Group Exhibition: “ECOLOGY : DIALOGUE ON CIRCULATIONS” ― DIALOGUE 2 “EPHEMERAL ANCHORING”

Materials:
Rice straw(Fukushima), stones that have existed for some time (Fukushima), essential oil extracted from citrus fruits and floral water(Tokyo, Okinawa, Fukushima, Chiba), agricultural pipes, half chrome light bulbs, pumps, tubes, silk thread dyed with goldenrod, ethanol

Description:
In his statement, Takeshi Yasura reflects, “Through my work, I aim to recognise existence as existence, understanding various actors such as technology, living things, inanimate objects, and humans horizontally, rather than in separate categories.” As part of his artwork, he continues to practice art as a mediator while engaging in farming and beekeeping. Confronting philosophical questions of ontology from the perspective of his own congenital disability, he examines our relationships with objects in human society, which cannot be framed in solely theoretical terms, and adopts an approach that includes criticism of hierarchy and inequality that are also embedded in ecology.
In this exhibition, he presents a series of installations consisting of three correlated elements. In noise (2024), Japanese paper made by the artist from rice straw grown in Fukushima Prefecture forms a cylinder that is lit from within by 12 lights and can be entered by visitors. The lights are randomly turned on by the sound of water droplets falling on the drums according to natural rhythm (essential oil and floral liquid extracted from citrus fruits picked in Tokyo, Fukushima, Chiba, and Okinawa). Additionally, both glacier (2024), 24 photographs of glacier ice found during fieldwork in Nepal melting in hands, and cosmos (2024), based on the storm glass used for weather forecasting in the 19th century, can be seen as attempts to rearrange objects within the grand timeline of planet Earth, and quietly forge new cyclical paths towards the future.

Engineering : Shuma Kasai
Support: TOYOBOSHIKOGYO CO., LTD., Kohei Iseki, Shuji Inoue, Yuka Shiobara, Sachiko Matsumoto, Grandma Sakiyama
Photo:Akihiro Itagaki (Nacasa & Partners)
Courtesy of Fondation d’entreprise Hermès