Photo by Rhett Hammerton.
of the National Gallery of Victoria’s 2006 Clemenger Contemporary Art Award.
Image courtesy of the artist
In 2011, Watson’s exhibition waterline was shown at the Embassy of Australia
and Milani Gallery, Meanjin/ Brisbane.
in Washington DC, and in 2012, she exhibited in the Sydney Biennale. In 2018,
the Art Gallery of New South Wales staged a major exhibition of her work titledthe edge of memory. Watson has also received commissions for several public art projects acrossAustralia, including fire and water at Reconciliation Place in Canberra in 2007, ngarunga nangama: calm
water dream at 200 George St in Sydney in 2016, and in the same year, tow row for the Gallery of Modern
Art’s 10th Anniversary in Brisbane. mudunama kundana wandaraba jarribirri, a significant survey of Judy
Watson’s practice, opened in 2024 at Queensland Art Gallery | Gallery of Modern Art. Her work is also
included in several significant Australian and international collections, including all of Australia’s state
institutions, the National Gallery of Australia, the Tokyo National University of Technology, the Taipei Fine
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Arts Museum, the British Museum, and MCA/ TATE. Watson is an Adjunct Professor at Griffith University,and in 2018, she was awarded an Honorary Doctorate of Art History by the University of Queensland.

El Anatsui
El Anatsui is a Ghanaian sculptor who has spent much of his achievement-packed career living andworking in Nigeria. El Anatsui currently runs a very robust studio practice, situated in Nsukka, Enugu,
Nigeria, and Tema, Ghana, where some of the most beautiful and touching works of art in the world today
are created.
He is one of the most highly acclaimed artists in African History and foremost contemporary artists in theworld.
El Anatsui uses resources typically discarded such as liquor bottle caps, cassava graters and newspaper
printing plates to create sculpture that defies categorisation.
His use of these materials reflects his interest in reuse, transformation, and an intrinsic desire to connect tohis continent while transcending the limitations of place. His work can interrogate the history of colonialismand draw connections between consumption, waste, and the environment, but at the core is his uniqueformal language that distinguishes his practice.
Anatsui is well-known for large scale sculptures composed of thousands of folded and crumpled pieces ofaluminium bottle caps sourced from local alcohol recycling stations and bound together with copper wire.
These intricate works, which can grow to be massive in scale, are luminous and weighty, meticulously
fabricated yet malleable. He leaves the installations open and encourages the works to take new forms
every time they are installed.
Selected Awards are TIME100: The Most Influential People of 2023, Time Magazine, USA (2023),
Skowhegan Medal for Sculpture, Skowhegan School of Painting and Sculpture, Maine, USA, 2020,
Praemium Imperiale Award for Sculpture, The Japan Art Association, Tokyo, Japan,2017, Lorenzo ilMagnifico Lifetime Achievement Award, XIth Florence Biennale Florence, Italy,2017, Brandywine
Workshop and Archives Lifetime Achievement Award, Brandywine Workshop, Philadelphia, USA, 2017,
Rees Visionary Award, AMREF Health Africa ArtBall, New York City, USA, 2017, Honorary Doctor of Arts,
365th Commencement Ceremony, Harvard University, Cambridge, MA, USA,2016, Honorary Doctor ofFine Arts (DFA), 2016 graduation ceremonies, The University of Cape Town (UCT), South Africa,2016,
Golden Lion for Lifetime Achievement Award, 56th Venice Biennale, Venice, Italy,2015, Elected Honorary
Member, American Academy of Arts and Sciences, Cambridge, MA, USA,2014, Elected Honorary
Academician, British Royal Academy of Arts, London, UK, 2014, 2nd Best Monographic Museum Show in
New York category, AICA-USA, “Gravity and Grace: Works by El Anatsui”, Brooklyn Museum, NY,
USA,2014, Charles Wollaston Award, 245th Summer Exhibition, Royal Academy of Arts, London, UK,2013, 30th Anniversary Award, Smithsonian National Museum of African Art, Washington, D.C. USA,2009, Prince Claus Award, Prince Claus Fund for Culture and Development, Lagos, Nigeria, 2009,
Visionaries Award, Museum of Art and Design, New York, NY, USA, 2008, Public’s Prize, 7th Small-Scale
Sculpture Triennial, Stuttgart, Germany,1999, Bronze Prize, 9th Sculpture Triennial, Osaka, Japan,1998,
Kansai Telecasting Corporation Prize, 3rd Sculpture Triennial, Osaka, Japan,1995, Honorable Mention,
44th Venice Biennale, Venice, Italy, 1990.

