Exhibition 2017


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Open: 11:00-19:00 *Closed on Sun, Mon and National holiday

Venue: NANZUKA [ ACCESS MAP ]

Opening Reception:

    NANZUKA is pleased to announce a solo exhibition with Berlin-based Dutch artist, Joep van Liefland. The exhibition marks van Liefland's first solo presentation in Japan.

    van Liefland was born in 1966 in Utrecht, Netherlands, and currently lives and works in Berlin. His major solo exhibitions include, “Black Systems (Extended Version),” Stedelijk Museum Bureau Amsterdam, Netherlands (2010); “Video Palace #37 MANIAC,” Kunstmuseum Goch, Germany (2014); “True RGB,” Galerie Gebr. Lehmann, Dresden, Germany (2015); “Real Resurrection,” Overbeck Gesellschaft, Lübeck, Germany (2017); along with participation in numerous group exhibitions such as “Infinite Jest,” Schirn Kunsthalle, Frankfurt (2014); “Alien Matter,” Transmediale, Haus der Kulturen der Welt, Berlin (2017).

    Within his practice van Liefland focuses on the progressive changes in modern and contemporary information media, in particular, in the area of video technology. Through producing various works that appropriate analog electronic devices as their motif from videocassettes to tape recorders and CRT television sets, Liefland serves to encourage considerations regarding the impermanency of media forms as well as the rapid transformations of technology.

    van Liefland's representative series, “Video Palace” brings together video film, VHS cassettes, video recorders, parabolic antennas, and CRT televisions in the form of large scale installations, reintroducing various products of technology made obsolete with the current progressions of digitalization in the manner of artifacts, as subjects to be interpreted through means of an archaeological discourse. The “RGB” silkscreen series concern works in which images projected on a monitor screen via analog signals consisting of the three primary colors of light: R (red), G (green), B (blue), By converting the light originally projected through electronic signals into an aggregate of the colors printed upon the canvas, van Liefland attempts to imply a process of transition in the recorded format of information. Upon the surface of such works one can seemingly observe the context of Op Art that had attracted attention throughout the 1960s, and the artist's endeavor to treat the colors and forms appropriated within the works as symbolic codes as well as strengthening the existence of the works in terms of the information they convey rather than their materiality, appear to emphasize the ambiguity and impermanency that permeates the medium of painting.

    In addition to the aforementioned RGB silkscreen series, the exhibition features both two-dimensional, three-dimensional, and collage works that appropriate VHS cassettes as their motif. Also on this occasion, van Liefland presents his “Video Palace” installation within a cabinet in assemblage form, using products made by Japanese manufacturers.

    van Liefland states as follows with regards to the exhibition:
    The exhibition title “TIME TO DIE” and its main visual contain multiple notions from “mortality” to “transhumanism,” “machines (robots/A.I) taking over humanity,” “old technological systems dying,” and “bad food habits (the end of self-optimization).” My works harbor a strong impulse towards scientific technology, the philosophical concepts that originate from the things that surround technology, as well as relationships with the past. On the occasion of this exhibition in Japan, I hope for my works to cross paths with both Japan's state-of-the-art technology of the times that had developed during the nation's postwar period of high economic growth, and also to a historical context, thereby discerning a certain common root of sorts from the relics of the past presented as works within the space.

    An opening reception with the artist will be held on October 21 (Sat).

    Artist Detail