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​Mimicry of hollows 虚擬態

11 June - 2 July,2021

Artists

Tanja Engelberts

Nile Koetting

Masahide Matsuda

Vincent Ruijters & Ray LC

Floris Schönfeld

Anne de Vries

 

Curation

Vincent Ruijters & Seiha Kurosawa

This exhibition is a group show curated by Dutch artist Vincent Ruijters and Japanese curator Seiha Kurosawa. In recent years, with the rapid development of algorithms and AI, our society has been radically altered on a cognitive level by the algorithms of social networking platforms, market systems etc., and unconsciously manipulated to maximize profits. 

 

Inside our blackbox, the hollows hidden in the back of our minds, invisible AI-entities are crawling around. They are often Anthropomorphised and have a great influence on our behavior and social systems. As a result, the natural terrain and landscape around us is being increasingly transformed, hollowed out or piled up by human intervention. Needless to say, the coronavirus pandemic that occurred with the beginning of 2020 has made us critically aware of what is going on behind the scenes of our recognizable world. 

 

Today, the relationship between Figure and Ground, the world we live in and the world of the hollows, are sometimes reversed and sometimes eroded, making it difficult to recognize the boundaries between them. In this exhibition, we will contemplate the potentialities of capturing this world of unclear boundaries by "mimicking" the realm of unrecognizable hollows. In this day and age, with various "Hollows areas" moving into the foreground on a global scale, instead of separating ourselves from them, we should try to figure out how to face them and what we can discover about them. The works of Dutch and Japanese artists included in this exhibition attempt to unravel just this.

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Artists
 

Tanja Engelberts (b.1987, The Netherlands, based in Amsterdam)  

Tanja Engelberts investigates the duality between the romantic landscape and its economic reality in today’s world. Places of interest range from rural Wyoming to the artificial ring-shaped Islands in the Netherlands that hold polluted sludge. The landscapes in recent projects were once the source of prosperity and are now going through significant changes.  Reasons can be found in the exhaustion of the landscape’s resources, or the abandonment of projects that are no longer economically viable. Engelberts moves through these landscapes with her camera, meeting people in the industry and central governments. She afterwards creates films, prints, and texts that try to capture the atmosphere and experience of these places. 

Currently, Engelberts is a resident at the Rijksakademie voor beeldende kunsten in Amsterdam. She graduated from a master fine art at Chelsea College of Art & Design after studying sculpture and monumental arts in both the Netherlands and Japan. Other residencies and fellowships are, notably from, Banff centre for arts and creativity (CA), The Mondriaan Fund (NL), The Ucross Foundation (USA), IK Foundation (NL) and Örö  (FI). Her works are included in the collections (a.o.) of Clifford Chance (UK), Nationale Nederlanden (NL) and the Ucross Foundation (USA).

For Mimicry of Hollows, Engelberts’ work is exactly titled Hollow. Produced as part of her residency at Rijksakademie, it is a film about a dumping ground for contaminated sludge from Dutch waters that contain toxic substances – showing an artificial intervention to the natural landscape by creating a physical hollow. 

 

Nile Koetting (b. 1989, Kanagawa, based between Tokyo and Berlin)

Nile Koetting is known for his installation with a diverse range of media to include video, performance, and sound. His projects explore a new perception of interchange between material – immaterial, living – nonliving beings in a landscape of technological time and space.

Koetting’s work has been exhibited internationally such as, Palais de Tokyo, Paris (2020); Centre Pompidou x West Bund Museum, Shanghai (2019); Kunstverein Göttingen (2019); Somerset House, London (2018); 7th Moscow Biennale, Moscow (2017); Kunstverein Hannover, Hannover (2017); Fondation Hermès, Maison Hermès, Tokyo (2016); ZKM, Karlsruhe (2016); Mori Art Museum, Tokyo (2016); Hebbel Am Ufer, Berlin (2016).

For Mimicry of Hollows, Koetting will present his new ongoing project to remix music and songs generated by artificial intelligence. His presentation will consist of an experimental installation with an e-ink device and sound composition.

Masahide Matsuda (b. 1986, Kanagawa, based in Tokyo and Berlin)

Masashide Matsuda is a conceptual artist often intervenes with his public in various performative format. From 2010 to 2017, he practiced as an anonymous artist with SAZAE Twitter bot account (which once had 240,000 followers), creating controversial discussions with a critical perspective towards post-internet sensitivity. Since 2017, he has released many lecture-performances and installations on the themes of anonymity, collective intelligence, and depersonalization of artists, mainly in Europe. He now works under his own name and his practice focuses on a proposal to performatively intervene in mild but forced algorithmic acts with his audience’s daily life in urbanscapes and natural scapes. 

Major solo exhibitions include "Ultra-Contemporary Art Exhibition" privately-held in Tokyo (2020) and "White Magazine" EUKARYOTE, Tokyo (2019). Group exhibitions include "Mob World Reverb" TALION GALLERY, Tokyo (2021), "ENCOUNTERS" (ANB Tokyo, Tokyo, 2020), "AMBIENT REVOLTS" ZK / U, Berlin (2018), "#Luther Lenin" Studio Hrdinů, Prague (2018), "Infrastructure INFRA" (2017), "TACIT FUTURES" Volksbühne, Berlin (2017), amongst others.