Marguerite Humeau
Marguerite Humeau (b. 1986, Cholet, France) lives and works in London. She received her MA from theRoyal College of Art, London, in 2011. Solo exhibitions of her work have been held at Lafayette
Anticipations, Paris (2021); Kunstverein Hamburg (2019); Museion, Bolzano (2019); New Museum, NewYork (2018); Tate Britain, London (2017); Haus Konstruktiv, Zürich (2017); Schinkel Pavillon, Berlin (2017);
Nottingham Contemporary (2016); and Palais de Tokyo, Paris (2016). Humeau’s work has been featured
in numerous group exhibitions, including Kunsthalle Basel (2021); the Istanbul Biennial (2019); Centre
Pompidou, Paris (2019); MAMVP, Paris (2019); the High Line, New York (2017); Château de Versailles,
France (2017); Kunsthal Charlottenborg, Copenhagen (2017); FRAC Midi- Pyrénées, Toulouse, France(2017); Serpentine Galleries, London (2014); and Victoria and Albert Museum, Sculpture Gallery, London(2014). Humeau’s work was included in the 59th International Art Exhibition of La Biennale di Venezia
curated by Cecilia Alemani and the 23rd Biennale of Sydney, both 2022. In 2023, Humeau created a
160-acre site earthwork Orisons in Hooper, Colorado, one of the largest earthworks ever produced by asolo female artist. It was curated and produced by Black Cube Nomadic Art Museum, headquartered in
Denver. She is represented by White Cube and CLEARING New York/Los Angeles.
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PRESS RELEASE

Yuna Yagi
Born in 1980 and based in Kyoto. Graduated from the architecture department
at Parsons School of Design. With photography at the core of her practice,
Yagi creates works that promote the transformation of consciousness frommultiple viewpoints through the experience of seeing. Representative solo
exhibitions include “The Record of Seeds” (KYOTOGRAPHIE International
Photography Festival, 2021), “NOW/HERE” (Pola Museum Annex, 2018), and“Visual/Cognition/Polarity/Universality” (√K Contemporary, 2022). Major works
include KENCHIKU (2015), a photograph turned into a sculpture; Collapsing
World (2016), an algorithm applied to a photograph; Prayer Space (2017),
which examines the Japanese view of life and death; BLANC/BLACK (2019),
which expresses the concept of emptiness; and Superposition (2024), a still life
painting in the form of a photograph. Major awards include the Best Portfolio
Review at the KYOTOGRAPHIE International Photography Festival (2016),
and a nomination for the New Artist Award at the 35th Higashikawa Prize(2019). Her work is in the collection of 21st Century Museum of Contemporary
Art, Kanazawa.

yunayagi2022©Tomoko Hayashi

Mirdidingkingathi Juwarnda Sally Gabori
Mirdidingkingathi Juwarnda Sally Gabori (c.1924 - 2015) was a distinguished senior Kaiadilt woman andcontemporary artist whose short yet incredible career left an astonishing cultural legacy.
Sally Gabori began to paint in 2005, at around eighty years of age, using her signature expressive
brushstrokes and vivid use of colour to brilliantly portray places of deep personal significance to her on herhome country on Bentinck Island in the Gulf of Carpentaria off the coast of far north Queensland including
Dibirdibi, her husband’s Country; Thundi, her father’s Country; Mirdidingki, her own Country; and Nyinyilki,
the first outstation on Bentinck Island.
Her work features in important collections and major institutions in Australia and abroad, and following
Gabori’s passing in 2015, her tremendous legacy and immense oeuvre were honoured in a major
retrospective exhibition at the Queensland Art Gallery | Gallery of Modern Art in Brisbane and at the
National Gallery of Victoria in Melbourne. Most recently, Gabori was honoured with a major internationalsolo survey exhibition and publication at the distinguished Fondation Cartier pour l’art contemporain in
Paris, France in 2022 and at the Triennale Milano, Italy in 2023.
Gabori continues to be recognised as one of Australia’s most influential and important contemporary
artists.

