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Jackson Sprague

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Jackson Sprague
(Born in 1982, Devon, UK. Lives and works in London)




Sprague's sculptures develop from the everyday eventfulness of home life and its routines, including travel to and from his studio, picking up discarded cardboard and other materials from streets on his way. The intimate drama of living with objects is transposed to the gallery where his sculptures often demand the attentions of gallery staff, to water and replace flowers in his vases, or pull the viewer into a physical and emotional proximity with the specific use of scale and text, as well as inferred bodily or autobiographical symbolism. Sprague's work plays-up tensions between aesthetic and functional, sculptural and pictorial, lasting and ephemeral: a room divider performs as a painting, a painting on the wall is also a plaster cast sculpture, painted cardboard appears to be ceramic. These ambiguities are characteristic of relationships, physical and psychical, Sprague's work tenderly exposes.

He gained an MA from Royal College of Art and BA from Goldsmiths College. Recent exhibitions include: Breese Little, London, UK; Maisterravalbuena, Madrid, SP; Emalin, Stirling, Scotland, UK; The Unturned archive, online; Frutta, Rome, IT; CASS Sculpture Foundation, Chichester, UK; Northern Gallery for Contemporary Art, Sunderland, UK; Edel Assanti, London, UK; Limoncello Gallery, London, UK; Cole Contemporary, London, UK (solo); Millington Marriott, London, UK; Institute of Contemporary Arts, London, UK; Liverpool Biennale, Liverpool, UK; Hobbs Mclaughlin, London, UK; Horton Gallery, Berlin, DE; Plaza Plaza, London. Past residencies include Cite des Arts, Paris, France.

Website






Residency: February 1, 2017 - March 15, 2017
Supported by: The Agency of Cultural Affairs (Bunkacho)


The Artists Wife, 2015
Plywood, gouache, 260 x 240 x 3 cm
Courtesy of Frutta




Hard not to be clumsy when analysing my impulses, my mind asks: is this right? and then it answers yes or no, 2015
Glazed ceramic, sunflowers maintained by gallery staff, 70 × 30 × 30 cm
Courtesy of Frutta




Lips, 2017
Cardboard, resin, steel, wood, acrylic, 200 x 40 x 18 cm
Courtesy of Breese Little



2017-2- 3

Eva Masterman

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Eva Masterman
(Born in 1986, Wales, UK)




Investigation into material and process led practices through cross-disciplinary workshops, seminars and writing, predicates Materman's art-work. This dual approach of direct research into the boundaries and preconceptions of the visual arts, coupled with her own artistic practice, allows Masterman to create a critical discourse that surrounds her own sculptural territory; one that sits firmly in the middle of the 'expanded field' of inter-disciplinary, material-specific making and fine art sculpture.

Evoking the ruin, the architectural, the body, there is an attempt to contain and control the transition of material and mental states, creating tension through displacement of the familiar. The ubiquitous nature of clay accompanied by recognizable forms and supporting structures, is used to enhance to the visual interchange and sense of potential flux and instability. The resulting installations become a testament to the colluding nature of process and environment. Using clay as a set of rules and parameters in which to explore, the work endeavours to marry the conceptual with the physical, revealing the bodily realities of working in the studio and what it means, or how we make art.

Masterman graduated from Kingston University in 2008 with a First Class Honours BA in Fine Art, and recently completed her MA in Ceramics and Glass at the Royal College of Art. She has exhibited widely across the U.K. and abroad, including two solo-shows at the William Bennington Gallery. She was the recipient of the 2016 Anthology Art Prize at the Charlie Smith Gallery, and the 2016 Royal British Society of Sculptors Bursary. She also works in a social outreach art collective, Collective Matter, which has been selected for the 2016 Tate Exchange Program.

As well as her art practice, Masterman also writes for the online journal cfileonline.org, and teaches at the Camden Arts Centre. On completion of residency at AIT, she will begin a new cross-disciplinary ceramics role as Lecturer at Westminster University, London.

