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Now and Then, Japanese Photography and Art

NOW AND THEN
Don’t Follow the Wind, Leiko Ikemura, Rinko Kawauchi, Ken Kitano, Tatsuo Miyajima, Daido Moriyama, Asako Narahashi, Mika Ninagawa, Lieko Shiga, Issei Suda, Yutaka Takanashi, Shomei Tomatsu and others

Dezember 5th, 2015 – January 23rd, 2016

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“NOW AND THEN” is the second exhibition in the new rooms of | PRISKA PASQUER. It is devoted to Japanese photography and art.

The exhibition brings together a number of different eras and media. Classical positions of Japanese post-war photography rub shoulders with the studious shots of Rinko Kawauchi; the bright pop aesthetic of Mika Ninagawa collides with the raw imagery of “Provoke” protagonists Daido Moriyama and Yutaka Takanashi; Leiko Ikemura’s contemporary painting is juxtaposed with a digital LED installation by Tatsuo Miyajima. On a thematic level, “NOW AND THEN” casts an eye on Japanese society. Past, present and future, changes and threats, possibilities and defeats are viewed from a wide variety of perspectives. As different as the artistic positions are, they all share a peculiarly Japanese approach to dealing with reality: the artists do not attempt to pigeon-hole what they find, but rather approach reality with a high degree of openness. This approach gives rise to a unique aesthetic. An aesthetic that toys with the visible and invisible, always referencing more than can be seen in the picture.

At the same time, all artists deal with very specific themes – always rupture, transition and change. These are discerned, shown and channelled into the image. However, they are not evaluated, nor is any attempt made to present reality in an explicable format or pattern.

The curtain on “NOW AND THEN” is raised with the website for the project titled “Don’t Follow the Wind”. Initiated by artist group Chim↑Pom and with ten international artists in radioactively contaminated houses near the Fukushima nuclear power plant, the exhibition on the Tepco company site is not visible in any real sense. The contaminated site is out of bounds for the general public until such time as it is decontaminated. It is not known when and even whether this will ever be the case. Accordingly, the website is also “invisible”. A blank white screen with a soundtrack, but nothing to be seen.

Since 2000, | PRISKA PASQUER has shown many exhibitions featuring the leading names in Japanese photography – both in its own gallery rooms and in cooperation with institutions in Germany and abroad (e.g. FOAM in Amsterdam, Fondation Henri-Cartier-Bresson in Paris, FOMU in Antwerp and Hundertwasser Haus in Vienna).

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„NOW AND THEN“ ist die zweite Ausstellung in den neuen Räumen von | PRISKA PASQUER. Sie widmet sich der japanischen Fotografie und Kunst.

Die Ausstellung vereint verschiedene Zeiten und Medien. Klassische Positionen der japanischen  Nachkriegsfotografie stehen neben den achtsam- konzentrierten Aufnahmen von Rinko Kawauchi, die knallbunte Pop-Ästhetik von Mika Ninagawa kollidiert mit der rauen Bildsprache der “Provoke”- Protagonisten Daido Moriyama und Yutaka Takanashi, aktuelle Malerei von Leiko Ikemura trifft auf eine digitale LED-Installation von Tatsuo Miyajima.

Auf inhaltlicher Ebene richtet „NOW AND THEN“ den Blick auf die japanische Gesellschaft. Vergangenheit, Gegenwart, Zukunft, Veränderungen und Bedrohungen, Möglichkeiten und Niederlagen werden aus unterschiedlichsten Perspektiven fokussiert. So verschieden die künstlerischen Positionen auch sind, eint sie doch ein spezifisch japanischer Umgang mit der Wirklichkeit: Die Künstler versuchen nicht, das Vorhandene, Vorgefundene in feste Kategorien zu fassen, sondern begegnen der Wirklichkeit mit einer großen Offenheit. Aus diesem Ansatz heraus entwickelt sich eine besondere Ästhetik. Es ist ein Spiel mit dem Sichtbaren und dem Unsichtbaren, das immer auf mehr verweist, als im Bild konkret sichtbar ist.

Dabei sprechen alle Künstler ganz konkrete Themen an. Immer geht es um die Brüche, Veränderungen und den Wandel. Diese werden wahrgenommen, gezeigt und ins Bild übertragen. Sie werden jedoch weder bewertet, noch wird versucht, die Wirklichkeit in ein erklärbares Format und Raster zu bringen.

Den Auftakt zu „NOW AND THEN“ macht die Website des Projekts „Don’t Follow the Wind”. Die von der Künstlergruppe Chim↑Pom initiierte und mit zehn internationalen Künstlern in radioaktiv verstrahlten Häusern in der Nähe des Atomkraftwerkes Fukushima realisierte Ausstellung auf dem Gelände der Firma Tepco ist faktisch nicht sichtbar. Das verstrahlte Gelände ist für die Öffentlichkeit gesperrt und wird erst nach seiner Dekontaminierung wieder betreten werden können. Es ist vollkommen ungewiss, wann und ob dies jemals der Fall sein wird. Entsprechend „unsichtbar“ ist auch die Website: Ein leerer weißer Screen, auf dem nur ein Sound-Track läuft, aber nichts zu sehen ist.

Seit dem Jahr 2000 hat | PRISKA PASQUER eine Vielzahl von Ausstellungen mit den bedeutendsten Vertretern der japanischen Fotografie gezeigt – sowohl in den eigenen Räumen als auch in Zusammenarbeit mit Institutionen im In- und
Ausland (z. B. FOAM, Amsterdam, Fondation Henri-Cartier-Bresson, Paris, FOMU, Antwerpen, Hundertwasser Haus, Wien).

RINKO KAWAUCHI, Illuminance at Kunst Haus Wien

ILLUMINANCE
KUNST HAUS WIEN
Rinko Kawauchi

In cooperation with |PRISKA PASQUER

March 20th – July 10th, 2015

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KUNST HAUS WIEN opens its photography focus with the impressive work of the Japanese artist Rinko Kawauchi (b. 1972). The exhibition is the first comprehensive mid-career retrospective of the photographer in Europe. In large-scale cycles, she presents a universal memory and archetypical recollection, enabling reflection upon human existence.

