Selected works pdf

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Rumiko Hagiwara
selected works
[email protected]
www.rumikohagiwara.com
Jeanine Hofland Contemporary Art
http://jeaninehofland.nl
De Clercqstraat 62
1052 NJ Amsterdam NL
E-mail [email protected]
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The site-specific installation, photo and video works of Japanese artist Rumiko Hagiwara
revolve around coincidental encounters within daily life situations that often emphasize
factual errors or coincidental approvals between image and language. Hagiwara combines
a western conceptualist approach (ready made objects) with influences from traditional
Japanese culture (shadow, light, reflection), and aims at twisting the omnipresence of the
unnoticed trace of human action and behaviour into subtle, and often humoresque poetics
of the ordinary.
Rumiko Hagiwara was born in Gunma (Japan) and studied at the Tokyo Zokei University
in Tokyo (2000-2004). She was an artist in residence at the Rijksakademie van Beeldende
Kunsten in Amsterdam (2008-2009), Tokyo Wonder Site in Tokyo(2012) and at AIR Antwerpen in Antwerp (2013). She is represented in the gallery Jeanine Hofland Contemporary Art in Amsterdam.
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Contents
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Curriculum Vitae
5
Coincidental encounters and Mundane objects
6
12
14
18
21
- Photo
- Print
- Installation
- Video
- Drawing
24 Series/Groups
25
27
29
32
34
- Space Between
- Alphabet
- One and Others
- A4 paper
- ART
37 Project/Research
38
39
-lazinesss
-Humor
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Curriculum Vitae
Educations/Artist in Residencies
Solo exhibitions
2014
2013
2013
2013
2012
2011
2010
2010
2006
2003
Jeanine Hofland Contemporary art, Amsterdam, NL “If you make that kind of joke, then we call
it a lie”
AIR Antwerp, Antwerp, BE, "AIR Tailor Made"
Temporary, Verona, IT, “F901”
CEAC-Chinese European Art center, Xiamen, CN, “Oh my lovely city”
Art Rotterdam, Jeanine Hofland Contemporary art
Jeanine Hofland Contemporary art, Amsterdam, NL, “In praise of shadow”
Syofukan, Rotterdam, NL, “Waiting for a cup of tea”
Duplex, Sarajevo, BA, “Almost nothing”
Gallery Red Hot, Den Haag, NL, “Just”
Gallery Node, Tokyo, JP, “Unlighting”
Group exhibitions
2016
2015
2015
2015
2014
2014
2014
2013
2013
2012
2012
2012
2012
2012
2012
2011
2011
2011
2010
2010
2010
2010
2010
2010
2009
2009
2009
2008
2008
HALL14, Leipzig, DE, “Capitalist Melancholica”
Billytown, Den Haag, NL, “Back to the Future”
Hordaland Kunstsenter, Filmscreening, Bergen, NO
Goleb, Amsterdam, NL, In Praise of Laziness,Collaboration project with Mounira Al Solh
Eye Filmmuseum, NL , IDFA Amsterdam Art weekend film screening
Chongqing AIR, CN, June Contemporary Art Festival
Liste/Art Fair Basel, Basel, CHE
ARTISTERIUM 2013, Tbilisi GE, “A Little Further From There”
Frankendael Foundation, Amsterdam, NL, “About the House And The Things”
Arki Galeria, Taipei, TW “Urban Synesthesia ”, (exh. cat)
Atelierhaus Salzamt, Linz, AT, “Expand, Explore, Expose” (exh. cat)
Permeabilities, CEIA-Centro de Experimentação e Informação de Arte, Belo Horizonte, BR
Jeanine Hofland Contemporary art, Amsterdam, NL, “Not in a million years”
Frank taal, Rotterdam, NL, “Perennial Conceits”
ARCO Marid:Focus the Netherlands, Madrid, SP, Jeanine Hofland Contemporary art
Galerie De Expeditie, Amsterdam, NL, “shadow performers”
Nogueras Blanchard, Barcelona, SP, “Somewhere Else” (exh. cat)
Factoría de Arte y Desarrollo, Madrid, SP, “TODOS TENEMOS BUES GUSTO”
(Everyone has good taste)
meetfactory, CZ, “cinetactics”
heden Heir, Den Haag, NL, “Ola Vasiljeva en Rumiko Hagiwara”
OUI, Grenoble, FR, “tape it”
billytown, rijswijk, NL, “billytown just name dropping”
Castle and Elephant, Coventy, UK
Sils c/o A-Locatie, Rotterdam, NL, “Soot and Spit”
Rijksakademie van beeldende kunsten, Amsterdam, NL, “RijksakademieOPEN2009”
(exh. cat.ISBN:978-90-78681-08-3)
La Casa Encendida Art Center, Madrid, SP, “A la vuelta la esquina”
(just around the corner), (exh. cat.ISBN 978-84-96917-51-4)
Walden Affairs, Den Haag, NL
Galerie De Expeditie, Amsterdam, NL, “Belicht”
Rijksakademie van beeldende kunsten, Amsterdam, NL, “RijksakademieOPEN2008” (exh. cat.)