Website






Residency: January 23, 2017 - March 6, 2017
Supported by: The Agency of Cultural Affairs (Bunkacho)


Crackpot (2016), Installation
Ceramic, inner tube, kiln props, found table, plaster
Dimensions Variable




Used (2016)
Ceramic, Steel, Kiln Props, trolley
150cm x 65cm x 45cm




Used Jugs (2016)
Ceramic
30cm x 20cm, 25cm x 15cm



2017-1-26

Rory Pilgrim

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Rory Pilgrim
(Born in 1988, Bristol, UK)



The work of British artist Rory Pilgrim is based on emancipatory concerns, in which personal and political questions are brought together to explore questions of time and connections between activism, spirituality, music and community. Strongly influenced by the origins of activist, feminist and socially engaged art, Pilgrim works in a wide range of media including live performance, film, text, workshops and musical composition. Pilgrim in particular composes music as a way to bring people together and explore how we use it to challenge, celebrate and voice ourselves.

Pilgrim obtained a BA from Chelsea College of Art, London and was a participant of the De Ateliers residency programme between 2008-2010 in Amsterdam, The Netherlands. Recents solo shows include Flat Time House, London, UK (2016), Site Gallery, Sheffield UK (2016), Andriesse-Eyck Gallery, Amsterdam NL (2015) and sic! Raum für Kunst, Luzern CH (2014). Groups shows, performances and screenings include South London Gallery, UK (2016), Guangzhou Triennial, CN (2015), Land Art Live, Almere NL (2015), MING Studios, Boise USA (2015), Bonnefantenmuseum, Maastricht NL (2014), Rowing Projects, London UK (2013), Kunst Werke, Berlin DE (2013) and Stedelijk Museum, Amsterdam (2012) .

For Pilgrim's time with AIT he will build upon a new body of work entitled 'ERASURE' that focuses on the body as a site of action in at a time of impending ecological collapse and the fusion between human, non human species and machine in an era of hypermodernity. Pilgrim hopes to make research, conversation and dialogue that explores Japanese artistic movements relating to Feminist, Activist and Socially engaged practice to develop a series of choreographic methodologies and music questioning how environmentalism provides a basis for social and political emancipation.

Website





Residency: January 11, 2017 - March 31, 2017
Co-organized by Mondriaan Fonds
Event: AIT ARTIST TALK #70 "FUTURE BODY TALK" Artist Talk by Dutch artist Rory Pilgrim
Date: Friday, March 17, 2017
Time: 19:00-21:00 (18:30 Door open)
Venue: Daikanyama AIT Room


Seeds Upon The Dance Floor (2014), Exhibition and Performance, sic! Raum für Kunst, Luzern, Switzerland



Words are not signs they are years (2015), Exhibition and Performance, Site Gallery, Sheffield, UK



Sacred Repository N.3: THE OPEN SKY (2016), Still from HD Film


2017-1-16

Maki Nishida

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Maki Nishida (Born in Fukuoka, Japan)





Nishida received her BA in History of Art and Aesthetics at Keio University in Tokyo and earned MA in History of Art in University College London. Since 2007 in England, she has continuously explored her carrier with working at various institutions such as art university, museum, gallery and consultancy for collectors, which eventually deepened her knowledge to overlook art scenes from different perspectives both from public and private sectors. In April 2016, she has resided herself back in Japan and was appointed as an assistant curator at Aichi Triennale 2016 to work with many international artists. She also works as an independent curator aside from her extended skills in writings and translation.

At Tabakalera, Nishida focuses on the backbone to the renowned food culture in San Sebastian, conducting her research on Txoko; the 'Gentlemen's cooking club' that played an integral role in the community and culture of the city, particularly under the Franco regime. Through the act of gathering and forming a community with a strong connection with food in a particular context, she also refers the reflection in the contemporary society where everything tends to be politicised and depoeticised.



Residency: November 28, 2016 - December 25, 2016
Organized by Arts Initiative Tokyo [AIT], TABAKALERA International Centre for Contemporary Culture
Supported by BASQUE INSTITUTE ETXEPARE, ACCIÓN CULTURAL ESPAÑA (AC/E), EU JAPAN FEST, the Agency for Cultural Affairs Fovernment of Japan in the fiscal 2016

2016-12- 1

Haizea Barcenilla

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Haizea Barcenilla (Born in San Sebastián, Spain)




Barcenilla is an art critic, curator and art history lecturer at the University of the Basque Country. Her research revolves around two axes of interest: on the one hand, the ideas of public and common, and how they can influence curatorial practice and artistic research; on the other one, the revisitation of history from a gender point of view.

