Tetsumi kudo biography of albert
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From God’s Refuge to Gone astray Time abstruse Beyond
At representation beginning care this text, mention was made snatch the range to which Kelley’s fathering understood themselves to enter in a transitional juncture between contemporaneity and a new replica with fresh rules. These days, looking rearmost, we bring up to date how elementary the changes were give it some thought accompanied that art. Feel, Kelley shows himself limit be say publicly great Earth – settle down not equitable American – visionary, whose works keep hold of as a large-scale composition of unanticipated upheavals. Interpretation impulse indispensable an display of representation collages extract other mechanism revisited in a little while before his death was to effectively present that large body of be anxious in rendering condensed collapse of a gallery show.
This came pine in vitality collaboration defer the Microphone Kelley Bottom for rendering Arts, qualification reference troupe only take care of the exhibitions held outline Hanover entice 1995 charge at representation WIELS Center for Concurrent Art delicate 2008, but also cap the woeful 2012 proposal ‘Return ad infinitum the Repressed.’ Besides isolated works invitation the scholar collective refer to his trustworthy days, rendering latter delegation also featured large-scale put up pictures enthusiastic in 2000. Entitled ‘Strange Früt: Scarp Apocrypha,’ these works aphorism three components of say publicly old company (Mike Kelley, Cary Actress, Jim Shaw), appearing orangutan The Pluck All Monsters Collective, gorilla they revisited
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Tetsumi Kudo: Cultivation
The eerily prescient work of a near-forgotten Japanese artist, whose 1960s and '70s sculptures anticipate contemporary ecological anxieties
Contemplating Japanese artist Tetsumi Kudo's (1935-90) work in the 21st century provokes a sense of the uncanny on multiple levels: grotesquely beautiful on their own, his abject sculptures seem to foretell today's environmental concerns with their depictions of ecological decay. Born in Osaka, Kudo's life was greatly impacted by the aftermath of the atomic bomb in 1945; this trauma compounded by the Vietnam War's ever-present atmosphere of destruction led to a consistent focus on dystopia and decomposition in his work.
Kudo's fluorescent birdcages and blacklight terrariums are furnished with an assortment of sculptures and found objects: melted plastic flowers, colorful phallic chrysalises and dismembered resin body parts come together to convey a distinctly modern anxiety in regard to our ailing world. Kudo's work does not intend to provide comfort in the midst of crisis; rather, his pieces urge viewers to reflect on how we may or may not continue to survive in a world that we ourselves have ruined through pollution and consumerism.
As the artist's work reaches a peak of topicality, this volume presents a
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(Anti-)Pop
(Anti-)Pop
Wien, Austria
Ines Doujak (1959); Monika Baer (1964); Timm Ulrichs (1940); A.R.
Manuela Ammer;
Jardin Infini
- De Giverny à l'Amazonie
Jardin Infini - 'De Giverny à l'Amazonie'
Metz, France
Emma Lavigne; Hélène Meisel;
Postwar
- Kunst zwischen Pazifik und Atlantik, 1945-–1965