2015
2014
2014
2013
2012
2012
2010
2010
2008-09
2006-07
2005-06
2000-04
Arts Maebashi Artist-in- residence, Maebashi, JP
Kunsthuis SYB, NL, “In praise of Laziness” collanorative project with Mounira Al Solh
AIR Antwerpen, Antwerp, BE
Chinese European Art Center, Xiamen, CN
Tokyo Wonder site, Tokyo, JP
Institute for Provocation, Beijing, CN
Meet factory, Praha, CZ
DCR guest studio, Den Haag, NL
Rijksakademie van beeldende kunsten, Amsterdam, NL
Post St. Joost, Breda, NL
Koninklijke Academie van Beeldende Kunsten, Den Haag, NL
Tokyo Zokei University, Tokyo, JP
Fellowships/stipends
2013
2010/12
2008
2005/06
Mondriaan Funds Basic budget
Mondriaan Funds project budget
Rijksakademie stipend, Dutch Ministry of Education, Culture and Science
Tokyo Zokei University, Tokyo, JP, fellowship
Articles and reviews
2014
2014
2013
2012
2012
2010
2009
2009
2008
TUBELIGHT Web, “Wat anders ongezien blijft”, Julia Mullie (11st April
Het Parool, “Uit verwarring ontstaat moois”, Daniel Bertina (p.16, 27th February)
TUBELIGHT #87, “Ontregelde waarneming”, Nynke Besemer
NRC Handelsblad, “Ideeenkunst domineert op art Rotterdam” Sandra Smallenburg,
(9 February)
Kunstbeeld, “Recensies: Rumiko Hagiwara”, Esther Darley, (nr. 2 2012,p. 85)
Dani Magazine(21 May) Global Magazine(20 May) Avaz newpaper(18 May) BA
NRC Handelsblad, Dirk Limburg(26 November)
Trouw, “Nieuwe oogst kiest voor engagement”, Sandra Spijkerman, (30 January)
NRC Handelsblad, “Steeds eerder exposities en biënnales.
Deelnemers Open Ateliers wacht gouden toekomst in de kunst”, Sandra Smallenburg, (27 November)
Other
2010
2008
KABK/Royal Academy of Art, The Hague, NL, guest teaching
AKV/St. Joost, Den Bosch, NL, workshop facilitator
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Coincidental encounters and Mundane objects
Hagiwara’s practices revolve around coincidental encounters within daily life situations.
She often points out mundane objects and distorts ordinary perspectives on their images.
They are registered into the diverse formats, photos, prints, videos, site-specific installations that contain an aspect of documenting the situation that Hagiwara engaged with her
practices.
p.6
p.12
p.14
p.18
p.21
- Photo
- Print
- Installation
- Video
- Drawing
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- Photo
“ Exercise ball ”
2009
105 x 70 cm, inkjet print on cloth
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“ Marble and Brick ”
2009
96 x 135 cm
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“ Black hole ”
2010
83 x 115 cm
Hagiwara cuts her hair usually by herself. One day she noticed
that her black hair on a floor looked like a black hole.
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“ Name garden ”
This was a photograph of botanical garden in a winter when most of all plants were
underground and only the name plates were left.
2012
113 x 76 cm
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“ Foggy Antwerp”
The photograph of the beautiful Antwerp landscape whose image was shoot in a foggy day.
2013
53 x 23 cm, framed
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“Reflection of pedestal / Inside of pedestal / Shadow of pedestal”
2012, 3 photos
46 x70cm(reflection of pedestal) / 29x28cm(inside of pedestal) / 46 x70cm(shadow of pedestal)
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- Print
“ 074 2466863627 3/3 “
When Hagiwara printed her KLM e-ticket for Amsterdam to Tokyo return trip,
this image came out on the third page.