Rinko Kawauchi has found acclaim worldwide for her nuanced use of colour and the unerring mastery of her compositions. Furthermore, her attention to small gestures and coincidental details enables her to cast a gaze of enchantment upon her daily surroundings that is always fresh and new. With her camera, she captures elementary and casual moments, all with the same passionate concentration. Kawauchi explores what is special in daily life, and ultimately this leads her to the fundamental cycles of life and the apparently unintentional order of nature within formal structures. The extraordinary sensibility of her gaze upon the world which surrounds us lends her photographs a unique attractiveness.

The artist launched her international career in 2001, when she published three amazing photo books simultaneously – Utatane, Hanabi and Hanako – thereby securing her position as one of the most innovative artists in contemporary photography. In these early work groups, Kawauchi finds her images in a highly personal manner, encountering the world and its objects.

She is creating a new body of work for this exhibition, for which the artist undertook a voyage to Austria in December 2014. Her search for the special – for the essence of the world – led her to a gold smelting plant and to the glaciers of the Dachstein Mountain, among others.

Rinko Kawauchi – DreamWalking @ KUNST HAUS WIEN

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Das KUNST HAUS WIEN eröffnet seinen Schwerpunkt Fotografie mit dem beeindruckenden Werk der japanischen Künstlerin Rinko Kawauchi (*1972). Die Ausstellung ist die erste umfangreiche Mid-Career-Retrospektive der Fotografin in Europa. In groß angelegten Zyklen stellt sie ein universelles Gedächtnis und eine archetypische Erinnerung vor, die eine Reflexion über das menschliche Dasein ermöglicht.

Rinko Kawauchi findet weltweite Beachtung für die nuancierte Farbgebung und die schlafwandlerische Meisterschaft ihrer Komposition. Zudem gelingt es ihr durch Achtsamkeit auf kleine Gesten und zufällige Details ihre alltägliche Umgebung immer wieder aufs Neue zu verzaubern. Sie fängt mit ihrer Kamera elementare sowie beiläufige Momente ein, und das mit derselben konzentrierten Hingabe. Kawauchi erforscht das Besondere im Alltäglichen, dies führt sie schließlich zu den fundamentalen Kreisläufen des Lebens und der scheinbar unabsichtlichen Ordnung der Natur in formalen Strukturen. Die außergewöhnliche Sensibilität ihres Blickes auf die Welt, die uns umgibt, verleiht ihren Fotografien eine einzigartige Anziehungskraft.

Die Künstlerin begann ihre internationale Karriere 2001 mit der simultanen Veröffentlichung von drei erstaunlichen Fotobüchern – Utatane, Hanabi, und Hanako – und sicherte sich damit ihre Stellung als eine der innovativsten KünstlerInnen der zeitgenössischen Fotografie. In diesen frühen Werkgruppen erfolgt Kawauchis Bildfindung durch einen sehr persönlichen Zugang in der Begegnung mit der Welt und den Dingen in ihr.

Eigens für diese Ausstellung entsteht eine neue Werkgruppe, wofür die Künstlerin im Dezember 2014 eine Reise nach Österreich unternahm. Ihre Suche nach dem Besonderen – nach der Essenz der Welt – führte sie dabei unter anderem in eine Goldschmelze und in die Gletscherwelt des Dachsteins.

Rinko Kawauchi – DreamWalking @ KUNST HAUS WIEN

RINKO KAWAUCHI, FoMu Antwerp

ILLUMINANCE & AMETSUCHI
FOTO MUSEUM ANTWERP
Rinko Kawauchi

Co-curated by Ferdinand Brueggemann & Rein Deslé
In cooperation with Galerie Priska Pasquer

March 21st – June 6th, 2014

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Japanese photographer Rinko Kawauchi (JP. *1972) is not confined by space and time. She plays with universal memories and references. The pure colors and compositions seek the essence of the world: elements of nature, the cycle of life, the perennial and the transitory, departing from a Japanese sensibility and developing a style which already bears her name.

This the first time a Belgian museum organizes an exhibition dedicated to Kawauchi’s poetic and personal visual language. This exhibition was realized in cooperation with Galerie Priska Pasquer (Cologne), supported by Galerie Meessen De Clercq (Brussels), Christophe Guye Galerie (Zurich) and Monica Vögle.

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Japanese photographer Rinko Kawauchi (JP. *1972) is not confined by space and time. She plays with universal memories and references. The pure colors and compositions seek the essence of the world: elements of nature, the cycle of life, the perennial and the transitory, departing from a Japanese sensibility and developing a style which already bears her name.

This the first time a Belgian museum organizes an exhibition dedicated to Kawauchi’s poetic and personal visual language. This exhibition was realized in cooperation with Galerie Priska Pasquer (Cologne), supported by Galerie Meessen De Clercq (Brussels), Christophe Guye Galerie (Zurich) and Monica Vögle.

RINKO KAWAUCHI, Ametsuchi

AMETSUCHI
Rinko Kawauchi

December 6th, 2013 – March 8th, 2014

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„The sunset I see from the window of my home tonight is similar but different from what I saw yesterday. Every day is in a continuum of new days, each somehow different from the next. […] Throughout the world, we are comrades who share grace, and share as well the challenges to overcome any number of difficult obstacles. Even if our paths never cross, we who exist now on the same Earth certainly share something, a shared time and as shared space.“

Die GALERIE | PRISKA PASQUER freut sich auf die Präsentation von Rinko Kawauchis neuester Serie „Ametsuchi“. Die Arbeiten werden zum ersten Mal in Europa in einer Einzelausstellung gezeigt. Kawauchis neue Serie „Ametsuchi“, deren Titel übersetzt “Himmel” und “Erde” heißt, widmet sich dem Verhältnis der Menschheit zur Zeit. Weite Landschaftsbilder, die die traditionelle, kontrollierte Feldbrandrodung zeigen, demonstrieren die zerstörerische und verjüngende Kraft des Feuers. Abstrakte und ruhige Bilder von Sternenkonstellationen und religiösen Ritualen punktieren die Serie der Feuerbilder. Die Künstlerin zeigt die Landschaften in erdigen Farben in einer „elementaren Einfachheit“, die an „Farbfelder von Rothko Gemälden“ erinnern (Florence Waters). Im Zusammenspiel der Bilder von wiederkehrenden bäuerlichen und religiösen Ritualen und vom Sternenhimmel schafft Rinko Kawauchi eine Verbindung zwischen Vergangenheit und Gegenwart, der spirituellen Welt und der Realität, und zwischen Himmel und Erde.  

