In his White Discharge series (2002 to today), arguably his best known works, Kaneuji assembles old toys and plastic scarps into dramatic mounded heaps and covers the surface with white plastic resin, drawing on allusions to landfills, commodity fetishism, and creative repurposing. White Discharge (Built-Up Objects #38) (2014) appears playful, like a lost landscape from a whimsical Dr. Seuss story awaiting a charmingly wacky inhabitant. But in drawing its source materials from prefabricated and mass-produced objects, Kaneuji’s work also suggests more trenchant anxieties consumer culture and the rapid and wasteful accumulation that becomes “built-up” in all of our lives. In this context, the resin’s “white discharge” could also be read as alluding to an almost masturbatory commodity fetishism in which material objects become the very focus of our erotic fixations. This work offers a striking meditation on the presumed value of everyday objects and our relationship to material goods once they become obsolete, damaged, or deemed unusable. By repurposing these materials for his art, Kaneuji reimagines an almost utopian relationship between consumers and objects in which refuse becomes they very “stuff” and substance of sculpture and installation.
Teppei Kaneuji produces sculptures and installation-based work that interrogates Japan’s continuously burgeoning postwar culture of commodification. Kaneuji explores the relationship between consumers and objects, and he frequently employs found and discarded materials in his art in order to draw attention to questions of use value, accumulation, and waste.
Sarah Brahim remonte ses souvenirs dans un maelström de gestes et de sons Cet article vous est offert Pour lire gratuitement cet article réservé aux abonnés, connectez-vous Se connecter Vous n'êtes pas inscrit sur Le Monde ? Inscrivez-vous gratuitement Article réservé aux abonnés Vue d’ensemble de « Sometimes We Are Eternal », exposition de Sarah Brahim, à Lugano (Suisse), en octobre 2023...
Mario Garcia Torres imagines cinematic devices to replay stories occasionally forgotten by Conceptual art...
Dreaming on the Hudson - Photographs by Andrew Kung | Essay by Magali Duzant | LensCulture Feature Dreaming on the Hudson Questioning preconceived notions of masculinity and Asian American identity against the backdrop of the Hudson River Valley, Andrew Kung weaves a new American pastoral in images that capture tender moments of youth...
The Tower of Babel is an installation of large-format photographs that forces the audience to occupy a central position through its monumental scale...
In SEA STATE 6 Charles Lim takes the viewer down the Jurong Rock Caverns in Singapore, a massive underground infrastructure for oil and fuel storage, built to support the commercial operations of oil traders, petrochemical ventures and manufacturing industries in the area...
In SEA STATE 6 Charles Lim takes the viewer down the Jurong Rock Caverns in Singapore, a massive underground infrastructure for oil and fuel storage, built to support the commercial operations of oil traders, petrochemical ventures and manufacturing industries in the area...
In conjunction with his first NFT sale of White Male Dread Scott made and circulated a poster titled Whites For Sale ...
Shot in black and white and printed on a glittery carborundum surface, Black Hands, White Cotton both confronts and abstracts the subject of its title...
Liu Chuang "Lithium Lake and Island of Polyphony" Antenna Space / Shanghai | | Flash Art Flash Art uses cookies strictly necessary for the proper functioning of the website, for its legitimate interest to enhance your online experience and to enable or facilitate communication by electronic means...