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TETSURO KANO

狩野哲郎
تيتسورو كانو
테츠로 카노

source: cats-forehead

Born 1980 in Sendai. Raised in various places and now resides in Tokyo. Recent projects include “Natureplan” and “Respective Gardens” in which spaces are created that at once installations incorporating birds and plants, greenhouses, and aviaries, along with “Weeds” which features installations where various plants seeds are gathered by hand or purchased and then scattered throughout the venue and watched for the course of the exhibition, and the photo series “Studying about something,” an experiment in capturing the atmosphere of the roads he travels.
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source: tkano

狩野哲郎 Tetsuro Kano
美術作家

1980年宮城県生まれ。2005年東京造形大学造形学部デザイン学科環境デザイン / 都市環境コースを卒業した後、2007年に同大学院造形研究科美術研究領域修士課程 / 絵画コースでMFAを取得。2011年狩猟免許(わな・網猟)取得。

現在まで、植物の種子を展示空間に蒔き成長を見守るインスタレーションや、鳥や果実といった自然物と園芸用品や鳥よけなどの既製品を組み合わせたサイトスペシフィックなインスタレーション、シールやマスキングテープを用いたコラージュ技法によるドローイング、ウォールドローイング等、広義のファウンドオブジェクトと多様な素材を組み合わせ作品を制作に取り組んでいます。近年では、「広島アートプロジェクト」(2007、ディレクター:柳幸典)、「SEOKSU ART PROJECT」(2010、韓国)、「NEO-TOPIA ネオトピア」(2010、秋吉台国際芸術村、山口)、「吃驚 BIKKURI」(2010、国際芸術センター青森)、「純粋な標識 / Clear signs, Vivid tones」(2012、ハラ ミュージアム アーク、群馬、レジデンスプログラム、企画:青野和子)など数多くのレジデンスや滞在制作型のプロジェクトを中心に作品を制作。主な個展に「自然の設計 / Naturplan」(2011、ブルームバーグ・パヴィリオン・プロジェクト、東京都現代美術館)、「一本で複数の木 / Protean wood」(2012、YUKA TSURUNO、東京)、「あいまいな地図、明確なテリトリー / Abstract maps, Concrete territories」(2013、モエレ沼公園、札幌)。グループ展に「呼吸する環礁―モルディブ-日本現代美術展」(2012、モルディブ国立美術館、主催:国際交流基金)、「庭をめぐれば」(2012、ヴァンジ彫刻庭園美術館、静岡)など。
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source: tkano

Artist

1980
Born in Miyagi, Japan

2005
BA, Environmental Design/City Environmental, Tokyo Zokei University
2007
MFA, Fine Arts, Tokyo Zokei University

Tetsuro Kano’s previous works have focused on residency-based projects where he produced installations combining natural objects and readymade items and products, and site-specific pieces that incorporate drawings and photography. Other installation works have involved scattering the seeds of various plants within the exhibition space and watching over them as they grew, and designed spaces that contained birds and plants. In 2011, Kano’s solo showcase made top billing at the Bloomberg Pavilion Project, an exhibition held at a custom-made pavilion on the grounds of the Museum of Contemporary Art, Tokyo, winning him much acclaim. For this project, Kano created an installation using nets, hoses and bird traps that he called “Naturplan”. Installed in the exhibition hall of a museum, Naturplan proposed a novel way of perceiving space. The various readymade items carried a symbolic meaning for human observers. Birds, however, recognized Kano’s installation as a living environment. By deviating from the original significance and function of his chosen materials and the spaces in which they are displayed, and then recombining them in different configurations, Kano creates landscapes on an everyday scale, as well as spatial environments that resemble drawings. Kano’s works, which incorporate plants, animals and other objects involving an element of chance and contingency that eludes human control, make us aware of a conception of time that does not proceed in accordance with the nature of human perception. At the same time, they spark our imagination and prompt us to think about the non-human creatures and organisms that share our habitat, each living in what they consider to be “nature”.