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<title>New Data RSS | KALONSNET</title><link>http://www.kalons.net/e/</link><description>New Data</description><dc:language>en</dc:language><dc:creator>www.kalons.net</dc:creator><dc:date>2010-03-02T15:02:16+09:00</dc:date><admin:generatorAgent rdf:resource="http://www.kalons.net/?=RSSgeneratorVer.1.0" /><sy:updatePeriod>daily</sy:updatePeriod><sy:updateFrequency>1</sy:updateFrequency><sy:updateBase>2000-01-01T12:00+00:00</sy:updateBase><item><title>Kanagawa Prefectural Gallery</title><link>http://www.kalons.net/e/gallery/galleries_2405.html</link><guid isPermaLink="true">http://www.kalons.net/e/gallery/galleries_2405.html</guid><description><![CDATA[Opened in front of Yokohama Port in Yamashita Park, Yokohama in 1975, Kanagawa Prefectural Gallery has 5 exhibition rooms, totally 300 m² space which is the maximum in Kanagawa prefecture, on the first floor and the first floor and the underground of Kanagawa Kenmin Hall that is familiar as a concert place for the opera and the classic music.  
It is generally a rental gallery for wide range of exhibitions such as the painting, the sculpture, the craft, the photograph, the print, books, and the painting in India ink, besides irregularly holding an enthusiastic project exhibition of a veteran or an emerging artist by the best use of the high ceiling and the wide floor. There were many notice-worthy exhibitions including Koichi Ebizuka, Mitsunori Kurashige, Chiharu Shiota, “Everyday life Another space” of Takehito Koganezawa. Moreover, a music-art related project such as "Art complex" to cross the border among the art, music, and the dance is also attempted since there is a music hall next to it.
(Photo right) View from the exhibition of Chiharu Shiota, "silence" (2007), photo by Yasushi Nishimura]]></description><author>Takeshi HIRATA</author><category domain="http://www.kalons.net/e/gallery/">Gallery Data</category><pubDate>2010-03-02T15:02:16+09:00</pubDate></item><item><title>ZEIT-FOTO SALON</title><link>http://www.kalons.net/e/gallery/galleries_2354.html</link><guid isPermaLink="true">http://www.kalons.net/e/gallery/galleries_2354.html</guid><description><![CDATA[ZEIT-FOTO SALON was opened in Nihonbashi, Tokyo in 1978 as the first gallery in Japan that handles the photograph as an artwork, and relocated to Kyobashi in 2002. They co-sponsors the domestic and foreign museum exhibitions, and actively cooperating the project exhibition as a pioneer gallery specialized in the photograph. Moreover, they make efforts to introducing Chinese contemporary paintings to Japan.
The among the represented artists are Nobuyoshi Araki, Miyako Ishiuchi, Koji Onaka, Yuki Onodera, Toshio Shibata, Mariko Shindo, Ryudai Takano, Asako Narahashi, Daido Moriyama, Toshihiro Yashiro, Aiguo, Luo xiaodong, Zhou Tiehai, Ding Yi, He Sen, Ma Liuming, and Ji Dachun.]]></description><author>Takeshi HIRATA</author><category domain="http://www.kalons.net/e/gallery/">Gallery Data</category><pubDate>2010-02-23T11:28:16+09:00</pubDate></item><item><title>nabis gallery</title><link>http://www.kalons.net/e/gallery/galleries_2334.html</link><guid isPermaLink="true">http://www.kalons.net/e/gallery/galleries_2334.html</guid><description><![CDATA[Opened in 1949, nabisu gallery is a long‐established gallery of the contemporary art and annually holds 4 or 5 project exhibitions besides rending the exhibition space. Not being swayed by fashions, it has kept introducing high quality artists regardless of generation or career. As seen in Hirotake Kurokawa in the 80’s and Shiho Kagabu in the 00’s, nabis gallery has widely been evaluated as a gallery which thoroughly regards the universality of the art as important.
The gallery name "nabisu" comes from an artist group "Les Nabis" found by Yasukazu Tabuchi (1921-2009) in the end of the 19th century in Paris ("Nabis" also means "Prophet" by Hebrew). 
Among the represented artists are Hirotake Kurokawa, Hiroyuki Ohmori, Hisao Matsuura, Toyomi Yamazaki, Yoshiro Takeuchi, Nobuo Kurosu, and Osamu Hashimoto.<br />
* Photo (right top): view from the exhibition "Angularity - Keiichi Ueno and Hirotake Kurokawa" (2007)]]></description><author>Takeshi HIRATA</author><category domain="http://www.kalons.net/e/gallery/">Gallery Data</category><pubDate>2010-02-20T10:02:04+09:00</pubDate></item><item><title>Taro Okamoto Museum of Art, Kawasaki</title><link>http://www.kalons.net/e/gallery/galleries_2234.html</link><guid isPermaLink="true">http://www.kalons.net/e/gallery/galleries_2234.html</guid><description><![CDATA[Opened in October of 1999 in a rich green area, Ikuta Ryokuchi, Taro Okamoto Museum of Art, Kawasaki stores, and has opened the works that an artist, Taro Okamoto (1911-1996) donated to Kawasaki City to the public in the permanent exhibit. 