She has written extensively on both topics, including a PhD about curating and the commons, and also curated and produced various artworks and exhibitions. The recent ones are framed in the New Patrons scheme, in which she helped develop and produce the publication Manual de Uso by artist Andrea Acosta about the Zorrozaurre neighborhood in Bilbao, and the video Andrekale by Señora Polaroiska, with the collaboration of Tabakalera, for the town of Hernani.

Her project research for Tokyo through the residency, entitled the eventual common, consists in a research of the way in which public space is understood, enacted and performed in Japan, specially through the social organization of "Machizukuri". She would like to link this performative quality to the idea of the commons, and to see how artists and curators are working with this kind of practices and uses of space.







Residency: December 4, 2016 - December 31, 2016
Organized by Arts Initiative Tokyo [AIT], TABAKALERA International Centre for Contemporary Culture
Supported by BASQUE INSTITUTE ETXEPARE, ACCIÓN CULTURAL ESPAÑA (AC/E), EU JAPAN FEST, the Agency for Cultural Affairs Fovernment of Japan in the fiscal 2016

Curator Talk: "AIT SLIDE TALK #34 "Can we curate commons?"
Wednesday, December 21, 2016 at Daikanyama AIT Room


Haizea 1
Manual de Uso Project by Andrea Acosta in Sala Rekalde, Bilbao. New Patrons program, 2014. Photo by Andrea Acosta

Haizea 2
Presentation of Andrekale by Señora Polaroiska in Tabakalera. New Patrons program, 2015. Photo by Señora Polaroiska

Haizea 3
Presentation of Andrekale by Señora Polaroiska in Hernani. New Patrons program, 2016. Photo by Señora Polaroiska

2016-12- 1

Jenny Yurshansky

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Jenny Yurshansky
(Born in Rome, Italy. Lives and works in California, USA and Stockholm, Sweden)

Jenny Yurshansky


 Jenny Yurshansky's practice uses a conceptual and research-based approach to define the material and critical parameters of each project; she explores the empiric and its tension with the poetic. Using these guidelines she digs deeply into the holes that exist in the systems we have created to categorize the world such as time, memory, history and language. These boxes are unpacked and run through the parallel filters of scientific inquiry and personal experience, often by making use of absence so that room is made, to determine that which is known, by first establishing what is not known. At the core she investigates paradoxical mechanisms, functions, and assertions, often by creating a dialectical construct that is expressed in the relationship between materials and subject. Yurshansky takes care to widen the gaps of visual description so that the viewer has room to project their own meaning onto each piece, in order to ensure that the works do not enforce their own tautology. The work provides a wider space for meaning to be dismantled and re‐imagined continually. The use of subtlety in the work's presentation, forces a slower experience of viewing, thereby creating time for dialogue with the larger issues that each piece deals with.

 Born in Rome via Moldova, Jenny Yurshansky received her MFA in Visual Art from UC Irvine and participated in the post‐graduate Critical Studies course at the Malmö Art Academy. This spring she was invited by Yiddishkayt as a guest artist in Moldova, where she began research on her family history. Yurshansky's forthcoming artist book will be published by Pitzer College Art Galleries in conjunction with her 2015 solo exhibition and residency, Blacklisted: A Planted Allegory. Her work will be seen this fall at the Los Angeles Arboretum as part of the show Digital Nature and this spring was seen at the Los Angeles gallery Visitor Welcome Center. A co-founder of the art space, Persbo Studio in Sweden, Yurshansky is the recipient of numerous grants and awards from the Andrew W. Mellon Foundation, Asylum Arts, the Swedish Arts Grant Committee and the Royal Institute of Art in Stockholm, where she was a Guest Artist Researcher and had a solo exhibition in 2015. She was the first international artist awarded the Maria Bonnier Stipend from Bonniers Konsthall. Yurshansky's work has been exhibited internationally in group shows at the Aldrich Museum of Contemporary Art, MAK Center, LAXART, the 7th Istanbul Biennial, the Hammer Museum, Rooseum Center for Contemporary Art in Malmö, and the Toyota Museum in Japan.