Mark Manders
Born 1968 in Volkel (Netherlands), lives and works in Ronse (Belgium).
Graduated from the Department of Design at the ArtEZ University of Arts in Arnhem, Netherlands, in 1992.
Based on the concept of “self-portrait as a building,” which he created himself in 1986, he has presented
works incorporating various sounds, colors, rhythms, rhymes, and interpretations in the form of drawings,
sculptures, and installations. Following in the tradition of bronze sculpture, Manders’ sculptural works are
physically robust “objects,” while intentionally created cracks and unfinished parts create a sense of visualfragility and danger. His rich and complex visual language blurs the boundaries between reality and fiction,
past and present, and representation and abstraction.
His major exhibitions include “The Absence of Mark Manders” Museum of Contemporary Art Tokyo (2021,
Tokyo), “MICHAËL BORREMANS MARK MANDERS: Double Silence” 21st Century Museum ofContemporary Art, Kanazawa (2020, Ishikawa), “The Absence of Mark Manders” Bonnefanten museum(2020, Maastricht, The Netherlands), “Aichi Triennale 2016: Homo Faber: A Rainbow Caravan” Aichi
Prefectural Museum of Art (2016, Aichi), “Room with Broken Sentence 55th Biennale di Venezia“ Dutch
Pavilion (2013, Venice, Italy), Documenta 11 (2002, Kassel, Germany), “Territory” Tokyo Opera City Art
Gallery (2000, Tokyo), “Self-Portrait in a Surrounding Area” XXIV Bienal de São Paulo (1998, São Paulo,
Brazil).
He has also produced monumental outdoor sculptures, “Tilted Head” the Public Art Fund (2019, Central
Park, New York, USA) and “Rokin fountain sculpture” Rokin Square (2017, Amsterdam, the Netherlands).
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PRESS RELEASESam Falls
Sam Falls (b. 1984) was raised in Vermont and lives and works in New York's Hudson Valley. He received
his BA from Reed College in 2007 and his MFA from ICP-Bard in 2010. Sam Falls works intimately with thecore precepts of photography –namely time, representation, and exposure – to create works that bothbridge the gap between various artistic mediums and the divide between the artist, object, and viewer.
Working symbiotically with nature and the elements, Falls's artworks are engrained with a sense of placeindexical to the unique environment of their creation while imbued with a universal sense of mortality. Witha reverence toward art history, Falls empathetically blurs the lines between artistic genres and practices,from modern dance and minimalist painting to conceptual photography and land art, boiling it down to thefundamentals of nature and the transience of life that art best addresses.
He has had solo exhibitions at the Hammer Museum, Los Angeles (2018); Museum of Modern andContemporary Art Trento and Rovereto, Italy (2018); The Kitchen, New York (2015); Ballroom Marfa,
Texas (2015); Pomona College Museum of Art (2014); Public Art Fund, New York (2014); and LAXART,
Los Angeles (2013), among others. His work has been included in group exhibitions at the Aspen Art
Museum, Colorado (2018); Le Consortium, Dijon (2017); Columbus Museum of Art, Ohio (2017); Mead
Gallery, University of Warwick, England (2016); Fruitmarket Gallery, Edinburgh, Scotland (2015); Hammer
Museum, Los Angeles (2015); Menil Collection, Houston (2015); Museo MADRE, Naples (2014); and theInternational Center of Photography, New York (2013); among others.