RINKO KAWAUCHI | DIE KÜNSTLERIN

Rinko Kawauchi wurde 1972 geboren und gilt als eine der bedeutendsten japanischen Künstlerinnen der Gegenwart. Sie lebt nach einem Aufenthalt in New York wieder in Tokio. In ihrem Studium am Seian Junior College of Art and Design entdeckte sie das Medium Fotografie als Ausdrucksform. Bislang hat sie 16 Fotobücher veröffentlicht, u.a. “Illuminance” (2011), dessen Besonderheit darin liegt, das Ephemere des Alltags in etwas atemberaubend Neues zu verwandeln. Ihre Arbeiten wurden weltweit in Einzelausstellungen präsentiert, u.a. im Tokyo Metropolitan Museum of Photography, in der Gallery at Hermès, New York, im Museu de Arte Moderna de São Paulo und in der Foundation Cartier pour l’Art in Paris. Fotografien der Künstlerin sind u. a. im Bestand des San Francisco Museum of Modern Art des Tokyo Metropolitan Museum of Photography. Seit 2006 wird die Künstlerin von der GALERIE | PRISKA PASQUER in Europa vertreten.

EDITION | PRISKA PASQUER

Wir freuen uns unser Special Edition Konzept für junge Sammler mit Rinko Kawauchi fortzuführen. Die Künstlerin hat dafür Abzug aus ihrer Serie “Ametsuchi” erstellt. Dem Beispiel unserer “Experimente Edition” von Rudolf Bonvie folgend, bieten wir diesen Abzug in unserem Webshop an. Die Arbeit ist ein C-Print in der Größe 31,2 x 40 cm, in einer Auflagenhöhe von 1.000 und ist von der Künstlerin signiert.

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„The sunset I see from the window of my home tonight is similar but different from what I saw yesterday. Every day is in a continuum of new days, each somehow different from the next. […] Throughout the world, we are comrades who share grace, and share as well the challenges to overcome any number of difficult obstacles. Even if our paths never cross, we who exist now on the same Earth certainly share something, a shared time and as shared space.“

GALERIE | PRISKA PASQUER is proud to present Rinko Kawauchi’s latest series “Ametsuchi”.
This is the first time that these photographic works have been shown in Europe as part of an individual exhibition.
Kawauchi’s new series, “Ametsuchi” – which translates as “heaven” and “earth” – explores how mankind relates to time. Vast landscape pictures depict the traditional, controlled burning of farmland, demonstrating the destructive yet rejuvenating power of fire. The series of fire pictures are punctuated with abstract and calm images of stellar constellations and religious rituals.
In the earthy colours of her landscapes, the artist creates an “elementary simplicity […] like fields of colour in a Rothko painting” (Florence Waters).
Interwoven with the images of recurring agricultural and religious rituals and starry skies, Rinko Kawauchi conjures up a connection between the past and the present, the spiritual world and reality, between Heaven and Earth.

RINKO KAWAUCHI | THE ARTIST

Born in 1972, Rinko Kawauchi is regarded as one of the most important female contemporary Japanese artists. Having lived for some time in New York, she has since returned to Tokyo. When studying at the Seian Junior College of Art and Design, she discovered photography as a means of expression. To date, she has published 16 photo books, including “Illuminance” (2011), which focused on transforming ephemeral elements of everyday life into something breathtakingly new.
Her works have been shown in individual exhibitions all over the world, including in the Tokyo Metropolitan Museum of Photography, Gallery at Hermès, New York, in the São Paulo Museum of Modern Art and in the Fondation Cartier pour l’Art in Paris.
Photographs by the artist are included in the collections of the San Francisco Museum of Modern Art and the Tokyo Metropolitan Museum of Photography. Since 2006, the artist has been represented in Europe by GALERIE | PRISKA PASQUER

Rinko Kawauchi, Lieko Shiga, Asako Narahashi and others, MIZU NO OTO at FotoGrafia. Festival Internazionale di Roma

MIZU NO OTO
Rinko Kawauchi,
 Lieko Shiga, Asako Narahashi and others
FotoGrafia – Festival Internazionale di Roma

September 23rd – October 23rd, 2011

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FotoGrafia – Festival Internazionale di Roma
MACRO Testaccio

Curated by 3/3 in dialogue with Rinko Kawauchi
In co-production with Galerie Priska Pasquer, Cologne and G/P gallery, Tokyo

A haiku by Matsuo Bashô: “Into the old pond — A frog leaps. The sound of water.”

Water as an element is the common thread that binds together the work of five women photographers — some well known on the international scene, others young emerging artists — who, though differing greatly from each other, well represent the most interesting lines of Japanese photography in recent years.

The show titled Mizu no Oto: Sound of Water meshes perfectly with the theme “Motherland” chosen for this year’s photography festival. It explores the lines of a sensitivity expressed by close attention to tiny things, a deep tie to nature and the flow of existence by elaborating on a key image in Japanese art. From Hokusai’s The Great Wave to Asako Narahashi’s foreground waves, water is an energetic and vital element, metaphor for the cycle and cyclic character of life.

