2017.06.21 ( wed ) -2017.07.29 ( sat )
- Tetsugo Hyakutake, Tomoyuki Ueno and Yuken Teruya
- 2017.06.21 ( wed ) 6pm-9pm in conjunction with Tribeca Art Night#4
- hpgrp GALLERY NEW YORK
hpgrp GALLERY NEW YORK is pleased to announce ‘Transboundary’, a group exhibition of Japanese artists from June 21st to July 29th, 2017. ‘Transboundary’ features the works of three artists, Tetsugo Hyakutake, Tomoyuki Ueno and Yuken Teruya, focuses on themes such as identity, history, politics and cultural diversity. The opening reception will be held in conjunction with the 4th edition of Tribeca Art Night.
©Yuken Teruya Minding My Own Business(Jan25,2014), 2015, New York Times, 12.5”x 12”x 2-1/8” (up right)
©Tomoyuki Ueno Don’t You Wanna Dance?, 2017, Brass, Iron and Wood, 41”x 81”x 31-1/2” (up left)
©Tetsugo Hyakutake Industrial Port, Kashima, Japan 2009, Archival Pigment Print, 16”x 56”/each (bottom)
Tetsugo Hyakutake (born 1975, Kawasaki, Japan)
I choose to work with contemporary issues in relation to their historical contexts. Through my artwork, I create what I call my own “truth” formed from the influences and experiences I have absorbed. I define “truths” as being based on personal beliefs, identities, and relative perspectives rather than simple facts that are either black or white. Although I am continually looking for the truth, there is also a feeling within me that believes that a single truth does not exist. My images attempt to portray only one version, but by doing so, I also hope to be able to bring out other meaningful “truths” that may lie deep inside the audience.
I attempt to connect historical, economic, and social issues of post-war Japan with personal experiences and the voices of my generation. Despite loss of human lives, destruction of its major cities, and its lack of raw materials, Japan became the second largest economy in the world in less than 25 years after the war ended. Post- war Japanese identity has largely been shaped by recovery from defeat, economic development to catch up with the West, and reviving national confidence. However, the bubble economy of the late eighties and the “Lost Decade” of the nineties have left little room for the nation’s people, especially the younger generation, to reflect upon and contemplate what it means to be uniquely Japanese. By looking back on history, I want to light to the present.
*Hyakutake worked at ISCP in Brooklyn as a residence artist 2016-2017. His work has been exhibited at Galley 339(Philadelphia), Institute of Contemporary Art (Philadelphia), Museum of Contemporary Art Taipei (Taiwan) and more.
Public Collection includes the Philadelphia Museum of Art (Philadelphia), the Carnegie Museum of Art (Pittsburgh), the Library of Congress Art Collection (Washington, D.C.), Fidelity Investments Corporate Art Collection (Boston) and more.
Tomoyuki Ueno (born 1982, Kobe, Japan)
Although many artists are nowadays making artworks by using commodities or by intervening in everyday lives, the principle what makes art might be its extraordinary. But when one makes artwork, it’s often accompanied by desire of reality. The reason why ornaments of the window fence or garden fence interest me in recent years, is because their patterns by metal are like substantial drawings and they are heavy and also big existences to refuse people, and that make me feel reality.
Drawings in the air or it is in between picture and sculpture.
Actually I had been wanted to be a painter. But I felt the act of painting is to make something imitation, and I couldn’t do it. Post modern as well as simulacre don’t make me comfortable. I wanted to make something, which related with real. I just feel a great reality and a reason to realize an image from metal fences.
*Ueno lives and works in Berlin since 2009. His work has been exhibited mainly in Germany and Japan, Raketenstation Hombroich (Neuss, Germany), MATSUO MEGUMI +VOICE GALLERY pfs/w (Kyoto, Japan), REH-transformer (Berlin, Germany) and more. Ueno has just started his residence program in Künstlerhaus Bethanien, Germany.
Yuken Teruya (born 1973, Okinawa, Japan)
Yuken Teruya often employs everyday objects such as toilet paper rolls, $1 bill or shopping bags, which are usually considered symbols of consumerism or ecological imbalance, to create worlds of unexpected beauty. Rather than overtly criticizing consumer society, Yuken invites viewers to read his works through their own frames of reference.
Natural shapes are another prominent characteristic of Yuken’s works. He incorporates his fascination with nature in his sculptures and textiles, giving natural shapes the freedom to unfold a new form of beauty in unexpected contexts. Yuken’s works seem to be an attempt to shine lights on disposable objects and reminding the viewers to slow down for a moment, releasing themselves from their busy lives and give thoughts to the world in which little things matter.
*Teruya lives and works in New York. His work has been exhibited at Pippy Houldsworth Gallery (London), Josée Bienvenu Gallery (New York), Museum of Contemporary Art Tokyo (Tokyo) and more. Public Collection includes Guggenheim Museum(New York) , The Museum of Modern Art (New York), Renwick Gallery, Smithsonian American Art Museum (Washington, D.C.), Seattle Art Museum (Seattle), Museum of Contemporary Art Tokyo (Tokyo) and more.