Saturday, July 2, 2016

A New Solo Exhibition in Hong Kong

My new solo exhibition has started at AISHONANZUKA Hong Kong.

The title is: Dldap/Enogo/Auxar/Dgaen

description about the title:
I want to negate humanity. It homologizes deconstructing the innate characteristic of human. It is also a way to deeply commit to Art that is the one of most rarefied concept human beings have.
‘Death’ and ‘Sexuality’ are the innately biological reputations human beings has, same as other animals. However as for human beings, there are systems to locate them onto our society, or to hide them artfully from our society, then they are treated as taboos that is inimical things to rationality. The both ‘Death’ and ‘Sexuality’ are the same as antisocial things that jeopardize our social living dominated by labor, consists of essentiality of ‘Eroticism’ that is violent urge to break our sociality.  
Constructing of the social system that taboos and encroachments compete each other, is that human beings only has, the system are constructed by human’s rationality, there is absolutely Language on its origin.  Stated from opposite direction, the most part of the indescribable sense, is the ‘Eroticism’. Then, what is the exception of it, indescribable but not related to Eroticism?
In my current thoughts, ‘Death’ and ‘Sexuality’ exist biologically in human beings, they mean ‘End’ and ‘Start’, also the pleasure of sexuality leads to death, and vise versa. Between them ‘Death’ and ‘Sexuality’ there are activities by ‘Language’ that is an innate ability of human beings, as mechanism generates every institutions by rationality, exclude ‘Death’ and ‘Sexuality’ from social living. However, something that must be intelligence without describability, certainly exists inside of intelligent activities. That is the new theme ‘Doxa’.
In this exhibition, I show works that are the results of dialectically competing the 4 human beings’ essential themes inside of myself.  


(
Inside of myself individual, sounds trivial, but this has the important reason as follows: 
We Japanese haven’t experienced ‘Modernism’ because the modernization in Japan had not enlightened Japanese masses. However, now Japanese people have misunderstood that they are living in ‘Post-modern’ era through the modernism, as well as the other Western countries. I want to criticize the wrong cognition to relive modernism personally with not only refer the Western standard. That will bring its relativization. This, personally reliving modernism with strong rationality, will relativizes the Western modernism, that is the thing I have intended. The most important condition for modernization was that every people's individually gaining rationality. And it has existed as premise of starting of Contemporary Art. My works have been made according to the spirit of Modernism, but also have directions to relativize it without blinded obeying.     
However, they can be connected to contexts in the history of Western Contemporary Art. Notice they are just the results. I have never picked any ideas up from the existent history before starting to make works. After I made works, I find that they can link to the contexts, that proves their universalities. I do NOT have any simulations and appropriations. I confront I as a person represents the world. 
)
VISIT ALSO: yoshihirokikuchi.org

Sunday, April 3, 2016

ART COLOGNE

My works (2 pieces) are going to be showed at ART COLOGNE.
The works are from the same series I did at Autocenter Berlin in November 2015, entitled “Self-denial Practice (physical)”. They will be brought by Tokyo based gallery NANZUKA.
It's my first time to participate in art fair in Europe.
If you will be there, check and purchase mines! You can see photos of my other works on the gallery's tablet or computer. So you can purchase others after the fair finished.

Sunday, January 17, 2016

VOCA 2016: An Exhibition With Problem

I will participate in Japan's most influential (its strength is getting less though) competitive exhibition called VOCA which has 20 years history with the trustless committees, means it is an object of my skepticism by this fact: better artists lost awards and boring artists get them every year.  So this exhibition has been targeted to be criticized often, because of the conservative aesthetics and the opaque governance.

My participation was nominated by a curator who is a friend of my friend. He and I have shared the critical attitude to VOCA and discussed many times and built our aesthetics to drop a farty/fart-ish bomb on it as an extreme criticism not as just a negation, because simply easy negation about the system will be assimilated by the system. So, my works which will be exhibited there are conceptually offensive (but funny), and have strong irony to the flower-brained aesthetics they (also including some artists) have, that is passable domestic only. As we intended, I lost the awards! I guess the committees can't understand completely what we did... HA! NICE!
(But staff of VOCA are kind to the artists inconveniently... thank you)

Visit the website of VOCA 2016. There are only Japanese that express eminently its conservativeness without international point of view...


Sunday, January 3, 2016

yoshihirokikuchi.org

MADE MY WEBSITE, JUMP TO AND CHECK THIS LINK:

I will upload more detailed information with pictures soon.

Friday, November 13, 2015

Solo Exhibition + Open Studio at Autocenter Berlin

I am staying in Berlin now for residency work. The exhibition has started last week on 6th November.
It started clean but now there are chaos of trashy stuffs as materials. I got many junk stuffs at flea markets.

