Mimoca’s Eye

source: nielsborchjensen

Takehito Koganezawa
Takehito Koganezawa b. 1974 in Tokyo, Japan, lives and works in Berlin. Through his graphic series Takehito Koganezawa takes us into an absurd world – perhaps the natural, visual progeny of the Japanese artist’s installations and performances. Here time, place, movement and transformation are pinned down to a visual existence on paper, and whilst we recognise traces or elements of the imagery, we are sucked into unknown, abstract and surreal performances or scenarios that challenge us to seek meaning. Additionally his series (which are usually untitled) depict highly spatial environments, where the darkness of the print and the lightness of the paper open a world for us to move around the illuminating forms and their deep abyss of darkness. They are states of mind: “I am trying to generate meaning from an object,” Koganezawa explaines inan internview with Hans-Ulrich Obrist. And it really is that simple: we seek meaning in Koganezawa’s works, and especially the artist himself. Many of his works are clearly based in Japanese culture and nature, yet despite their specific context, the connection to history only makes Koganezawa’s visual universe more intimate and insistent as we truly feel the essentials that are at stake. Takehito Koganezawa has worked with Niels Borch Jensen Editions since 2005.
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source: drawingroomorguk

Takehito Koganezawa (b. 1974, Tokyo) lives and works in Berlin, Germany. He studied at Musashino Art University, Tokyo and Pola-Foundation, Tokyo. Selected solo shows include: Video-Forum, n.b.k., Berlin (2013); Über Den Wolken Schweben, Loock Galerie, Berlin (2013); Paint it Black and Erase, Christopher Grimes Gallery, Santa Monica, CA (2012); Luftlinien, Haus am Waldsee, Berlin (2012); Langen Foundation, Neuss, Germany (2011); Shallowly Dance, EnBW Showroom, Berlin (2010); Loock Galerie, Berlin (2009); Wohnmaschine, Berlin (2009); Polyrythm, Kunstfenster im BDI, Haus der Deutschen Wirtschaft, Berlin (2009); Mimoca’s Eye, Vol. 2 – Takehito Koganezawa, Mimoca, Marugame Genichiro-Inokuma, Japan (2009); and Koganezawa, Haus Konstruktiv, Zurich (2009). Selected group exhibitons include: Still Em Movimento, Lição de Pintura, at Paço das Artes , São Paulo, Brazil (2013); Super 8, Museum of Modern Art, Rio de Janeiro, Brazil (2013); Bilder Im Fluss, Kunstraum Alexander Buerkle, Freiburg, Germany (2013); In Anderen Worten…, NGBK / Kunstraum Bethanien, Berlin (2012); Berlin Zeichnet Stadtgalerie Kiel, Kiel, Germany (2012); Transatlantische Impulse, Akademie der Künste, Berlin (2011); and Drawing on Space, Drawing Room, London (2002). Koganezawa is represented by Loock Gallery, Berlin.
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source: ausland-berlinde

Videokünstler, Zeichner und Performer.
1974 in Tokio geboren, studierte an der Musashino Universität der Künste in Tokio. Er erhielt zahlreiche Stipendien u.a der Pola Art Foundation, des japanischen Kunst- und Kulturdezernats und der Villa Aurora in Los Angeles. Koganezawa lebt und arbeitet seit 1999 in Berlin.
Jeder Ort auf diesem Planeten hat für Koganezawa sein eigenes Zeitgefühl. Er versucht in seinen Arbeiten jedoch nicht, Zeit festzuhalten, sondern sie im Gegenteil wie Wellen fließen zu lassen. Koganezawa denkt darüber nach, wie man einen Fluss erfasst. Zeichnung ist für ihn eine Art Ur-Fluss. Es interessiert ihn, wie man Flüsse mischen und daraus etwas Neues entstehen lassen kann. Stets geht die Bewegung des Wahrnehmens dabei durch den ganzen Köper. In diesem Zusammenhang spielt auch die Schwerelosigkeit eine große Rolle. Über die Überwindung der Gravitation steht Koganezawas Werk somit in Beziehng zur Musik, die er als Soundtrack teilweise selbst komponiert.
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source: pacodasartesorgbr

O trabalho de Takehito Koganezawa, japonês residente em Berlim, tem como personagem principal o tempo, seguido de perto do movimento e do espaço. Esses focos de interesse estão presentes em todos os seus trabalhos, não como uma narrativa linear, mas através de uma miríade de associações e de mídias, incluindo performance, desenho e vídeo. Como disse Christopher Knight, crítico de arte do Los Angeles Times, “a ausência de uma narrativa linear, leva a um esfacelamento do tempo e do espaço”.