{"id":71847,"date":"2019-07-11T15:50:51","date_gmt":"2019-07-11T06:50:51","guid":{"rendered":"https:\/\/www.adfwebmagazine.jp\/?p=71847"},"modified":"2019-07-11T15:50:51","modified_gmt":"2020-10-28T16:30:26","slug":"shinro-ohtake-bldg","status":"publish","type":"post","link":"https:\/\/www.adfwebmagazine.jp\/en\/art\/shinro-ohtake-bldg\/","title":{"rendered":"Shinro Ohtake: BLDG. 1978-2019 \uff5cMITO ARTS FOUNDATION"},"content":{"rendered":"

About Shinro Ohtake: BLDG. 1978-2019<\/h3>\r\n

Since his debut in the early 1980s, Shinro Ohtake<\/a> (1955- ) has generated a variety of expressions, mainly painting but also printing, sound, photography, video images, etc. His activities have influenced a wide range of genres, not only the world of contemporary art but also characters and designs.<\/p>\r\n

\"adfwebmagazine-ohtake\"<\/a><\/p>\r\n

This exhibition<\/a> focuses on Ohtake\u2019s BLDG. series, paintings that he has worked on over 40 years since the 1970s to the present. The works of BLDG. are not just depictions of the contemporary scenery. What Ohtake remembers about various cities such as Hong Kong, London and Tokyo; their humidity, heat, noise and smell are randomly mixed, and they make up virtual scenery in the form of buildings.<\/p>\r\n

For this exhibition, we have researched over 800 works from a large number of the unreleased to the latest works, and by publishing all works in the BLDG. series and displaying them as much as possible, we unravel the full view of Ohtake\u2019s BLDG. series.<\/p>\r\n

In the contemporary era of digital technologies, what is the meaning of painting with one\u2019s own hands and to continue doing it? We hope that you would feel it through this exhibition.<\/p>\r\n

Shinro Ohtake<\/h4>\r\n
\r\n

Born in 1955, Tokyo. Began showing his works inside and outside Japan since the early 1980s. Since his first retrospective Shinro Ohtake Zen-Kei: Retrospective 1955-2006 (2006) at Museum of Contemporary Art Tokyo, had many solo shows at Tokyo, Kagawa, Seoul, London, Singapore, etc.. Participated in the 8th Gwangju Biennale (2010), dOCUMENTA (13) (2012), the 55th Venice Biennale (2013), the Yokohama Triennale 2014 (2014), and the Setouchi Triennales (2013, 2016).
\r\nWell-known public arts are Shipyard Works (1990), Art House Project\u3000\u201cHaisha\u201d\u3000Dreaming Tongue\/ Bokkon-Nozoki (2006), Naoshima Bath I❤\u6e6f (2009) at Naoshima, Mekon (2013) at Megijima and Needle factory (2016) at Teshima, Kagawa. Also Drop curtains Kita no Sora ni Ukabu Katachi (1999) at Sapporo, Hokkaido and Shu-Kei (2001) at Ikata, Ehime.
\r\nPublished essays Mienai Oto, Kikoenai E (2008), Bi (2013) from Shinchosha. Picture book Uncle Jari (1994) from Fukuinkan. New release essays Nanika to Nanika from Shinchosha on Nov. 2018. Essay Mienai Oto, Kikoenai E is now appearing serially in the magazine Shincho.<\/p>\r\n<\/div>\r\n\r\n\r\n\r\n\r\n\r\n\r\n
Venue:<\/td>\r\nMITO ARTS FOUNDATION<\/a> Contemporary Art Gallery<\/td>\r\n<\/tr>\r\n
Period:<\/td>\r\nJuly 13\uff5eOctober 6th, 2019<\/td>\r\n<\/tr>\r\n
Hours:<\/td>\r\n9:30\u301c18:00\uff08no admittance after 17:30\uff09<\/td>\r\n<\/tr>\r\n
Closed:<\/td>\r\nMondays (except July 15, August 12, September 16, September 23, public holidays) and July 16, August 13, September 17, September 24<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table><\/article>","protected":false},"excerpt":{"rendered":"

About Shinro Ohtake: BLDG. 1978-2019 Since his debut in the early 1980s, Shinro Ohtake (1955- ) has generated […]<\/p>\n","protected":false},"author":1,"featured_media":71772,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"video","meta":{"spay_email":"","jetpack_publicize_message":"#\u5927\u7af9\u4f38\u6717 #\u30d3\u30eb\u666f 1978-2019 \uff5c\u6c34\u6238\u82b8\u8853\u9928\r\n#\u6c34\u6238\u82b8\u8853\u9928 \u3067\u306f\u3001\u7d75\u753b\u3092\u4e2d\u5fc3\u306b\u3001\u5370\u5237\u3001\u97f3\u3001\u5199\u771f\u3084\u6620\u50cf\u306a\u3069\u306e\u591a\u5f69\u306a\u8868\u73fe\u3092\u5c55\u958b\u3057\u3001\u5e45\u5e83\u3044\u30b8\u30e3\u30f3\u30eb\u306b\u5f71\u97ff\u3092\u4e0e\u3048\u3066\u304d\u305f\u30a2\u30fc\u30c6\u30a3\u30b9\u30c8\u3001\u5927\u7af9\u4f38\u6717\u304c\u3001\u7d0440\u5e74\u9593\u306b\u308f\u305f\u308a\u63cf\u304d\u7d9a\u3051\u3066\u3044\u308b\u300c\u30d3\u30eb\u666f\u300d\u3068\u3044\u3046\u7d75\u753b\u30b7\u30ea\u30fc\u30ba\u3092\u5c55\u793a\u3002","jetpack_is_tweetstorm":false,"jetpack_publicize_feature_enabled":true},"categories":[6,10],"tags":[38,54,83],"jetpack_featured_media_url":"https:\/\/www.adfwebmagazine.jp\/wp-content\/uploads\/adfwebmagazine-ohtake.jpg","jetpack_publicize_connections":[],"_links":{"self":[{"href":"https:\/\/www.adfwebmagazine.jp\/en\/wp-json\/wp\/v2\/posts\/71847"}],"collection":[{"href":"https:\/\/www.adfwebmagazine.jp\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.adfwebmagazine.jp\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.adfwebmagazine.jp\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.adfwebmagazine.jp\/en\/wp-json\/wp\/v2\/comments?post=71847"}],"version-history":[{"count":0,"href":"https:\/\/www.adfwebmagazine.jp\/en\/wp-json\/wp\/v2\/posts\/71847\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.adfwebmagazine.jp\/en\/wp-json\/wp\/v2\/media\/71772"}],"wp:attachment":[{"href":"https:\/\/www.adfwebmagazine.jp\/en\/wp-json\/wp\/v2\/media?parent=71847"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.adfwebmagazine.jp\/en\/wp-json\/wp\/v2\/categories?post=71847"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.adfwebmagazine.jp\/en\/wp-json\/wp\/v2\/tags?post=71847"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}