I described about this exhibition like this (you can get a copy at my exhibition room):


-

Yoshihiro KIKUCHI 
Solo Exhibition + Open Studio at Autocenter Berlin, Nov 6 - 28, 2015 

Statement (in one sentence) :
“I DETEST HUMAN, THUS I NEGATE HUMANITY”

Detailed Decription:
Kikuchi’s works spreading out various styles* such as drawing, collage, painting and installation have been principally made on the following concepts/definitions:

  1. A posteriori disorganization of a traditional pan-language value system with reference to linguistic theories (by extension, extraction of a universal common structure in linguistic phenomena, and its deconstruction).
  2. Interposition/interference of ‘Eroticism’ to 1).
  3. Applying ‘indeterminacy/contingency’ to 1) and 2).
  4. Elimination of direct physicality, and reconstruction/extension of indirect physicality in actions of 1), 2) and 3).
  5. Observation and fundamental re-examination of societal institution through 1), 2), 3) and 4).
  6. 6)  Negation of humanity derived from 1), 2), 3), 4) and 5).

Stated differently, these are intended to deconstruct values in social institutions (defined as classes of language issues) and institutional coverups (defined as classes of non-language issues which consist of eroticism and violence et cetera). He defines these subjects to deconstruct as the mankind's innate matters.  Besides, the deconstruction has aims to deny the existing value of humanity.  

Now the works via this way of conceptual setting and expression, can be related on various contemporary art contexts in term of ‘modernism’**, but they are created with literal making processes as new criticism which would throw out the contexts to further relativizing through his inner nihilism. The processes completing with bringing in indeterminacy of automatism, random digits, and the foregoing physical elimination/extension, are due to skepticism toward trivialized personal aesthetic decision. Moreover, hopefully those works will construct radically-new linguistic structure.

*various styles - he also has music activities of experimental music as solo and has many international collaborated works. Besides, a drummer in some bands.  

**modernism - however, Kikuchi knows that Japanese have never experienced modernism, that is, there is no post-modernism in Japan. It's ironically Japan's exclusive historical characteristic. This is Japan’s cultural (also political) illness that should be resolved urgently. The anarchic variations of his expression has come from the reasons as no-axis of historical and national context in a way. 


ABOVE CONCEPTUAL DEFINITIONS
ARE NOT RELATED TO THE WORKS
IN THIS EXHIBITION
THAT IS
SELF-DENIAL PRACTICE
-

You can check the more detailed information on below links:
http://www.aishomiura.com/yk_autocenter.html
http://www.autocenter-art.de

Saturday, July 4, 2015

"PROCESS", My First Showing As A Visual Artist In Europe


A new group exhibition in Asturias Spain is going to start next week, on 10th July, and will end on 21st august. 

I will partiate in it with my latest series of work called "Grammatical Luxation" that I made last year,  by using Japanese old porn novel. I tried deconstruct and reconstruct meta-structure of the original sentences through the strictly defined processes.  The series has 7 sets that have 81 sheets each. This time, the 1/7 will be showed there. The work made through processes is the most important keyword on this exhibition as you already know. The curator Jaime Rguez defines it in unusual word "processual".  

Please visit the website of the exhibition here.

Unfortunately, there is Spanish only but I put the introduction  in English from the press release I got before: 

The very creation of the artwork and, ultimately, every step occurred in the process ofcreative genesis and by inserting work into space and its relationship with the rest ofthe pieces on display, add and enrich the proposals that finally the viewer perceives.This issue focuses this exhibition project in collaboration: a great hybrid installationon which coexist various issues and where abundant use of new technologies and theinteraction of a large number of plastic, sound, textual, audiovisual disciplines as wellas the low and the high tech.Process authors of the members come from different geographies and interests, butsurprised to find multiple links between them. So, from our most immediateenvironment we find parts Emma Bi, Nel Caamaño, Virginia López, BenjamínMenéndez, César Naves, self Jaime Rodríguez and his work in collaboration withMind Revolution (Eugenia Tejón & Angel González) and uh513 (María Castellanos& Alberto Valverde). Meanwhile the national circuit, come Julio Mediavilla, JesusNido and Eugenio Rivas. Finally, form the international representation the Brazilianartist Marcelo de Melo and the Japanese artist Yoshihiro Kikuchi. 

Anyways, I feel an honor to be involved to this. Thank you Jaime Rguez for inviting me and giving a great opportunity. 

The above logo design by Jaime Rguez. 

Friday, July 3, 2015

New Tape with Vomir from GERÄUSCHMANUFAKTUR.