The most facilities including the exhibition room are in the underground under the concept "Museum that fused naturally". On the ground, there are a place of recreation and relaxation for the citizens such as a park space that centers on "Mother's tower", a pond and a waterfall using spring water, a cafeteria, and etc. within the nature of Ikuta Ryokuchi. The permanent exhibition room overturns the concept of the museum exhibition of the past, and assumes a concept "Experience-type exhibition space" where Taro Okamoto's works can physically be enjoyed. The fully worked‐out means to make the viewers movingly understand the thought background of his varied works including paintings, sculptures, and furniture. 
Taro Okamoto Museum of Art, Kawasaki also holds a special exhibition to focus on the various activities of Taro Okamoto, and a solo show and a group show of the contemporary art. The exhibition that competes with Taro Okamoto's art will be enjoyed if seeing together with the permanent exhibits. Moreover, the museum holds "Taro Okamoto Award for Contemporary Art" which aims to support and celebrate those artists who succeed the challenging spirit of Taro Okamoto manifested in the making of creative works with individual expression.]]></description><author>Takeshi HIRATA</author><category domain="http://www.kalons.net/e/gallery/">Gallery Data</category><pubDate>2010-02-06T03:25:15+09:00</pubDate></item><item><title>Gallery Yamaguchi</title><link>http://www.kalons.net/e/gallery/galleries_2153.html</link><guid isPermaLink="true">http://www.kalons.net/e/gallery/galleries_2153.html</guid><description><![CDATA[Opened in March of 1980 in Ginza 3 cho-me, Tokyo, and SOKO Gallery was added to the activity in Shinkiba in May of 1991. Gallery Yamaguchi then integrated the two galley spaces into one in Ginza 7 cho-me in August of 1993, and then relocated to Kyobashi in August of 1995. In January, 2010, it closed and ended the long history with many regrets.

In two space in the first floor and the underground, Gallery Yamaguchi, as a project and a rental gallery of the contemporary art, held mainly solo exhibitios of Japanese artists' painting, sculpture, print, photograph, and installation, etc. from emerging young to established artists. It was acknowledged in the strong originality, the refined sense of beauty, and the clear concept in the direction. It was devoted to discover and support emerging young artists, and with an aim of promoting them to the world, it also often held the exchange exhibition with foreign countries.

Among the represented artists are Kakuzo Tatehata, Gyoji Nomiyama, Ushio Shinohara, Hisashi Momose, Kosai Momose, Atsuo Okamoto, Yoshiro Negishi, Yoshihisa Mizukami, Akiko Tsuda, Junya Koike, Chisato Sakaue, and Megumi Aoki.]]></description><author>Takeshi HIRATA</author><category domain="http://www.kalons.net/e/gallery/">Gallery Data</category><pubDate>2010-01-30T09:05:25+09:00</pubDate></item><item><title>hand vase / Makoto AZUMA</title><link>http://www.kalons.net/e/artwork/artworks_2075.html</link><guid isPermaLink="true">http://www.kalons.net/e/artwork/artworks_2075.html</guid><description><![CDATA[It is the first work in a vase for a single flower of Hasami-ware for Azuma. As the title “hand vase”, it has a long process to have arrived to this pottery form through the conceptual stage in 2005 and the announcement at AMPG in 2009. The work announced at AMPG was the one by mannequin hands each with a white glove for the medical treatment in various hand-poses.
The “hand vase” by the Hasami-yaki earthenware produced in Hasami-cho, Higashisonogi, Nagasaki, is different from the one at AMPG in the single pose though the white color is the same. There is a puncture on the tip of the middle finger which is provocatively posed, that is a specification to arrange a flower there. When the work was announced first, 100 editions were arranged in an orderly manner, and a daffodil was arranged only in one among those. Azuma showed his criticism to the trivial narcissism by arranging a Narcissus - a flower originated in the handsome youth who looked admiringly at his own face and was drowned in Greek myths.]]></description><author>Satoshi KOGANEZAWA</author><category domain="http://www.kalons.net/e/artwork/">Artwork Data</category><pubDate>2010-01-19T14:15:41+09:00</pubDate></item><item><title>Plants of remembrance_0-21 Fukum / Makoto AZUMA</title><link>http://www.kalons.net/e/artwork/artworks_2033.html</link><guid isPermaLink="true">http://www.kalons.net/e/artwork/artworks_2033.html</guid><description><![CDATA[Following to the 2 years exhibition in AMPG, this was a work announced in the fourth stage of "AMPG vol. 25, The 4th Stage" held in Mitsubishi-Jisho ARTIUM in Fukuoka which is his hometown. The pine and the bamboo shoot collected in the Fukuma-machi in local were used, and the collecting image was shown in the hall. The drawing by Azuma was spread on the floor face around the work, and the soil was scattered on it which is not so familiar to general galleries. It might be more accurate to call "Plants of remembrance_0-21 Fukuma" as including all these elements. 