Matsuda will respond to the Mimicry of Hollows exhibition concept at the meta-level. He will activate the balcony of The 5th Floor gallery building and conceptually interact with the exhibition space and exhibited work by responding with a site-specific installation. This installation will mimic the three main exhibition spaces.
 

Vincent Ruijters (b. 1988, The Hague, based in Tokyo)

Vincent Ruijters is an artist concerned with emotion and human relations. Overstimulation, speed and coldness of contemporary systems clash with the artist’s need to cherish and express what is deeply human. He architecturally models his inner affective space as material space to realize what he calls “Intimacy as Aesthetics”. By crossing boundaries of inner space and outer public space, his goal is also to challenge notions of intimacy. 

Past exhibitions include solo exhibition ‘Breathing IN/EX-terior’ (Komagome SOKO gallery, Tokyo) and ‘Radical Observers’ group exhibition (Akibatamabi gallery, 3331 Arts Chiyoda, Tokyo, 2019). Awards include Japanase Government Scholarship (Monbukaga- kusho: MEXT) and the Prins Berhard Culture fund Scholarship. Ruijters activities also comprise curation and exhibition design. Recently curated exhibitions include co-curation of ‘To defeat the purpose: guerilla tactics in Latin American Art’, Aoyama Meguro Gallery, Tokyo. He obtained his PhD degree in Intermedia Art at Tokyo University of the Arts in 2020. 

For this exhibition, Ruijters will develop and exhibit a work entitled Chikyuchi, made in collaboration with Hong Kong-based media artist Ray LC. Chikyuchi—from the Japanese 地球 Chikyu, meaning Earth—anthropomorphizes certain regions of nature under constant decline due to human activity. There are currently two Chikyuchi species in production: Amazonchi, based on the Amazon rainforest, and Hyouzanchi, based on Arctic icebergs. The health of the Chikyuchis are in sync with the actual state of decline of the regions of nature they represent through API technology and machine learning AI analyzing tweets regarding the Amazon and Arctic Icebergs.

RAY LC (b. 1979, Guangzhou, based in Hong Kong)

Ray LC’s practice internalizes knowledge of neuroscience research for building bonds between human communities and between humans and machines. His anti-disciplinary, collaborative-expertise approach explores the confluence of media art, space design, and human-computer interaction, applying them to transformative goals for social good. He has published scholarly works from neuroscience research, to human-robotic interaction, to immersive media, to fashion technology, and speculative design. RAY comes from Cal Berkeley EECS and UCLA Neuroscience PhD, obtaining his MFA in Design and Technology from Parsons School of Design.

Past works have been featured at BankArt, 1_Wall, Process Space LMCC, NYSCI Designer-in-Residence, Kone Foundation Saari Residence, Kyoto Design Lab Researcher-in-Residence, Elektron Tallinn, Kiyoshi Saito Museum, DeConstrukt Red Hook, ICRA Elektra Montreal, ArtLab Lahore, Ars Electronica, NeON Digital Arts Festival, New Museum, CICA Museum, NYC Short Documentary Film Festival, Angewandte Festival, Burning Man BRCvr, NeurIPS.

For Mimicry of Hollows, LC will collaborate with artist and co-curator Vincent Ruijters on the production of Chikyuchi, a series of AI-based interactive games designed to raise awareness of current issues of global climate crises.

Floris Schönfeld (b. 1982, The Netherlands, based in Amsterdam)

Floris Schönfeld has focused his practice in the last years in the relationship between fiction and belief. His work PUK* is a multi-stage project in which the development of a new artificial intelligence named PUK* is central. The project is manifested in a number of different ways. As PUK* System; a series of interlinking physical installations that represent a system of intelligence, PUK* Output; smaller works and sketches that are made in collaboration with the PUK* system and as PUK* Recalibrations. The project sets out to question notions of the normative in both artificial and human intelligence. Schönfeld is interested in questioning what constitutes intelligent behavior in both humans and artificial systems and subsequently presenting a possible system of “alternative intelligence”. 

Schönfeld is working on a project to create a new form of artificial intelligence named PUK. The exhibition will present, in part, his project called PUK BREAKDOWN, an auto-generated AI animation of owl artifacts. The project sets out to question the very meaning of intelligence, including its definitions and alternate possibilities. This is part of the curators’ wishes to open up a discussion on the idea of an intelligent system that would include a range of significantly different, and mentally divergent, logical approaches to reality.