A new tape made with French noise artist Vomir who is a godfather of "harsh noise wall" has been released on german label Geraeuschmanufaktur. I also made other collaboration with him in the past, as a drummer on his materials (Then, he did it as his another name Roro Perrot, a ultra shit folk singer). You can see the 7 inch record on his bandcamp. It's titled "ROROMANTIQUE". My freaky drumming is featured throughout side B. 

This time, I programmed 2 beats by being inspired by extreme metal. Side A features death metal-ish downtempo double kick. And side B has black metal-ish blast beats. They has atmosphere like dark dub mix. The both sides have unchangeable "static" noise that are over 19 minutes straight each.  It can be said ritualistic trance. You should be soaked into the sonic pool in maximum volume.

You can hear the sounds and can get the album digitally HERE, the physical tape as well.

Wednesday, March 5, 2014

A short description about my recent art works

I wrote this description afresh for English profile as an artist by organizing and translating some Japanese texts I wrote etc.  

///////////////////////////////////////////////////////////////////

Kikuchi’s works spreading out various styles* such as drawing, collage, painting and installation have been principally made on the following concepts:

  1.  a posteriori disorganization of traditional pan-language system by reference of linguistic theory (by extension, extraction of universal common structure in language phenomena, and its deconstruction).
  2.  ‘eroticism’ into (1) as interposition/interference.
  3.  applying ‘indeterminacy’ to (1) and (2). 
  4.  elimination of own direct physicality, and extension of the indirect physicality on actions in (1), (2), and (3). 
  5.  observation and fundamental re-examination of social institution by (1), (2), (3), and (4).  

Stated differently, these are intended to deconstruct values in social institutions (defined as classes of language issues) and institutional coverups (defined as classes of non-language issues which consist of eroticism and violence et cetera). He defines these subjects to deconstruct as the mankind's innate matters.  

Now the works via this way of conceptual setting and expression, can be related to various contemporary art contexts in terms of 'modernism**’, but they are created with literal making processes as new criticism which would throw out the contexts to further relativizing through his inner nihilism. The processes completing with bringing in indeterminacy of automatism, random digits, and the foregoing physical elimination/extension, are due to skepticism toward trivialized personal aesthetic decision. Moreover, hopefully those works will construct radically-new linguistic structure.

------------------------------------------------------------------------------------
*various styles - In addition, he has music activities in experimental music scene as solo and international collaborated works. 

**modernism - However, Kikuchi knows that Japanese have never experienced modernism, thus there is no post-modernism in this country. It's ironically Japan's exclusive historical characteristic. This is Japan’s cultural (also political) illness that should be resolved urgently. The anarchic variations of his expression has come from the reason in a way.

/////////////////////////////////////////////////////////////////////////////////////////////////////////////////

Saturday, February 2, 2013

My new art book "No-title" has published in 2012

My new art book "No-Title" - exactly it has the title with mathematical formula. But it's difficult to display... - has been published on a Tokyo based independent publisher called Tycoon Books, in edition of 150 copies as first pressing.
The book consists of my art works which were made in 2006 - 2012. It means this is my first grand sum as an artist. I'm proud of this publishing though its small edition. All copies are hand numbered and signed by myself.
You can buy a copy from the publisher's website or me directly. Send me an email(address is on my profile section. Click "CONTACT") if you are interested. Or you can buy on the publisher website. Visit the publisher's site from the above link and see the sample photos on there. It's very very well-designed! 

Detailed information:
A5(148mmx210mm) | 40 pages + cover | Full color digital print 
First edition of 150 copies, 2012 | ISBN 978-4-9906628-0-6

Sunday, October 7, 2012

Featured on the French online magazine

My latest C26 cassette tape "One Intensely Eats Up Another Economic Principle" released on Fragment Factory, is featured on the French online magazine "le son du grisli". On the same section, there are really great releases of Daniel Menche, GX Juppiter Larsen/Muennich (this 7" is also released Fragment Factory ), and one of most talented Japanese musicians Keiichi Sugimoto's Filfra. Filfla has very sensitive and beautiful sound layers with beats. So to be featured my music with his on the same section is surprising but really nice for me. That's simply great, the editor did cool, though the description about my tape is totally bizarre. The reviewer should listen the sound with reading text by me carefully.

The review with strange words is the following:

Yoshihiro Kikuchi : One Intensely Eats Up Another Economic Principle (K7 Fragment Factory, 2012)
Voilà bien deux faces qui ne se ressemblent pas. Sur la première, Yoshihiro Kikuchi jongle avec des bruits sur la cadence d’une machine grippée qui crache mais qui envoie… le bois. Sur la deuxième, la fantaisie perd de l'intérêt avant qu’une guitare (enfin ! une guitare !) et des reverses s’épousent, garces, avec une vraie grâce. Je conseille donc une cassette, mais la cassette est déjà épuisée. (pc)