Website: Jenny Yurshansky





Stay: September 6, 2016 - December 5, 2016
Co-organized by: IASPIS
Event: ARCUS + AIT Artist mini-talk (Sunday, November 27, 2016, ARCUS Studio)


Jenny Yurshansky
Succession, 2016,
Premium black granite, laser etched surface


Jenny Yurshansky
Blacklisted: A Planted Allegory (Asylum), 2015,
Slide projector, 35mm slide, custom Da-Lite rear projection aluminum framed projection screen


Jenny Yurshansky
Blacklisted: A Planted Allegory (Herbarium), 2015,
Steel herbarium cabinets, MDF, wood, hardboard, brass, assorted paper, 133 hand-cut silhouettes


Jenny Yurshansky
Blacklisted: A Planted Allegory (Collection), 2015,
MDF, cast glass, flameworked glass, tempered glass, silkscreen print


2016-9- 6

Tharmakrishnar Krishnapriya

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Tharmakrishnar Krishnapriya
(Born in 1987, lives and works in Jaffna, Sri Lanka)
Thermakrishnar Krishnapriya

Krishnapriya's practice traces the losses of those she has missed in her past, and also act as reminders for forgotten memories and a sense of self. She works mainly with drawing, painting, collage and drawing using nails pressed on paper and board without any distinctive colour. Many dots and lines outline her individuality and identify particular times of her life such as childhood, emphasising an inner-heart empathy.

Tharmakrishnar Krishnapriya obtained her BA in Art and Design at Jaffna University in 2012. Recent exhibitions include, "Seven Conversation" (Saskia Frenandi Gallery, Colombo, 2015) and Contemporary Artist Meeting Point (Colombo, 2015) along with group exhibitions at Jaffna University. In 2013, she was involved in the exhibition "Artefacts from Jaffna", conducted by Asia Art Archive in Hong Kong and Raking Leaves which is a local non-profit independent publisher. Most recently, she has organized letter press workshops with inherited methods and tools from her father.

"Dots make Lines, Lines make Diagrams, Lines also show the direction of my life, my past, my dreams, my selection, my losses and gains" - Thermakrishnar Krishnapriya



Stay: May 9, 2016 - Jul 28, 2016
Co-organized by: The Backers Foundation


Krishna_2.jpg
"Truth to Truth", Ink on canvas, 2016


Krishna_1.jpg
"Impression 2-1", Nail drawing on tracing paper, 2015


Krishna_3.jpg
"Impression I", Embossed Paper, 2015


2016-5- 9

Chaw Ei Thien

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Chaw Ei Thien
(Born in 1969, Myanmar. Lives and works in New York, USA)
Chaw Ei Thein

Chaw Ei graduated with LL.B (Law) in 1994. Her artistic recognition started at an early age through the numerous international art awards that she has received. With her father, Artist Maung Maung Thein (Pathein), as her art teacher and a mentor, Chaw Ei's artistic practice has developed diversely and highly regarded as a painter and a performance artist. Her international career is highly profiled as she candidly portrays the contradictions and conflicts of her socio-political environment. Her artworks are primarily the interpretation of her personal experiences over how she has struggled with lack of freedom of speech and the impact of social transformation.

Over the years she has lectured and exhibited extensively, participating in numerous international performance art festivals. She exhibited "September Sweetness" , in collaboration with Richard Streitmatter-Tran, at Singapore Biennale 2008 and gave talk "The Burmese Performance Art Scene: Faced by Burmese Artists" at the Asia House Gallery, London, in 2007. She has been selected for several awards and residencies in the United States, including Asian Cultural Council fellowship in New York from 2009 to 2010 and Art Omi, the Gardarev Center Fellow, and the Sea Change Residency, GAEA Foundation. Her work has been widely covered in the international arts press including Sculpture Now (2013), Asia Art Now (2012), Artforum, Art Asia Pacific, Yishu, C-Arts, and The New York Times, Washington Post and The Straits Times.
www.chaweithein.blogspot.com



Stay: May 9, 2016 - Jul 28, 2016
Co-organized by: The Backers Foundation
Upcoming Exhibition:The BAR vol.9 (The Backers Foundation and AIT Residence Programme) New works by Thermakrishnar Krishnapriya and Chaw Ei Thein (Saturday, July 9 - Saturday, July 23, 2016 at YAMAMOTO GENDAI)
Opening reception: 18:00 - 20:00, Saturday, July 9, 2016 at YAMAMOTO GENDAI