Though water may not be literally present, it takes us back to a liquid vision, a fluidity that creates points of contiguity between visual and emotional states, between macrocosmos and microcosmos, the real and the imaginary, the personal and the universal. Water becomes the vehicle of resonances charged with metaphoric and poetic power.

It is this plane of relating to reality — an idea of life and fate always projected in an utmost dimension — that connects these artists to the immediate experience, a concept that John Szarkowsky focused on in the exhibition “New Japanese Photography,” held in 1974 at the Museum of Modern Art in New York (curated by Szarkowsky and Shôji Yamagishi, it was the first major show of contemporary Japanese photography held outside Japan).

An ecstatic experience, a psychic state of suspension, in search of immediacy and unselfconsciousness: sensations, perception, images that strike us and come into contact with our innermost selves.

Lieko Shiga believes that “taking photos is not like shooting, but the reverse: it’s like being shot. I am shot, and the entire timeline of my existence is resurrected in the photograph. So, I think photography is the revival of eternal time and of eternal life.”

On the one hand, this relationship with the continuous flow of experience and existence brings us back to a constant present (as David Chandler notes in his afterword to Rinko Kawauchi’s latest book, Illuminance, as regards her relationship to memory) and to that skin-deep relationship made up of epiphanic events that Mayumi Hosokura narrates with her photos. On the other hand, though, this doesn’t mean eluding intention, such as is very much present and clarified in Yumilo Utsu’s playful creations.

The pictures created by these five photographers and their fluid approach are thus almost magically maintained in a state of delicate balance with reality. Their narrations open up to poetic and creative possibilities of existence that, though far from any Western-like objectivity, do not waive an open and at times even ironically explicit dialogue with the West.

| EN

FotoGrafia – Festival Internazionale di Roma
MACRO Testaccio

Curated by 3/3 in dialogue with Rinko Kawauchi
In co-production with Galerie Priska Pasquer, Cologne and G/P gallery, Tokyo

A haiku by Matsuo Bashô: “Into the old pond — A frog leaps. The sound of water.”

Water as an element is the common thread that binds together the work of five women photographers — some well known on the international scene, others young emerging artists — who, though differing greatly from each other, well represent the most interesting lines of Japanese photography in recent years.

The show titled Mizu no Oto: Sound of Water meshes perfectly with the theme “Motherland” chosen for this year’s photography festival. It explores the lines of a sensitivity expressed by close attention to tiny things, a deep tie to nature and the flow of existence by elaborating on a key image in Japanese art. From Hokusai’s The Great Wave to Asako Narahashi’s foreground waves, water is an energetic and vital element, metaphor for the cycle and cyclic character of life.

Though water may not be literally present, it takes us back to a liquid vision, a fluidity that creates points of contiguity between visual and emotional states, between macrocosmos and microcosmos, the real and the imaginary, the personal and the universal. Water becomes the vehicle of resonances charged with metaphoric and poetic power.

It is this plane of relating to reality — an idea of life and fate always projected in an utmost dimension — that connects these artists to the immediate experience, a concept that John Szarkowsky focused on in the exhibition “New Japanese Photography,” held in 1974 at the Museum of Modern Art in New York (curated by Szarkowsky and Shôji Yamagishi, it was the first major show of contemporary Japanese photography held outside Japan).

An ecstatic experience, a psychic state of suspension, in search of immediacy and unselfconsciousness: sensations, perception, images that strike us and come into contact with our innermost selves.

Lieko Shiga believes that “taking photos is not like shooting, but the reverse: it’s like being shot. I am shot, and the entire timeline of my existence is resurrected in the photograph. So, I think photography is the revival of eternal time and of eternal life.”

On the one hand, this relationship with the continuous flow of experience and existence brings us back to a constant present (as David Chandler notes in his afterword to Rinko Kawauchi’s latest book, Illuminance, as regards her relationship to memory) and to that skin-deep relationship made up of epiphanic events that Mayumi Hosokura narrates with her photos. On the other hand, though, this doesn’t mean eluding intention, such as is very much present and clarified in Yumilo Utsu’s playful creations.

The pictures created by these five photographers and their fluid approach are thus almost magically maintained in a state of delicate balance with reality. Their narrations open up to poetic and creative possibilities of existence that, though far from any Western-like objectivity, do not waive an open and at times even ironically explicit dialogue with the West.

RINKO KAWAUCHI, “The eyes, the ears” at Kunstverein Augsburg, Germany

THE EYES, THE EARS
Rinko Kawauchi
at Kunstverein Augsburg, Germany

October 17th – December 19th, 2010

| DE

Mit Rinko Kawauchi ist eine der bedeutendsten und einflussreichsten Vertreterinnen der zeitgenössischen japanischen Fotografie zu Gast im Kunstverein Augsburg. Die 1972 geborene Fotografin präsentiert ihre Arbeiten als Bildserien über das Alltägliche. Diesen Alltag findet die Künstlerin sowohl imPrivaten, z. B. in der Beobachtung der Rituale, des Werdens und Vergehens im eigenen Familienleben, als auch in scheinbar gewöhnlichen Dingen, deren spärlicher, wundervoller Glanz äußerst flüchtig zu sein scheint. Ihre seriellen Kompositionen bestechen durch den ihr eigenen, außergewöhnlichen Umgang mit – in der Regel natürlichem – Licht. Durch ihn lässt sie eine sehr spezielle, pastellartige Farbigkeit und eine faszinierende, nahezu unwirkliche Helligkeit entstehen.

