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22 October – 20 November, 2021
Opening ReceptionǴ22 October, 2021 | 5 PM
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38 Lane 79 Sec. 2 Xinyi Rd. Taipei Taiwan+886–2–27527002 www.eachmodern.com

Sohei Nishino, Diorama Map i-land, 2010, archival pigment print on Hahnemuhle Photo-Rag Baryta paper, 88.8 x 126 cm© the artist courtesy of Michael Hoppen Gallery, London

New Horizon
Sohei Nishino
Hiraku Suzuki
22 October – 20 November, 2021
Opening ReceptionǴ22 October, 2021 | 5 PM
Each Modern is pleased to announce “New Horizon”, an exhibition of works by two prominent
Japanese contemporary artists, Sohei Nishino and Hiraku Suzuki. With their creative methods ofmassive photo collaging and subconscious drawing, the artists present not only their challenges tothe material but also their exploration between and beyond the horizon of geography andastronomy.
During the "Great Geographical Discovery" of the 15th to 17th centuries, humans began to actively
expand into the ‘New World’, which also led to numerous creations of the world map. However,these maps were inevitably imbued with imperialism and colonialism from Europe, perceiving these
new landforms and seas with these attitudes and lofty notions. When the world's geographic
overview gradually took shape, photography emerged in the 18th century to provide these
explorers another way to enter the mainland, going deep into the communities of native peoples,taking pictures of local residents and publishing photos in newspapers and magazines disseminated
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in their homelands. This is the beginning of the universal understanding of our "world", even though
this "world" is incorrect, like the Mercator projection map used in the 15th century. In the modernera of tourism, all landscapes have become very small pieces of private memories, stored incomputers or mobile phones.

Sohei Nishino, Waves Part 2- Izu Peninsula, 2021, archival pigment print on Hahnemuhle Photo-Rag Baryta paper, 60 x 140 cm© the artist courtesy of Michael Hoppen Gallery, London

Sohei Nishino’s work can be seen as a mixture of both contexts. He often uses a large number ofphotos to collage and form magnificent natural landscapes and urban panoramic views, such as
the eponymously titled "Mountain Line, Everest", which uses three to four hundred rolls of negatives,
and the reconstructions of the urban geographies of Tokyo, London, Jerusalem, and Amsterdam in
his "Diorama Map" series. For the artist, the image fragments collected during the journey are notcomplete. Through repeated shots and collages, he integrates his own memories of the city so thatthe images are no longer just pure records. The perspectives and shapes presented in "DioramaMap" can be traced back to ancient Japanese hand-painted maps; the colors and narrative methodof "Mountain Line, Everest" are reminiscent of mountain climbing pictures in Ukiyo-e; all break thevisual photographic perspectives and aesthetics while also echoing the scattered perspective oforiental Shanshui paintings and their corresponding cosmology.
As we attempt to comprehend scenes on Earth, there is an
unreadable language already extant around us. It might come froman ancient time; it might come from the dark universe. In thebeginning of 2021, the oldest surviving cave drawings werediscovered on Sulawesi Island, Indonesia: animals and hands
drawn about 44,000 years ago. At the other end of this image wefind the Voyager Golden Records launched in 1977 and theunexplained space signal detected in 2020. Between the ancient
totems and the unknown signal, we restlessly juxtapose them, eager
to find new information from them.
Hiraku Suzuki, bacteriasign #48, 2018,
earth, dead leaves and acrylic onwooden panel, 55 x 55 x 3 cm
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Suzuki’s drawing is the tube connecting bothends. The signs in his work are like lingualcharacters, embodying the messages from anancient civilization and outer space. His early
series “bacteria signfirst arranges and buries
dead leaves in the dyed earth. Later, Suzuki
excavates only the midribs which compose
several tiny Nazca Lines. His well-known drawing
series “Constellation” presents the artist’s silver
strokes on the canvas with earth. These signs arenow shown in an archeological appearance,indicating their timeproof existence. The radio
waves that fulfill the dark universe in the newseries “Photon Flux” also express a status ofperception. The horizon in Suzuki’s work is more
about a mixture of the surface and the deeper
universe.
Through photography and drawing, Nishino andSuzuki expand their vision from the micro to an
expanse that approaches infinity, this exhibition
approaches the horizon to the Kármán line.
Although we can now observe the most distant
known galaxy, GN-z11, we are just beginning togaze down at our oceans, continents, history, andour own species; and looking up at the stars, atinfinity and the further uncharted universe.

Hiraku Suzuki, Constellation #46, 2021, silver ink, earth, andacrylic on canvas, 100 x 75 x 5 cm

About the Artists
Sohei Nishino(b. 1982, Hyogo, Japan) currently lives and works in Shizuoka. His works have been
exhibited at important institutions such as San Francisco Museum of Modern Art(solo exhibition“New Work: Sohei Nishino”); MAST Foundation, Bologna; 21_21Design Sight, Tokyo; Daegu
Photo Biennale, Daegu. Nishino’s work is also collected by Louis Vuitton Foundation; San Francisco
Museum of Modern Art; Museum of Fine Arts, Houston; Tokyo Photographic Art Museum and otherinstitutions.
Hiraku Suzuki(b. 1978, Miyagi, Japan) currently lives and works in Tokyo. He was one of theparticipating artists of the 2019 annual exhibition of Museum of Contemporary Art, Tokyo andhe was exhibited by many renowned museums in Japan. His work can be found in the collectionsof 21st Century Museum of Contemporary Art, Kanazawa; Museum of Contemporary Art, Tokyo;
Agnès b. Collection; JINS Inc.; Nissan Art Collection and other institutions. Suzuki also works with
Comme des Garçons and Agnès b. and he presented his solo show “The Writing of Meteors” at
Each Modern in 2018.

Sponsor | National Culture and Arts Foundation
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