2014
29.7 x 21 cm, framed
KLM E-ticket Amsterdam - Tokyo (nr.074 2466863627) page 3
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This is a single blank A4 photocopy that had been re-copied 100 times.
Copy-machines never create perfect photocopies, they always catches dirts and distort the original image. In
repetition of re-copying, the dirts each time appeared on the photocopies were accumulated bit by bit and became the obscure gray spots increasing in succession.
In the end, the original image of blank A4 paper which was the white paper, had turned into the black paper.
The process of 100 times re-copying was documented as the list of the copy machine- manufacture numbers and
presented next to the result titled Copy of white paper, contradictory unfolded its appearance as the Black paper.
“ Copy of white paper “
2016
21x29.7cm
photocopy, framed
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- Installation
“ Outer Power ”
2013
red laser pointers, pedestal
electronic kettle
The power lamp of the electronic
kettle looks like “on” but the source of
the power light comes from a red laser
pointer standing in a distance.
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“ Dozen “
This installation is possible to be presented only in Flemish(Dutch) speaking lands .
“Dozen” is the number “twelve” in English and “Dozen” is “boxes” in Flemish(Dutch).
2015
12 boxes, title plate
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“ Pen ”
Through the projection, two parts of the pen become one.
2009
pen, cap, shadow, flash light
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“ Ten square meter of shadow ”
The title itself is creating the art work in the empty space.
2011
marble title plate, lamp, 10m2 shadow
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- Video
Stills from the video
“ Earthquake Magnitude 7.0 ”
2008
2min. 33sec.
This video begins with the static image of still life. Suddenly someon’s hands comes into
the frame and starts to shake the table imitating the earthquake.
When the gradual decreaze of the shakes reached to the end, the video image faded out.
Projection view
URL: http://www.rumikohagiwara.com/japanese/?p=282
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Projection view
“ Exit in my studio ”
2009
1min. 30sec.
Stills from the video
This video begins with an image of Hagiwara’s studio. With zooming in movement, audience(s) slowly
notices a sunglasses on a table that has a reflection of a window and the video image is fading out into the
lightness of the window.
URL: http://www.rumikohagiwara.com/english/archives/284
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Stills from the video
“ Full moon ”
2014
1min. 4 sec.
When audience(s) listens a sound of someone walking a room, closing a window and turning on a light, a full moon suddenly appares
on the view.
It was a reflection of the round ceiling lamp on the window.
Installation view
URL: http://vimeo.com/89627893
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- Drawing
“ Red pen, Yellow pen, Blue pen ”
These are drawings of color pens but in black and white.
2010
15x21cm/ 15x21cm/ 15x21cm
pencil on paper
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“Fuji and Mac”
2012
20 x 20cm / 20 x 20cm
pencil on paper
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“ Gun under white sheets / Knife under white sheets ”
2011
30 x 30 cm/ 30 x 30 cm
pencil on paper
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Series/Groups
Hagiwara’s investigation into mundanity raises a trend to use certain objects and to repeat
them in diverse media. By categorizing her art works into several Series/Groups, the progress of her investigations is visualized.
p.25
p.27
p.29
p.32
p.34
- Space Between
- Alphabet
- One and Others
- A4 paper
- ART
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- Space Between
“ Space between black and white ”
2008
flip book
15 x 9 x 7.5(H)cm
This is a flip book that makes
animation from Black to White or White to Black.
A ping pong ball(White) on which has a logo “All right”
is falling into the universe(Black).
Space between Black and White is All right.
URL: http://www.rumikohagiwara.com/english/archives/250
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Stills from the video
“ Space between yellow and blue ”
2009
video installation
2min. 46sec.
This video begin with an artificial color of yellow. Slowly audience(s) would notice
that the yellow was closer detail of a yellow flower and its location was a green field.
With the movement of zooming out and panning up, the video image would shift
toward a sky blue and ended with artificial blue color.
URL: http://www.rumikohagiwara.com/english/archives/78
Installation view
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- Alphabet
“L”
2010
photo
110 x145cm
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“H”
2009/2010
site-specific installation
tram stop sign H, hole, title plate
blocked window, metal pipe(30cm)
There was a small hole on the wall. When audience(s) looked though the hole, they would find an Alphabet
“H” inside that was actually the sign of a tram stop locating at the front of the window that had been blocked
by the wall. The trick behind of the wall was simple, the depth of the small hole was long( about 30cm) and
its angle aimed towards the tram sign.
