Hako (2006) depicts a mysterious and dystopic landscape where the world becomes flat: distance between different spaces, depth of field and three-dimensional perceptions are canceled. Interiors of a Victorian doll’s house, a rippled seascape, a palm tree forest, and a gravel seashore are superimposed, morphing into each other. The hermetic narrative is charged with psychological and mythological aspects. Hako reflects Sawa’s interests in psychotherapies, in particular, the sand tray therapy, also known as sandplay, created by Dora Kalff. Sandplay asks participants to create their own arrangement of objects in a sandbox by choosing from a wide range of small figures to which the subconscious attaches symbolic meanings. Echoing this process, Sawa creates his imaginary dimensions where rules and selected elements allow for improvisation and play to reveal unconscious processes. Certain elements give visual clues and metaphorically comment on issues such as the hybridity of the human and the non-human. This is indicated by walking trees and a miniature toy clock that is animated to keep real world time in order to ponder the illusionary concept of linear time. Reality is not scientific. As the fantastical becomes everyday and the supernatural becomes commonplace, so does the reverse.
London-based Japanese artist Hiraki Sawa’s video installations and filmic works probe landscapes, psychological dreamlands, domestic interiors, imaginary spaces, ideas of displacement and migration, and above all, the inner self. He weaves animals, people, plants, animated and inanimate objects into a series of surreal sequences to create enigmatic and immersive worlds of sound and image. Employing a combination of digital editing and hand-made methods of cutting, pasting and collaging, Sawa highlights the ambiguous boundaries between facts and fictions and meditates on how remembrance and memory can be manipulated by time, emotion and mental influences.
Yoneda’s Japanese House (2010) series of photographs depicts buildings constructed in Taiwan during the period of Japanese occupation, between 1895 and 1945...
Walking Through is one of a series of videos—sometimes humorous, often absurd—that record the artist’s performative interactions with objects in a particular site...
Naoya Hatakeyama’s series Rikuzentakata (2011) documents the devastating aftermath of the 2011 Tohoku earthquake and tsunami in Japan...
War Footage is a series of wall-mounted works composed of 16mm film leader, tightly bound to flag-shaped panels by the artist...
Through a semi-fictional approach, Extrastellar Evaluations envisions a version of history in which alien inhabitants, the Lemurians, lived among humans under the guise of various renowned conceptual and minimal artists in the 1960s (Carl Andre, Mel Bochner, and James Turrell to name a few)...
Oded Hirsch’s video work Nothing New (2012) utilizes seemingly absurdist tropes to raise more trenchant questions about communal action and collective identity in modern day Israel...
In his project Instituto de Vision (2008), Consuegra investigates how modernism gave rise to many new technological forms of vision, most notably the camera, yet also resulted in the disappearance of outmoded forms of vision...
The lengthy titles in Chen Xiaoyun’s work often appear as colophons to his photographs that invite the viewer to a process of self realization through contemplating the distance between word and image...
One Universe, One God, One Nation was inspired by Hannah Arendt’s analysis of space exploration and by the astrological horoscope of Chinese political and military leader Chiang Kai-shek (1887-1975)...
Extrastellar Evaluations is a multimedia installation produced during Yin-Ju Chen’s residency at Kadist San Francisco in the spring of 2016...
Naoya Hatakeyama’s series Rikuzentakata (2011) documents the devastating aftermath of the 2011 Tohoku earthquake and tsunami in Japan...
This work includes sketches for Extrastellar Evaluations , the project she produced at Kadist...
Consuegra’s Colombia is a mirror made in the shape of the artist’s home country—a silhouette that has an important resonance for the artist...
Naoya Hatakeyama’s series Rikuzentakata (2011) documents the devastating aftermath of the 2011 Tohoku earthquake and tsunami in Japan...
Reborn, 2010 is a three-channel video by Desiree Holman that questions ideas of motherhood and the maternal instinct...