Tiffany Chung
Tiffany Chung is globally noted for her interdisciplinary practice
cultivated through rigorous research and qualitative analysis into
history, culture, and topography of different locales—spanning from
cities to continents, from ancient to recent times. Her researchfindings are often materialized into cartographic works, paintings,
photographs, sculptures, videos, and music compositions. Chung’s
artistic praxis reflects her intellectual inquiries, excavating traces ofcomplex and hidden entanglements of socio-political, economic andenvironmental processes, entwined in landscape archaeology and historical ecology. Chung charts spatialtransformations, Earth ecosystems, geologic records, climate vents, conflicts, global trade routes, andmovements of peoples, to unpack critical events in contemporary time. Challenging the power of mapping
and the archive, her work recovers and fills in the gaps in official and historical records with cultural
memories. Chung’s practice explores the footprint of our material culture in the natural and built
environments, which can presciently inform us about sustainable relationships with our macro-ecosystem.
Chung’s exhibition Rise Into the Atmosphere is currently on view at the Dallas Museum of Art. In 2023,
Chung was commissioned to create a prototype monument for Beyond Granite: Pulling Together, a major
public art exhibition on the National Mall (DC). Chung has had solo exhibitions at museums around theworld, including Tiffany Chung: Vietnam, Past Is Prologue at the Smithsonian American Art Museum (DC),
Johann Jacob Museum (Zurich), and Center for Arts on Migration Politics and Staten Museum for Kunst(Copenhagen). Her work has been featured in international exhibitions and biennials, including the 56th
Venice Biennale, Sharjah Biennale, Sydney Biennale, Gwangju Biennale, Biennial de Cuenca (Ecuador),
Museum of Modern Art (NY), British Museum (London), Schirn Kunsthalle (Frankfurt), the Nobel Peace
Center (Oslo), Louisiana MoMA (Humlebaek), M+ Museum (Hong Kong), among others.
Tiffany Chung was a Mellon Fellow at RITM, Yale University (2021) and Jane Lombard Fellow for Art &Social Justice at the Vera List Center (2018-2020). Chung has received the Asia Arts Game Changer
Award (2020), Asian Cultural Council Grant (2015), and Sharjah Biennial Artist Prize (2013).

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PRESS RELEASE

Oksana Pasaiko
Oksana Pasaiko’s obscurity is wholly by design. When she participated in
Manifesta 5 in 2004 in San Sebastian, she asked for her exhibition catalogue
biography to read: “in accordance with the artist’s wishes, no details will be
published about her life.” Yet the same site declares that Pasaiko was born in1982 in Ruthenia, not an official state but a historical region in Eastern Europe,
between Poland, Slovakia, Hungary, Romania and Ukraine. The artist attaches
more importance to her ethnic origin than to her nationality. When Pasaiko took
part in the Romanian biennale for young artists in 2006, it was stated that she is‘based’ in Oslo, Amsterdam and Ronse, Belgium. In keeping with her extreme
biographical reticence, she seldom exhibits her work. This implies that she isdetermined to be in control.
Pasaiko rewrote Please don’t leave me (1969) by the Dutch artist Bas Jan Ader in Cyrillic script for
Manifesta 5. In conjunction with the exhibition, Roma Publications also published Pasaiko’s 30 Feet, abooklet with 30 photographs of feet. The majority of her other works also seem to be linked to Roma
Publications, the Amsterdam-based art publishers, founded in 1998 by graphic designer Roger Willems
and artists Mark Manders and Marc Nagtzaam.
Roma published the edition Short Sad Text (based on the borders of 14 countries) in 2005. This consists of
two pieces of soap into which seven black human hairs have been embedded, tracing the pattern of sevenman-made territorial borders. Pasaiko deposited number one of the edition in a public toilet in Oslo, whilenumber two belongs to S.M.A.K. (Ghent, Belgium). The publisher adds: “the work also exists as a
take-away card”. The soap and the postcard have been included in several group exhibitions, whichthematise the possible impermanence or transience of art.
Furthermore, Pasaiko’s work also includes postcards that can be regarded as souvenirs of existingartworks. There are the aforementioned cards of Pasaiko’s own work, but also cards that wittily display
work by other artists, such as Piet Mondrian and Giorgio de Chirico. She also exhibited The Folds (2011), a
kind of painted curtain, which was shown in Berlin, amongst other cities, in the traveling group exhibition
The Joy of Pleasure (2011-12).
Almost two decades after her first Short Sad Text, she returns in 2024 with a publication including ten more
pieces, conceived in the form of a poetry collection. Published once again by Roma, the book features a
special Japanese version, designed with Keijiban. The launch of this publication became an opportunity topresent her first solo show in Japan, with a double intervention in Keijiban's showcase as well as in its newinterior space, Yonkai. In the following months, Pasaiko will also take part in the Kortrijk Triennial and in agroup exhibition in M Museum (Leuven, Belgium) entitled Alias, showing the works of more than thirty
fictional artists.