Through this interventional installation, the common tram sign “H” would appear on audience’s views as
unexpected new object despite the fact the sign “H” had been there for a long time.
Inside hole
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- One and Other
Frontside view
There are 2 stones installed with a title plate. Second stone is hidden behind the
first stone, and therefore, the title of the installation work from the front side is “one
stone”. If audience(s) comes around the backside and notices the second stone behind, then the title is changed from “one stone” to “two stones” on the plate.
Backside view
“One stone / Two stones”
2013
installation
2 stones, title plate
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“One cup / Other cups”
2014
site-specific installation
314 cups, door, title plate
There is a cup standing behind
of the door.
When audience(s) goes around
the backside of the door, he/she
will notice that the cup is on a
pile of the other cups, and the
title of the work changes from
“one cup” to “other cups”.
Frontside view
Backside view
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“ Three Arrows “
2014
silk screen print
62 x 88cm
This is a silk screen print on a semitransparent paper.
One arrow is printed on one side and two arrows are printed on the other side.
Photograph by Ted Oonk, commissioned by AIR Antwerpen
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- A4 paper
The photograph of A4 paper is printed on the bigger size of the paper. It is the image of A4 paper even though seven
times enlarged A4 paper is no longer called as A4 paper.
“ Photo of A4 paper ”
2014, photo
150 x 202 cm, inkjet print
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“ Drawing of A4 paper ”
2015, drawing
29.7 x 21 cm(A4 size)
Pencil on paper
A drawing of A4 paper on A4 paper.
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- ART
Stills from the video
“ Designed Art “
2014/2015
book(15 x 10 cm / 69pages)
video(50sec.)
Collection of designed logotype of “Art” from Magazines and Books.
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“ This is Art ”
One spot light is installed at the front of the gallery in order to project a shadow of the
word “Art” inside of the Vitrine in the evening. The word of “Art” is the part of the gallery logo “Jeanine Hofland Contemporary Art” labeled on the glass of the Vitrine. The
projected shadow of Art is on the center of the Vitrin gallery as an art work. This sitespecific installation titled “This is Art”.
2014
site-specific instllation
lamp, window, shadow of gallery logo and title plate
(This work was only on view between 4:30 and 6pm at Jeanine Hofland Contemporary Art during the
exhibition “IF YOU MAKE THAT KIND OF JOKE, THEN WE CALL IT A LIE”)
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Still from the video
“How to pronounce ART”
2015
video
7min.46sec.
A Japanese artist is drinking with her gallerist in a bar, making a conversation about her problem. She can’t pronounce the sound of “R” well, for instance the word of “ART” in English, because English sound of “R” doesn’t exist in Japanese language. By practicing the sound of “R” again and again
together, their conversation concluded that her art context is that she is a Japanese artist who can’t pronounce ART in the art world.
URL: http://www.rumikohagiwara.com/english/archives/1584
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Project/Research
In other word, Hagiwara’s art practice could be called a quest seeking the relevant state of
mind in order to live with the complex world. Her stance, constantly discovering something
on mundane objects is that to seek an exceptional place within the frame of the world by
transforming merely our minds.
Accordingly she has operated several research projects about our daily lives, which is the
part of her investigation of Art.
p.38 - Laziness
p.39 - Humor
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Project “In Praise of laziness”
Collaboration with Mounira al Solh
2014/2015
at Kunsthuis SYB and GOLEB
Weblog:
<http://www.kunsthuissyb.nl/archief/in-praise-of-laziness/weblog.html>
* We collected materials describing or
evoking the aesthetics of idleness. They
were images from
magazines, footage
from movies, found
poetry bits, conversation texts, quotes
from books etc.
*We practiced laziness as a daily life.
We took yoga and Pilates trainings to learn a complete rested position.
*laziness in cosmetic meditation
*According to Taoism,
(an ancient Chinese
religious tradition) doing nothing is behaving
wholly harmonious in a
completely natural.
Because of that, we simply tried to do nothing in
nature, but failed.
* A screening of
the movie “Oblomov”.
Oblomov is the
central character
of the movie and
symbol of lazy
guy from 19thcentury Russian
literature world.
*We interviewed several guests about their idea of laziness.
An artist should allow herself/himself periods of nonmaking in order to stay sane.
However in late capitalist
societies, this is a luxury
because labor is highly valued, while idleness is mostly
looked down on. In order
to be lazy, one must fight
internalized social judgments.
