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Madness is part of Life by Ernesto Neto
by Espace Louis Vuitton Tokyo
Location: Espace Louis Vuitton Tokyo
Artist(s): Ernesto NETO, Evandro MACHADO
Date: 29 Sep 2012 - 6 Jan 2013

Espace Louis Vuitton Tokyo is delighted to welcome worldwide-acclaimed Brazilian Artist Ernesto Neto and his protégé, video artist Evandro Machado, in a show of a new format: Mentoring young Artists.

Curator of Espace Louis Vuitton Tokyo 5th exhibition, Madness is part of Life, Ernesto Neto reconfigures and reinterprets the gallery’s high-ceiling and glazed wall space through four newly-created pieces.

Around Life is a body we are part of, a vast installation from the series Balanço (Swing) that brings visitors up in the air to (re)discover the Tokyo cityscape and architecture in a relaxed and spicy environment of clove and turmeric, three works pursue previous researches and series around themes dear to the Artist.

Humanity is questioned through each and every one of these pieces. Conceived as a perception of reality through the weight of things, inherited from the Brazilian Post-Neo Concrete of artists Hélio Oiticica and Lygia Clark, Humanity is also referred to as “physically structured in the relation”. For Neto, the combination of parts is not only a mental exercise but also a physical operation. It is to this physical dimension, and to this specific way of understanding and reflecting to the space and the life, that we invite you.

While Linhas pontos e patas draws a line on the wall, TorusMacroCopula points to the ceiling, in an evocation of Prumo and Peso, pieces from the 1980s, and Pedras, an aggregation of balls in the same stretchy material, invite the visitor to see, sit, touch, walk, smell and think.

Along those four pieces, each investigating a different way to occupy and/or define the space, Evandro Machado shows a variation of a pre-existing work, Ferrolho, a semi-fictional work set in Rio urban scape.

Espace Louis Vuitton Tokyo would like to express its appreciation and gratitude to Ernesto Neto and his Studio Atelienave (Rio de Janeiro), to Tomio Koyama Gallery (Tokyo) and to the Embassy of Brazil in Tokyo for their enduring support during the preparation of the exhibition.

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