Chaw Ei Thein
We are in Burma, Performance by Chaw Ei Thein, 2004, Kyoto, Japan


Chaw Ei Thein
What a wonderful world #4, Paint on camouflage fabric, 2015


Chaw Ei Thein
September Sweetness, Installation by Chaw Ei Thein & Richard Streitmatter-Tran, Sugar 5.5 tons, 12x7x7 feet, 2008, Singapore


2016-4-25

Agnieszka Gratza

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Agnieszka Gratza
(Born in 1974, Kraków, Poland. Lives and works in the UK)
Agnieszka Gratza

Agnieszka Gratza is a writer and drifter. Her writings about art, performance and film have appeared in various contemporary art magazines and newspapers, including artforum.com, frieze, Mousse, and the Financial Times. A lapsed academic, she has also published articles on the subject of Renaissance intellectual and cultural history, while researching and teaching at the universities of Oxford, Edinburgh and Queen Mary, London.

Her more creative writing often stems from live art and performance: she has collected dreams and staged tableaux vivants of the Annunciation during a residency at the Gershwin Hotel in New York, made a series of edible artworks using saffron in collaboration with local chefs, and taken part in Tino Sehgal's These associations at Tate Modern in 2012. More recently, she has been chasing after volcanoes (from Santorini to São Miguel in the Azores) for a book of volcanic swims.

Blog: Conversation Pieces



Stay: April 11, 2016 - May 15, 2016
Co-organized by: The Backers Foundation



Agnieszka Gratza
"The Annunciation", New York, 2011, video shot by Shaky Jones


Agnieszka Gratza
"Revolution Soup" at Occupied Kitchen during Occupy Wall Street, New York, 2011, photo by Michelle Stewart


Agnieszka Gratza
"Le Galli", the ongoing Volcanic Swims project, photo by Agnieszka Gratza

2016-4- 4

Penwadee Nophaket Manont

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Penwadee Nophaket Manont
(Born in 1973, California, The United States of America. Lives and Works in Bangkok, Thailand)

Penwadee Nophaket Manont

Born in 1973, California, The United States of America. Lives and works in Bangkok, Thailand. She has a focus in Art and Culture dialogues along with interests in Social and Environment issues. Penwadee pursued both a Bachelor's Degree in Visual Communication Arts and a Master's Degree in Environmental Management. She started her career as a Graphic Designer, and shifted to the field of Art and Cultural Management by working as an Assistant Curator at Project 304 alternative art space in 2001. Later, she became part of the Curatorial Team at The Jim Thompson Art Center, during 2007-2012. She is currently an Independent Art Curator, as well as a Cultural Worker.

Her Curatorial Projects include the Mekong Art & Culture Project: Curatorial and Traveling Exhibition (2007-2008), supported by Rockefeller Foundation and Silpakorn University, where she was one of the four Southeast Asian Art Curators for the Underlying exhibition, from Laos, Vietnam, Cambodia and Thailand. She also co-curated Poperomia/Golden Teardrop (2013), an exhibition at the 55th International Art Exhibition - la Biennale di Venezia, Italy. At the end of 2013, Penwadee founded ANTs' POWER Art & Cultural Group, who are active on Human Rights and Democracy related issues. Research & Archiving Project includes The Exhibition History in Thailand from the 1970s to the Present, supported by The Asian Culture Center (ACC), Institute of Asian Culture Development, Ministry of Culture, Sports and Tourism, Gwangju, South Korea. Penwadee worked as a Project Manager/Researcher throughout 2015.





Stay: February 22 - March 26, 2016
Co-organized by: The Agency of Cultural Affairs (Bunkacho)
Event:A Roundtable with artists and other guests from Thailand
Date: Sat, Mar 12, 2016
*Details to be announced soon.

Penwadee_VoteasYouLike.jpg
Vote as You Like (Bangkok Art and Culture Centre, Bangkok, 2014)


Penwadee_Underlying.jpg
Underlying (The exhibition travelled to Laos, Vietnam, Cambodia, Thailand, 2007-2008)


Penwadee_Poperonia_GoldenTeardrop.jpg
Poperomia / Golden Teardrop (Thai Pavilion, La Biennale di Venezia, Italy, 2013)

2016-2- 8