In fact, the laziness is the attitude searching a space of the
exception within a dominant
system and linked with refusal. Ultimately, to achieve
laziness demands hard work.
If laziness is not only nonwork, but also indeed, a
different kind of work, then
what is its function and what
economy is it part of? How
can we redefine it to counter
judgmental conceptions of
laziness?
In Praise of Laziness is a
research project addressing these issues, launched
by Rumiko Hagiwara and
Mounira Al Solh. Several
events were organized during
an artist residency program
at Kunsthuis SYB in order
to distort our lives in constraints.
Consequently collaboration
video work “In Praise of
Laziness” was realized from
the video materials that were
the documentations of the
project.
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Research about sense of humor - on Asia
2012 ~
weblog : 夏炉冬扇(Summer heater winter fan)
< http://rumikohagiwara.enter-office.net/>
Hagiwara has been working for an individual research
project about senses of humor. She had began the research in October 2012 and proceeded it through the
activities in several artists residency programs** in China
and Japan. She has been updating the research process
in the weblog-archive 夏炉冬扇(Summer heater Winter
fan)< http://rumikohagiwara.enter-office.net/>.
When people touch a crossing border of their daily
boundaries, they make a point of laugh.
Therefore Hagiwara believes the effect of humor contains
very interesting characteristics to turn out the meaning
of the signs on mundane objects, and regarding them as
prospective characters to address in her conceptual art
practices. Her research focuses on Asian humor, particularly Japanese as she is from Japan.
Asian people tend to prefer describing things subtly,
through the sense of atmosphere and do not like expressing themselves in a direct manner. How to approach a
subject is more important than the actual subject itself.
The characteristic of humor that matched with these
trends has developed particular sensibilities however they
haven’t translated well yet in Western world.
* Lin Yutang (林語堂 18951976) is a chinese scholar
who introduced and promoted the idea of humor into
Chinese culture. He created
the word 幽默 (youmo)=
“humor” in Chinese.
古川柳(kosenryu) old
senryu which was created in Edo Pieriod, has 3
important elements in the
structure, うがち(Ugachi)/
おかしみ(Okashimi) / かる
み(Karumi).
うがち(Ugachi) is literally
“make a hole” which mean
to find a truth under social
surface by making a hole.
かるみ(Karumi)is literally
“lightness” which means
to go deeper through plain
and simple word in daily
life. The combination of
these 2 elements creates お
かしみ (Okashimi) which
mean “humorous”.
おかしみ never occur if
one of the element lacks.
The character 幽 means ghost
and 默 means silent.
Eventually humor in Chinese
is “Ghost silence”.
There must be a reason why
the character of “Ghost
silence” was utilized for the
replacement of humor.
* Hanshan (寒山) and Shide (拾得)
were legendary figure associated with
a collection of poems from the Chinese
Tang Dynasty in the Taoist and Chan
tradition.
They became well know to the west
world through Japanese researchers
who fascinated with their smiles. Their
appearance were always with mysterious smiles and they were dipicted in
many Japanese paintings.
* This image is a warning sign mentioning
“Don’t park bikes here” in Japanese.
Aditionaly it continues to the following.
“How do you do if bikes brake the glass door!
Do you ignore!? Can you guarantee !? we loose
comfortable atomospher inside !!”
Entreating and repeating too much makes us
feel absurd and the absurdities often makes us
laugh.
Moreover, Hagiwara is interested in a vague boundary
between “humor” and “poetry”, because she recognized
the fact that her Japanese sense of humor utilized in her
conceptual art practice is regarded as poetry in Europe.
She is investigating prospective sensibilities of humor
that are lying in between the boundaries, and its quest is
still on going.
**Institute for Provocation (IFP), Beijing, Tokyo Wonder Site
(TWS), Tokyo and Chinese European Art Center, Xiamen.
Senryū (川柳, literally ‘river willow’) is a Japanese form of short
poetry similar to haiku in construction. Senryū tend to be about
human foibles while haiku tend to be about nature, and senryū are
often cynical or darkly humorous while haiku are more serious.
“approval of disapproval !!”
*”天才バカボン” is a Japanese manga and anime series created by Fujio
Akatsuka, which began publication
in 1967. It had became a super hit in
Japan during the period when political
mass movements were intensively
active in the society. The story of the
manga is about the misadventures of
a dim-witted boy (Bakabon) and his
insane father. The manga characters
left legendary key-words on a “gag”
format of humors that described and
provoked social affairs in the time.
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Rumiko Hagiwara / 05.2016