In Augsburg zeigt Rinko Kawauchi einen Auszug aus Ihren Fotoserien “Utatane”, “the eyes, the ears” und “Aila” sowie eine Dia-Show zur Serie “Cui Cui”. “Utatane” (Nickerchen), 2001, bewegt sich in den Dimensionen des Halbschlafs. In diesem Zustand des Loslassens entstehen atemberaubende, teilweise melancholische Stilleben, Landschaften und Portraits. “Aila” (abgeleitet vom türkischen Wort “aile” für Familie), 2004, beschäftigt sich mit dem Dasein von Menschen, Tieren und Pflanzen im Laufe eines Lebens, begrenzt durch Geburt und Tod. “the eyes, the ears”, 2005, beinhaltet Fotografien, die Situationen des Alltäglicheneinfangen und diese Momente der Flüchtigkeit auf traumhafte, zarte Art und Weise festhalten. Die Dia-Show “Cui Cui” (das französische “Piep piep” des Spatzen), 2005, stellt das engere familiäre Umfeld der Künstlerin in den Mittelpunkt, das sie über einen Zeitraum von dreizehn Jahren mit der Kamera eingefangen hat.

Der Kunstverein dankt der Galerie Priska Pasquer, Köln, insbesondere Herrn Ferdinand Brüggemann, herzlich für die gute Zusammenarbeit.

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Mit Rinko Kawauchi ist eine der bedeutendsten und einflussreichsten Vertreterinnen der zeitgenössischen japanischen Fotografie zu Gast im Kunstverein Augsburg. Die 1972 geborene Fotografin präsentiert ihre Arbeiten als Bildserien über das Alltägliche. Diesen Alltag findet die Künstlerin sowohl imPrivaten, z. B. in der Beobachtung der Rituale, des Werdens und Vergehens im eigenen Familienleben, als auch in scheinbar gewöhnlichen Dingen, deren spärlicher, wundervoller Glanz äußerst flüchtig zu sein scheint. Ihre seriellen Kompositionen bestechen durch den ihr eigenen, außergewöhnlichen Umgang mit – in der Regel natürlichem – Licht. Durch ihn lässt sie eine sehr spezielle, pastellartige Farbigkeit und eine faszinierende, nahezu unwirkliche Helligkeit entstehen.

In Augsburg zeigt Rinko Kawauchi einen Auszug aus Ihren Fotoserien “Utatane”, “the eyes, the ears” und “Aila” sowie eine Dia-Show zur Serie “Cui Cui”. “Utatane” (Nickerchen), 2001, bewegt sich in den Dimensionen des Halbschlafs. In diesem Zustand des Loslassens entstehen atemberaubende, teilweise melancholische Stilleben, Landschaften und Portraits. “Aila” (abgeleitet vom türkischen Wort “aile” für Familie), 2004, beschäftigt sich mit dem Dasein von Menschen, Tieren und Pflanzen im Laufe eines Lebens, begrenzt durch Geburt und Tod. “the eyes, the ears”, 2005, beinhaltet Fotografien, die Situationen des Alltäglicheneinfangen und diese Momente der Flüchtigkeit auf traumhafte, zarte Art und Weise festhalten. Die Dia-Show “Cui Cui” (das französische “Piep piep” des Spatzen), 2005, stellt das engere familiäre Umfeld der Künstlerin in den Mittelpunkt, das sie über einen Zeitraum von dreizehn Jahren mit der Kamera eingefangen hat.

Der Kunstverein dankt der Galerie Priska Pasquer, Köln, insbesondere Herrn Ferdinand Brüggemann, herzlich für die gute Zusammenarbeit.

RINKO KAWAUCHI, A Glimmer in Silence

A GLIMMER IN SILENCE
Rinko Kawauchi

September 4th – November 2nd, 2010

| DE

To mark the ten-year anniversary of Galerie Priska Pasquer, we are delighted to present a selection of new works by Rinko Kawauchi.
With ‘A Glimmer in Silence’, Rinko Kawauchi recalls the spirit of the ‘Utatane’ series with which she entered the art scene in 2001. Today, Rinko Kawauchi is one of the best-known Japanese photographers of her generation.
In her works, the artist presents a flowing, fragmentary depiction of everyday life with fleeting scenes and small objects. At first glance, the motifs found in her new series ‘A Glimmer of Silence’ are also less than spectacular: light reflected in a mirror, a small frog sitting on a hand, fish in a plastic bag or animal eyes from the butcher’s shop. Beneath the surface, however, Rinko Kawauchi never fails to allude to the relationship between people and the manifestations of animate and inanimate nature and to the basic experiences of humankind: the transience of life, birth, death.
Her motifs, for the most part shot in natural light, draw their poetic character from the subtle use of light and colour and the firm focus on the ephemeral – poetry and emotion are fused with images of fleeting beauty, frequently with melancholy undertones.
Kishin Shinoyama, another prominent Japanese photographer, has spoken about Rinko Kawauchi’s work: ‘Anyone who thinks her photos are designed to have a healing effect or produce some degree of happiness, which is trendy now, is making a big mistake. Her pictures are fearful. They are cruel and erotic. They are lifelike – and hence sour on occasion.’
In 2001, Rinko Kawauchi shot to fame in Japan with the simultaneous publication of three books of photos ‘Hanako’ (a girl’s name), ‘Utatane’ (Siesta) and ‘Hanabi’ (Fireworks). In 2002, she received the prestigious ‘Kimura Ihei Award’ for two of these books. In 2004, she published ‘Aila’ (Family), followed in 2005 by ‘the eyes, the ears’ (a book about the senses) and ‘Cui Cui’ (an observation of the life of her grandparents over a period of thirteen years).
In 2007, she published ‘Semear’ (Sowing Seeds), photographed in Brazil. Other publications by Rinko Kawauchi are photo books ‘Every day as a child’ (containing photographs from the film ‘Nobody knows’ by director Kore-Eda), ‘No War’, a collaboration with Yoshitomo Nara on the subject of Afghanistan, and her photographic diaries ‘Rinko Diary I + II’. To date, Rinko Kawauchi has published thirteen books of photographs.
‘A Glimmer of Silence’ is the second exhibition of the artist’s work at Galerie Priska Pasquer. Together with Antoine de Vilmorin, Galerie Priska Pasquer also put on an exhibition of her work in Paris in 2008.
Kawauchi’s works have been shown at individual exhibitions at Fondation Cartier (Paris), the Photographers’ Gallery (London), Museum Moderna de Sao Paulo, Hasselblad Center (Göteburg), Huis Marseille (Amsterdam), Fotografins Hus (Stockholm) and in the Vangi Sculpture Garden Museum (Shizuoka) and elsewhere.