Eugenia Raskopoulos
The conceptual parameters of her work are concerned with identity politics, thebody, gender, sexuality and difference, language, and translation with anoverriding context associated with feminism and performance. These threads
weave in and out of her work, her use of politics and the poetics are equallyimportant in her work. Due to her experience as a migrant and her bi-lingual
upbringing, she is concerned where language breaks down, focusing ontranslation. The political for her means being informed and socially active inthe world. Her journey as an artist is one of searching and continuous
investigation on issues of the ‘other’, where there is no ultimate conclusion.
Her work explores the margins of photography and video, an interdisciplinary
zone that synthesizes performance, transcription, neon, and installation.
photo: Zan Wimbereley
40 years career highlights: 2024 SCOOTERING around, Su San Cohn &Eugenia Raskopoulos, TarraWarra Museum of Art, Victoria. Eugenia Raskopoulos’ monographpublication by Power Publications and Formist in 2019. Know My Name, National Gallery of Art 2021.
Shadow Catchers, Art Gallery of NSW, Sydney 2020. The National, Carriageworks, Sydney. Endless
Circulation TarraWarra Biennial, TarraWarra Museum of Art 2016. Footnotes, Art Gallery of NSW 2012.
Image Anxiety, PhotoEspaña, Madrid ́s International Photography and Visual Arts Festival 2012. Her
work is represented in Australia’s major public galleries, as well as private collections, nationally andinternationally.
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PRESS RELEASE

Gabriella Mangano and Silvana Mangano
Gabriella Mangano and Silvana Mangano's collaborative practice is a multifaceted exploration thatincorporates performance, video, sculpture and installation. Drawing inspiration from everyday life andoften using everyday objects in their performances, their art delves into the intricacies of interpersonal
relationships, perceptions of time, the nature of memory, and the complexities of human connections. Theirinnovative approach to art-making blurs the boundaries between reality and fiction, with an emphasis on
unspoken modes of communication through gestures, choreography, and repetition. Their videos prompt
viewers to rethink the understanding of the world around us, and the complexities of human connections byinviting audiences into a realm where imagination and reality intertwine in mesmerizing ways. The artists
are based in Victoria, Australia. Their work has been featured in group exhibitions nationally andinternationally, including Single €i0Channel, National Gallery of Australia, Canberra, 2024, The Double:
Identity and Di€i0ff€i0erence in Art €i0Since 1900, National Gallery in Washington, Washington, 2022,
Dynamic Garden in Full Motion, €i0Aomori Contemporary Art Centre, Aomori, Japan, 2018, Multiple
Future: The Yebisu International €i0Festival for Art & Alternative Visions, Photographic Art Museum,
Tokyo, 2017, Reenacting History, €i0National Museum of Modern and Contemporary Art, Korea, 2017 and
The Asia Paci€i0fi€i0c Triennial of €i0Contemporary Art (APT8) at the Queensland Art Gallery of Modern
Art, 2015-2016.

SUPERFLEXSUPERFLEX was founded in 1993 by Jakob Fenger, Bjørnstjerne
Christiansen, and Rasmus Rosengren Nielsen. Conceived as an expanded
collective, SUPERFLEX has consistently worked with a wide variety ofcollaborators, from gardeners to engineers to audience members. Engaging
with alternative models for the creation of social and economic organisation,
works have taken the form of energy systems, beverages, sculptures, copies,
hypnosis sessions, infrastructure, paintings, plant nurseries, contracts, andpublic spaces.
Working in and outside the physical location of the exhibition space,photo: Daniel Stjerne
SUPERFLEX has been engaged in major public space projects since theiraward-winning Superkilen opened in 2011. These projects often involve participation, involving the input of
local communities, specialists, and children. Taking the idea of collaboration even further, recent works
have involved soliciting the participation of other species. SUPERFLEX has been developing a new kind of
urbanism that includes the perspectives of plants and animals, aiming to move society towards
interspecies living. For SUPERFLEX, the best idea might come from a fish.