Anne de Vries (b. 1977, The Hague, based in the Netherlands)

Anne de Vries is a Dutch artist working with a wide range of media such as photography, digital media, painting, installation art, sculpture, performance, and video art. De Vries became known in 2009 for his unconventional use of photography in sculptures. The artist has been associated with the first wave of Post-Internet Art in part due to a contribution to the publication POST INTERNET SURVIVAL GUIDE 2010 by Katja Novitskova and duo-exhibition with artist Yngve Holen + publication: TruEYE surView curated by Katja Novitskova in W139 in Amsterdam. In 2013 is Anne de Vries associated with New-Materialism in art, partly because De Vries curated the exhibition 'Unstable Media' at Martin van Zomeren and a lecture at Stedelijk Museum Bureau Amsterdam around the theme 'New-Materialism' in contemporary art. Similar exhibitions that took place that presented his work are 'Material World' in NEST curated by Nanda Jansen. and the exhibition: Asdzą́ą́ Nádleehé gecureed by Timur Si-Qin at Andrea Rosen gallery in New York in 2015. Other notable group exhibitions include Back to School, curated by DIS at MoMA PS1 (2017), Nuit Blanche Paris (2017), Hybrid Layers at ZKM Center for Art and Media (2017), the 9th Berlin Biennale at KW (2016), TMM: Istanbul at The Moving Museum (2014), The Dark Cube at Palais de Tokyo (2012), and Body Language at Centre Culturel Suisse (2012). Anne de Vries studied at the Gerrit Rietveld Academie in Amsterdam and at The Cooper Union in New York. In 2017, De Vries worked as an artist in residency at the International Studio & Curatorial Program (ISCP) in New York. De Vries previously taught at the Gerrit Rietveld Academie and the Ecole Cantonale d’Art de Lausanne. 

For Mimicry of Hollows, De Vries will present his video Critical Mass: Pure Immanence (2015), a work he created for the 9th Berlin Biennale, exploring the limits of human agency and the relationship between technology and mass experience as it relates to the format of Hardstyle electronic music and its associated festival presentations.

Curatorial Team

 

Vincent Ruijters

Vincent is an artist born 1988 in The Hague, The Netherlands. Currently lives and works in Tokyo. Obtained a PhD degree in Intermedia Art at Tokyo University of the Arts in 2020. Ruijters  is an artist concerned with emotion and human relations. Overstimulation, speed and coldness of contemporary systems clash with the artist’s need to cherish and express what is deeply human. Physicality, mate- riality, technology, interaction/participation and the sense of touch are fundamental elements of his practice. Ruijters is an artist who architecturally models his inner affective space as material space to realize what he calls “Intimacy as Aesthetics”. By crossing boundaries of inner space and outer public space, his goal is also to challenge notions of intimacy. 

 

Past exhibitions include solo exhibition ‘Breathing IN/EX-terior’ (Komagome SOKO gallery, Tokyo) and ‘Radical Observers’ group exhibition (Akibatamabi gallery, 3331 Arts Chiyoda, Tokyo, 2019). Awards include Japanase Government Scholarship (Monbukaga- kusho: MEXT) and the Prins Berhard Culture fund Scholarship. Ruijters activities also comprise curation and exhibition design. Recently curated exhibitions include co-curation of ‘To defeat the purpose: guerilla tactics in Latin American Art’, Aoyama Meguro Gallery, Tokyo.
 http://www.vincentruijters.com 

 Seiha Kurosawa

Seiha is a curator born in 1991. He Lives and works in Tokyo. Graduated with an MFA in Global Arts Practice from Tokyo University of the Arts in 2019. A PhD candidate in the same course and university. Through his curatorial practice, Kurosawa researches relationships between contemporary art and new ecological concepts in which the fields of environment, society, and psychology intersect. In addition to producing exhibitions, he also works collaboratively with other artists. Kurosawa is the co-curator of the upcoming Thailand Biennale 2021 and works as a curator at the Yayoi Kusama museum in Tokyo. 

 

Other curation includes:
World Art Tokyo "PANGAEA TECTONICS - Diastrophism of Emerging Art / Diverging New Tales"
Art Fair Tokyo 2018, Tokyo International Forum; "Clouds ⇆ Forests"
7th Moscow International Biennale of Contemporary Art, The State Tretyakov Gallery, Moscow, 2017 (curatorial assistant). http://www.seihakurosawa.com 

Dates

11 June - 2 July,2021

Closing on

Mondays and Tuesdays

Opening Hours

12:00 - 19:00

Venue

The 5th Floor: Hanazono Alley 5F 3-3-9 IkenohataTaito-ku Tokyo

Access

4 minutes walk from Exit 2 of Nezu Station (Chiyoda line) 

Admission

Free (Appointment required)

Coorganization

The 5th Floor, Hanazono Alley

Supported by

Embassy of the Kingdom of the Netherlands in Japan

Tokyo University of the Arts ‘I LOVE YOU’ project

Cooperation

Cornes Technology

Dimenco

ANOMALY

Collaborative Exhibition

Art Machines 2: International Symposium on Machine Learning and Art 2021", Singing Waves Gallery, City University of Hong Kong, HK.

Enquiries

seiha1991@gmail.com / vincentruijters@gmail.com

For more information about Mimicry of Hollows and The 5th Floor, please contact Sophie Arni

Sophie Arni: sophie.arni@globalartdaily.com