PUBLIKATIONEN
– Rinko Beta, BCCKS, Tokyo 2010
– Semear, Foil, Tokyo 2007
– Majun (postcard book), Foil, Tokyo 2007
– Rinko Diary II, Foil, TOKYO, 2006
– Rinko Diary, Foil, Tokyo, 2006
– Cui Cui, Foil, Tokyo / Fondation Cartier pour l’art contemporain, Paris, 2005
– the eyes, the ears, Foil, Tokyo, 2005
– AILA, Little More, Tokyo, 2004
– Every day as a child: photographs of the film Nobody knows, Hirokazu Kore-Eda, Sony Magazines, Tokyo, 2004
– No War, with Yoshitomo Nara, Foil magazine, Tokyo, vol.1, 2003
– One day, Foil magazine, Tokyo, vol.5, 2004
– blue, Tokyo, 2003
– ROOTS, Foil magazine, Tokyo, vol.2, 2003
– Utatane, Little More, Tokyo, 2001
– Hanabi, Little More, Tokyo, 2001
– Hanako, Little More, Tokyo, 2001

| EN

To mark the ten-year anniversary of Galerie Priska Pasquer, we are delighted to present a selection of new works by Rinko Kawauchi.
With ‘A Glimmer in Silence’, Rinko Kawauchi recalls the spirit of the ‘Utatane’ series with which she entered the art scene in 2001. Today, Rinko Kawauchi is one of the best-known Japanese photographers of her generation.
In her works, the artist presents a flowing, fragmentary depiction of everyday life with fleeting scenes and small objects. At first glance, the motifs found in her new series ‘A Glimmer of Silence’ are also less than spectacular: light reflected in a mirror, a small frog sitting on a hand, fish in a plastic bag or animal eyes from the butcher’s shop. Beneath the surface, however, Rinko Kawauchi never fails to allude to the relationship between people and the manifestations of animate and inanimate nature and to the basic experiences of humankind: the transience of life, birth, death.
Her motifs, for the most part shot in natural light, draw their poetic character from the subtle use of light and colour and the firm focus on the ephemeral – poetry and emotion are fused with images of fleeting beauty, frequently with melancholy undertones.
Kishin Shinoyama, another prominent Japanese photographer, has spoken about Rinko Kawauchi’s work: ‘Anyone who thinks her photos are designed to have a healing effect or produce some degree of happiness, which is trendy now, is making a big mistake. Her pictures are fearful. They are cruel and erotic. They are lifelike – and hence sour on occasion.’
In 2001, Rinko Kawauchi shot to fame in Japan with the simultaneous publication of three books of photos ‘Hanako’ (a girl’s name), ‘Utatane’ (Siesta) and ‘Hanabi’ (Fireworks). In 2002, she received the prestigious ‘Kimura Ihei Award’ for two of these books. In 2004, she published ‘Aila’ (Family), followed in 2005 by ‘the eyes, the ears’ (a book about the senses) and ‘Cui Cui’ (an observation of the life of her grandparents over a period of thirteen years).
In 2007, she published ‘Semear’ (Sowing Seeds), photographed in Brazil. Other publications by Rinko Kawauchi are photo books ‘Every day as a child’ (containing photographs from the film ‘Nobody knows’ by director Kore-Eda), ‘No War’, a collaboration with Yoshitomo Nara on the subject of Afghanistan, and her photographic diaries ‘Rinko Diary I + II’. To date, Rinko Kawauchi has published thirteen books of photographs.
‘A Glimmer of Silence’ is the second exhibition of the artist’s work at Galerie Priska Pasquer. Together with Antoine de Vilmorin, Galerie Priska Pasquer also put on an exhibition of her work in Paris in 2008.
Kawauchi’s works have been shown at individual exhibitions at Fondation Cartier (Paris), the Photographers’ Gallery (London), Museum Moderna de Sao Paulo, Hasselblad Center (Göteburg), Huis Marseille (Amsterdam), Fotografins Hus (Stockholm) and in the Vangi Sculpture Garden Museum (Shizuoka) and elsewhere.

PUBLIKATIONEN
– Rinko Beta, BCCKS, Tokyo 2010
– Semear, Foil, Tokyo 2007
– Majun (postcard book), Foil, Tokyo 2007
– Rinko Diary II, Foil, TOKYO, 2006
– Rinko Diary, Foil, Tokyo, 2006
– Cui Cui, Foil, Tokyo / Fondation Cartier pour l’art contemporain, Paris, 2005
– the eyes, the ears, Foil, Tokyo, 2005
– AILA, Little More, Tokyo, 2004
– Every day as a child: photographs of the film Nobody knows, Hirokazu Kore-Eda, Sony Magazines, Tokyo, 2004
– No War, with Yoshitomo Nara, Foil magazine, Tokyo, vol.1, 2003
– One day, Foil magazine, Tokyo, vol.5, 2004
– blue, Tokyo, 2003
– ROOTS, Foil magazine, Tokyo, vol.2, 2003
– Utatane, Little More, Tokyo, 2001
– Hanabi, Little More, Tokyo, 2001
– Hanako, Little More, Tokyo, 2001

Osamu Shiihara, Shomei Tomatsu, Daido Moriyama, Nobuyoshi Araki, Issei Suda, Asako Narahashi, Rinko Kawauchi, Mika Ninagawa, REVIEW / PREVIEW – JAPANESE PHOTOGRAPHS

REVIEW / PREVIEW – JAPANESE PHOTOGRAPHS

Osamu Shiihara, Shomei Tomatsu, Daido Moriyama, Nobuyoshi Araki, Issei Suda, Asako Narahashi, Rinko Kawauchi, Mika Ninagawa

June 24th – September 6th, 2008

| DE

Press Release

With the group exhibition ‘Review / Preview’, we have the pleasure of giving an initial overview of the programme of Japanese photography at Galerie Priska Pasquer.
Since its earliest days, Galerie Priska Pasquer has regularly played host to individual exhibitions on Japanese photography – including the works of Daido Moriyama, Eikoh Hosoe and Rinko Kawauchi – with further exhibitions in a similar vein currently being prepared for the coming season.
The works that make up the exhibition are drawn from a total of seven decades. The earliest photograph in the exhibition is an experimental oeuvre by avant-garde photographer Osamu Shiihara.