Sarah Sze
Born in Boston, USA in 1969. Lives and works in New York.
After she graduated from School of Visual Arts in New York in 1997, Sarah Sze has produced works
showing her keen awareness of space where her works are placed. Her installations, in which shecompiles and arranges mass-produced, faceless and cheap articles such as cotton buds, toothpicks,
tissues, woolen yarns, plastic containers, tape measures, clips, or ladders, appear orderly and disorderly at
the same time. They create a world with an exquisite balance and a tense atmosphere. In addition, thecurrents of air caused a fan and the light of an electric lamp equipped in her work make it look as if it werea living organism that has energy to invade space and multiply autonomously. Thus, Sze breathes life into
ordinary everyday articles to discover new stories.
Her major exhibitions include “Sarah Sze” Solomon R Guggenheim Museum (2023, New York, U.S.A.),“Night into Day” Fondation Cartier pour l’art contemporain (2020, Paris, France), “Sarah Sze: Triple Point”
United States Pavilion, Giardini della Biennale, 55th International Art Exhibition, La Biennale di Venezia(2013,Venice, Italy), “Transformation” Museum of Contemporary Art, Tokyo (2010, Japan), “Sarah Sze”
Maison Hermès 8F Le Forum (2008, Tokyo, Japan), “Sarah Sze” Museum of Contemporary Art, Chicago(1999, U.S.A.), “Berlin/Berlin, Berlin Biennial” Academy of the Arts (1998, Germany).
Sze’s works are held in several permanent art collections, including the Tate (U.K.), M+ (Hong Kong),
MUDAM (Luxembourg), MoMA (U.S.A.), The Museum of Contemporary Art in Chicago, the Guggenheim
Museum (New York), the Whitney Museum of American Art (New York), The Museum of Contemporary
Art, Los Angeles (U.S.A.), and the 21st Century Museum of Contemporary Art, Kanazawa (Japan).
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PRESS RELEASE

Henrique Oliveira
Henrique Oliveira was born in Ourinhos-SP, Brazil, in 1973. He moved to thecity of São Paulo in 1990, where he graduated and had a Masters in Visual Arts
at the University of São Paulo (USP).
Moving through the territories of sculpture, painting and architecture, Henrique
Oliveira’s immersive environments and hybrid spaces bring back the originalnature of materials to re-define their ordinary use. A wide range of references
can be noticed in his works. From science-fiction and medical text to Art History
and psychoanalysis, these subjects converge into a personal visual languagethat merges biomorphic images and urban materiality. Perception of space,surface and consistency are often destabilised in his creations, weakening
categories otherwise taken as secure means of organising our understanding photo: Julian Marshallof everyday-life. In some of his constructions, specially in those made into thearchitecture, the public is attracted into situations of discomfort while his sculptural interventions act to blurthe borders between sensuality and abjection. Raising existential and political issues implicit in the notionsof death and decay, many times these works play the role of a contemporary mirror, reflecting the positionof mankind in the world and its relationship with nature and the environment.
Among his most notorious exhibitions are “Baitogogo” at the Palais de Tokyo - Paris (2013) and“Transarquitetonica” at the Museu de Arte Contemporânea - São Paulo, Brasil (2014). He has also
contributed with several group shows such as Bruges Triennale, Belgium (2021), “Brasiliana - Installationfrom 1960 to the present” at Schirn Kunsthalle - Frankfurt, Germany (2013); “Object in Flux” at the Boston
Museum of Fine Arts, USA (2015) and the 29th Bienal de São Paulo - São Paulo, Brasil (2010). Along his
career he has been awarded in countries as Japan, France and Brazil. Some of his works are in collections
such as the Virginia Museum of Fine Arts (USA), the Queensland Gallery of Modern Art (Brisbane,
Australia) and the Centre Pompidou (Paris FR). He also has installations permanently on view in places
like Les Jardins Suspendus, Le Havre and Domaine de Chaumont-sur-Loire (both in France) and Arte
Sella, Italy.
For further information: www.henriqueoliveira.com