From the 1960s there are two key photographs by Shomei Tomatsu, whose series on the current condition and traditions of Japanese society established him as the most influential photographer since the war.

The 1970s are represented by Issei Suda and his outstanding ‘Fushi Kaden’ series. An exhibition dedicated exclusively to Issei Suda’s work will be held at Galerie Priska Pasquer next November, the first event of its kind to be held in the West.
The exhibition will also include works by Daido Moriyama from the 1980s and 1990s – as the representative of the ‘Provoke Era’, he has had a key influence on Japanese photography since the late 1960s.

Also from the 1980s are a number of works by Nobuyoshi Araki, who holds a singular position in modern photography, primarily owing to his obsessive preoccupation with Eros and Thanatos, juxtaposed with descriptions of his own life.

Contemporary photography is represented in this exhibition by three women photographers. The first of these is Rinko Kawauchi, whose poetic and sensitive works have twice been exhibited by Galerie Priska Pasquer (in Cologne and recently in Paris): namely the series of colour photographs ‘Utatane’ and ‘Aila’.
The second is Mika Ninagawa, whose goldfish series ‘Liquid Dreams’ walks a delicate line between art and pop culture.
And the third is Asako Narahashi, whose work reached a wider audience for the very first time with her series ‘half awake and half asleep in the water’, published last autumn. Following ‘Review / Preview – Japanese Photography’, Galerie Priska Pasquer will present the series ‘half awake and half asleep in the water’ in an individual exhibition (Vernissage 12 Sept.: attended by Asako Narahashi).

| EN

Press Release

With the group exhibition ‘Review / Preview’, we have the pleasure of giving an initial overview of the programme of Japanese photography at Galerie Priska Pasquer.
Since its earliest days, Galerie Priska Pasquer has regularly played host to individual exhibitions on Japanese photography – including the works of Daido Moriyama, Eikoh Hosoe and Rinko Kawauchi – with further exhibitions in a similar vein currently being prepared for the coming season.
The works that make up the exhibition are drawn from a total of seven decades. The earliest photograph in the exhibition is an experimental oeuvre by avant-garde photographer Osamu Shiihara.

From the 1960s there are two key photographs by Shomei Tomatsu, whose series on the current condition and traditions of Japanese society established him as the most influential photographer since the war.

The 1970s are represented by Issei Suda and his outstanding ‘Fushi Kaden’ series. An exhibition dedicated exclusively to Issei Suda’s work will be held at Galerie Priska Pasquer next November, the first event of its kind to be held in the West.
The exhibition will also include works by Daido Moriyama from the 1980s and 1990s – as the representative of the ‘Provoke Era’, he has had a key influence on Japanese photography since the late 1960s.

Also from the 1980s are a number of works by Nobuyoshi Araki, who holds a singular position in modern photography, primarily owing to his obsessive preoccupation with Eros and Thanatos, juxtaposed with descriptions of his own life.

Contemporary photography is represented in this exhibition by three women photographers. The first of these is Rinko Kawauchi, whose poetic and sensitive works have twice been exhibited by Galerie Priska Pasquer (in Cologne and recently in Paris): namely the series of colour photographs ‘Utatane’ and ‘Aila’.
The second is Mika Ninagawa, whose goldfish series ‘Liquid Dreams’ walks a delicate line between art and pop culture.
And the third is Asako Narahashi, whose work reached a wider audience for the very first time with her series ‘half awake and half asleep in the water’, published last autumn. Following ‘Review / Preview – Japanese Photography’, Galerie Priska Pasquer will present the series ‘half awake and half asleep in the water’ in an individual exhibition (Vernissage 12 Sept.: attended by Asako Narahashi).

RINKO KAWAUCHI, AILA

AILA
Rinko Kawauchi

September 22nd, 2006 – February 28th, 2007

| DE

RINKO KAWAUCHI, AILA
September 22, 2006 – February 28, 2007
As the curator of “Rencontres de la Photographie 2004” in Arles the photographer and collector Martin Parr presented Rinko Kawauchi’s work comprehensively in Europe for the first time, and consequently Rinko Kawauchi became internationally well-known. Therefore we are pleased that Martin Parr has agreed to give an introductory talk about Rinko Kawauchi’s work during the exhibition opening on 22 September.

On 24 September 2006 Martin Parr will receive the Dr.-Erich-Salomon Prize from the German Photographic Association (DGPh) for his photographic work. On the occasion of the award ceremony his work will be presented in the Visual Gallery of the Photokina trade fair in a solo exhibition titled “Assorted Cocktail”.

Matinee: Sunday, 1 October 2006, 11am – 4pm, with a talk by Ferdinand Brüggemann at 12pm:
“Rinko Kawauchi and Contemporary Japanese Photography”

Opening times during the “Photoszene” Cologne photography festival:
Friday, 29 September 2006, 1pm – 10pm, and Sunday, 1 October 2006, 11am – 2pm

In her native Japan the 34-year-old Japanese photographer Rinko Kawauchi has become one of the most important artists of her generation. After appearing in several museum exhibitions and festivals in Europe (among others “Rencontres de la Photographie”, Arles; Fondation Cartier, Paris; Huis Marseille, Amsterdam: Photographers’ Gallery, London) this exhibition will be the first extensive presentation of the photographer in Germany. Works from the series “Aila” (2004) as well as from the series “the eyes, the ears” (2005) and “Utatane” (2001) will be shown.

Rinko Kawauchi’s work focuses on ordinary things and everyday situations. Her photographs attain their specific quality through her use of cropping and choice of perspective as well as the subtle use of natural light in combination with often virtually transparent colours. Rinko Kawauchi works in series, which, in the form of open narratives, combine poetry and emotion with representations of mortality and occasional melancholy.

The subject of Rinko Kawauchi’s best-known work “Aila” (which means “family” in Turkish) is the depiction of the essence of life: animals, plants and people are shown in a sequence assembled by free association, which also includes both birth and death. Rinko Kawauchi’s fascination in fleeting beauty, the subjects of creation and destruction, and life and death are communicated in her images. “From the black ocean comes the appearance of light and waves. It helps you imagine birth. I want imagination in the photographs I take. It’s like a prologue. You wonder, ‘What’s going on?’ You feel something is going to happen.” (Rinko Kawauchi)

All the photographs are c-prints. They are available in 30.5 x 25.4 cm (12 x 10 inches) and 101 x 101 cm (39.75 x 39.75 inches). The edition contains – irrespective of the size of the photographs – 6 prints each.

Biographical Summary:
Rinko Kawauchi was born in Shiga in 1972 and became interested in photography while she was studying at Seian Junior College of Art and Design. As is customary with Japanese photographers she began her career as an artist by publishing her work in her own photography books. In the year 2001 she became famous over night in Japan after the simultaneous publication of the three photography books “Hanako” (named after a disabled girl), “Utatane” (siesta) and “Hanabi” (fireworks). In 2002 she received the prestigious “Kimuar Ihei Award” for two of the books. In 2004 she published “Aila” (family), in 2005 “the eyes, the ears” (a book about the senses) and “Cui Cui” (which observes the lives of her grandparents over a period of thirteen years). Further publications by Rinko Kawauchi, which should be mentioned, are the photography books “Every day as a child” accompanying the film “Nobody Knows” by director Kore-Eda, as well as “No War”, a collaboration with Yoshitomo Nara about Afghanistan and her recently published diary “Rinko Nikki.” To date Rinko Kawauchi has published nine photography books.

The exhibition is in cooperation with Antoine de Vilmorin, Paris

| EN

RINKO KAWAUCHI
September 22, 2006 – February 28, 2007
As the curator of “Rencontres de la Photographie 2004” in Arles the photographer and collector Martin Parr presented Rinko Kawauchi’s work comprehensively in Europe for the first time, and consequently Rinko Kawauchi became internationally well-known. Therefore we are pleased that Martin Parr has agreed to give an introductory talk about Rinko Kawauchi’s work during the exhibition opening on 22 September.

On 24 September 2006 Martin Parr will receive the Dr.-Erich-Salomon Prize from the German Photographic Association (DGPh) for his photographic work. On the occasion of the award ceremony his work will be presented in the Visual Gallery of the Photokina trade fair in a solo exhibition titled “Assorted Cocktail”.

Matinee: Sunday, 1 October 2006, 11am – 4pm, with a talk by Ferdinand Brüggemann at 12pm:
“Rinko Kawauchi and Contemporary Japanese Photography”

Opening times during the “Photoszene” Cologne photography festival:
Friday, 29 September 2006, 1pm – 10pm, and Sunday, 1 October 2006, 11am – 2pm

In her native Japan the 34-year-old Japanese photographer Rinko Kawauchi has become one of the most important artists of her generation. After appearing in several museum exhibitions and festivals in Europe (among others “Rencontres de la Photographie”, Arles; Fondation Cartier, Paris; Huis Marseille, Amsterdam: Photographers’ Gallery, London) this exhibition will be the first extensive presentation of the photographer in Germany. Works from the series “Aila” (2004) as well as from the series “the eyes, the ears” (2005) and “Utatane” (2001) will be shown.

Rinko Kawauchi’s work focuses on ordinary things and everyday situations. Her photographs attain their specific quality through her use of cropping and choice of perspective as well as the subtle use of natural light in combination with often virtually transparent colours. Rinko Kawauchi works in series, which, in the form of open narratives, combine poetry and emotion with representations of mortality and occasional melancholy.

The subject of Rinko Kawauchi’s best-known work “Aila” (which means “family” in Turkish) is the depiction of the essence of life: animals, plants and people are shown in a sequence assembled by free association, which also includes both birth and death. Rinko Kawauchi’s fascination in fleeting beauty, the subjects of creation and destruction, and life and death are communicated in her images. “From the black ocean comes the appearance of light and waves. It helps you imagine birth. I want imagination in the photographs I take. It’s like a prologue. You wonder, ‘What’s going on?’ You feel something is going to happen.” (Rinko Kawauchi)

All the photographs are c-prints. They are available in 30.5 x 25.4 cm (12 x 10 inches) and 101 x 101 cm (39.75 x 39.75 inches). The edition contains – irrespective of the size of the photographs – 6 prints each.

Biographical Summary:
Rinko Kawauchi was born in Shiga in 1972 and became interested in photography while she was studying at Seian Junior College of Art and Design. As is customary with Japanese photographers she began her career as an artist by publishing her work in her own photography books. In the year 2001 she became famous over night in Japan after the simultaneous publication of the three photography books “Hanako” (named after a disabled girl), “Utatane” (siesta) and “Hanabi” (fireworks). In 2002 she received the prestigious “Kimuar Ihei Award” for two of the books. In 2004 she published “Aila” (family), in 2005 “the eyes, the ears” (a book about the senses) and “Cui Cui” (which observes the lives of her grandparents over a period of thirteen years). Further publications by Rinko Kawauchi, which should be mentioned, are the photography books “Every day as a child” accompanying the film “Nobody Knows” by director Kore-Eda, as well as “No War”, a collaboration with Yoshitomo Nara about Afghanistan and her recently published diary “Rinko Nikki.” To date Rinko Kawauchi has published nine photography books.

The exhibition is in cooperation with Antoine de Vilmorin, Paris