Related
Programs

Lecture addressed by Tim Ingold
LINES OF ATTENTION; LINES OF CREATION:
THE WORK OF ART IN A POSSIBLE WORLDTim Ingold, an up-and-coming anthropologist and social scientist, has aninteresting perspective on the concept of lines. In one of his books,
Lines, he presents the idea that lines are not pre-existing entities in thephoto: Joséphine Michelworld, but rather processes and activities themselves. Ingold himself
shares some of his research on how lines are woven into as the fabric of
the world, connecting objects, people and ideas.
Date: Saturday, 12 October, 14:00–15:30 Doors open 13:30
Venue: 21st Century Museum of Contemporary Art, Kanazawa, Theatre 21 All seats free
Advance booking required
capacity: 100 persons*Japanese-English simultaneous interpretation provided
Fee: Free
Reservation: Peatix (6/1-)
Tim Ingold
Tim Ingold is Professor Emeritus of Social Anthropology at the University of Aberdeen. He has carried out
fieldwork among Saami and Finnish people in Lapland, and has written on environment, technology andsocial organisation in the circumpolar North, on animals in human society, and on human ecology andevolutionary theory. His more recent work explores environmental perception and skilled practice. Ingold’s
current interests lie on the interface between anthropology, archaeology, art and architecture. Ingold is a
Fellow of the British Academy and the Royal Society of Edinburgh. In 2022 he was made a CBE for services
to Anthropology.
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PRESS RELEASE“meet the artists” Gallery talks by artists
Six artists from the exhibition Lines - aligning consciousness with the flow talk about their own
work in front of their artworks for 30 minutes. This is a valuable opportunity for the artists to talkabout their concepts and ideas in their own voices.
Date: Saturday, 22 June ＊Consecutive interpretation (Japanese-English)
Session 1: 11:00–11:30 Shinji Ohmaki
Session 2: 11:45–12:30 Henrique Oliveira＊Session 3: 14:00–14:45 Eugenia Raskopoulos＊
Session 4: 15:00–15:30 Nami Yokoyama
Session 5: 15:45–16:30 Jakob Fenger（SUPERFLEX）＊
Session 6: 17:00–18:30 Judy Watson＋Cheryl Leavy（Reading, Poet）＊

Lecture and Dining: “Tracing the Saba Kaido (Mackerel Road)”with Yuna Yagi
Artist talk by exhibiting artist Yuna Yagi + lecture and dining on thegroup of Saba Kaido (“Mackerel Roads”) that connect Wakasa andKyoto.
Date: Monday, 7 October*Details will be on our website after 1 August.
Yuna Yagi (exhibiting artist), Atsushi Nakahigashi (culinary
director, chef), Kawamata Hirotaka (curator, Obama city, Culture
and Tourism Section)
Reservation: Peatix(8/1-)

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Yuna Yagi 35.44267342604541,
135.90515799982285, 2022.3/From “Passes” , 2024

Walk and Talk: Walking tour of the exhibition with the curator“Lines — Aligning your consciousness with the flow” is an exhibition thatconsiders the tangled web of threads and relationships spun by everyorganic body on Earth. In addition to presenting artworks in the museum,
we encourage visitors to take a walk to discover “lines” in nature.
Each tour will be led by either Hiromi Kurosawa (chief curator, 21stCentury Museum of Contemporary Art, Kanazawa) or Yumiko Nonaka(curator for this exhibition), and will take visitors on a walk around themuseum grounds.
Date: July 13, 27, September 14, 28 9:45-10:45*Tomo-no-kai members only: August 10 (Sat) 18:30-19:30*Sustain members only: August 24 (Sat) 8:45-9:45
Reservation: General…Peatix, Tomo-no-kai members…Tomo-no-kai
websiteSustain members…email or tell(all from 6/10)

Hiromi Kurosawa
photo: Hiraku Ikeda

Yumiko Nonaka

PRESS RELEASE

Learn about Bees
Marguerite Humeau, one of the artists exhibiting at “Lines — Aligning
your consciousness with the flow,” is deeply interested in the collective
behavior of insects, which is reflected in her sculptures and video works.
In connection with her work, this event will include a lecture on bee
ecology and a visit to a Japanese honey bee hive set up on the museum
grounds.
*This program is a collaborative project with the 21st Century Museum ofC o nte m p o r a r y A r t , K a n a z awa vo l u nte e r m e m b e r s “ M i r a i
Cafe/BeesClub.”Instructor: Takuya Ishikawa (curator, Ishikawa Insect Museum)Dates: September 7 (Sat), 14:00-15:30
Fee: Free
Reservation: Peatix（6/10-）

Images for
Publicity

Images 1–19 are available to the press from the Museum’ s Public Relations Office(press@kanazawa21.jp) based agreement to the following conditions.
< Conditions of Use >Photos must be reproduced with the credit and caption given.
Please refrain from cropping. During layout, please avoid laying type (caption or other) over the photo.
Please send proofs to the public relations office to verify information.
Please send a publication (paper), URL, DVD or CD to the museum for our archives,
afterwards.

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