It is a work to knock down a pine sidewise, and put up of the bamboo shoot beside the pine vertically.  The bamboo shoot has fallen due to a short of moisture by the last stage though it shoot towered manly at the beginning of the session. The pine brought in from pine woods and the crumbling bamboo shoot; they died and had strength only because of the nature in comparison to artistic productions that are made by an artificial material. It is not a transient, nostalgic memories to be involved in the "Plant of the memory". It is just the root of overwhelming energy where the future is pierced and moved.]]></description><author>Satoshi KOGANEZAWA</author><category domain="http://www.kalons.net/e/artwork/">Artwork Data</category><pubDate>2010-01-15T13:35:32+09:00</pubDate></item><item><title>Distortion×Flowers / Makoto AZUMA</title><link>http://www.kalons.net/e/artwork/artworks_2013.html</link><guid isPermaLink="true">http://www.kalons.net/e/artwork/artworks_2013.html</guid><description><![CDATA[It is a photograph work announced in his solo exhibition "Distortion×Flowers". The various vivid flowers and plants closely compose the whole like a collage centering on one effector. The use of the effector as an equipment for the sound effect of music gives provides a musical element of the plant, that is to say, an implications between time and plant. 
In one of the causes, this work is a photograph work to the end. In a word, the plant in the photograph need not grow up and, needless to say, die because it is not a work by using the actual plant in the installation. Many of works by Azuma use living flowers and that is why we feel the dynamism of like in his works. However, the "Dsitortion×Flowers" might be the exception. It is because time is cut out and stops there at a certain moment in a photograph. However, the effector urges us if the pulse of the plant to be alive there can be felt.  It is like that the time that stopped in the photograph begins to move, and the feast of flowers that dance in a frenzy starts.]]></description><author>Satoshi KOGANEZAWA</author><category domain="http://www.kalons.net/e/artwork/">Artwork Data</category><pubDate>2010-01-13T14:43:39+09:00</pubDate></item><item><title>TIME OF MOSS / Makoto AZUMA</title><link>http://www.kalons.net/e/artwork/artworks_2006.html</link><guid isPermaLink="true">http://www.kalons.net/e/artwork/artworks_2006.html</guid><description><![CDATA[The material Azuma used for the exhibition " TOKYO FIBER ’09 SENSEWARE" which shows the creativity using artificial fiber technology of Japan was terramac (by Unitika, Ltd.). Azuma arranged moss in the terramac that had biodegradability and returns to the soil. The green of the moss looked attractive because the exhibition floor both in Milan and Tokyo was based on really fastidious white. The moss on an artificial fiber grows up during the session by being moistened. I remember the amazing world which was like a microcosm in the part of a vast wetland. It is a work which was enabled by the new technology and the material, and the future is very expected.]]></description><author>Satoshi KOGANEZAWA</author><category domain="http://www.kalons.net/e/artwork/">Artwork Data</category><pubDate>2010-01-12T13:03:32+09:00</pubDate></item><item><title>PIPPO</title><link>http://www.kalons.net/e/gallery/galleries_2003.html</link><guid isPermaLink="true">http://www.kalons.net/e/gallery/galleries_2003.html</guid><description><![CDATA[Opened as a rental darkroom & gallery by a photographer, Itaru Hirama, in Asakusa, Tokyo in June of 2009. 
A variegated project exhibitions and workshops using the rental gallery and the darkroom are regularly held for the aim of leaving the photograph using a film for the next generation in the age of a digital camera, and providing an experience of having an interest in the photograph. 
The place of interchange of photograph lovers was a photograph shop before. There was a communication place for them there. However, those photograph shops was not a "Salon"-like place anymore since the photograph art started seeking the speed and cheapness.  I wonder whether the photograph was an art to begin with tying the relation between the world and the people. Only it might be a function of the photograph that is not attached so for a digital camera and a digital print. In the downtown of Asakusa, we will see the former photograph shop in PIPPO which is a new kind of photograph salon.]]></description><author>Takeshi HIRATA</author><category domain="http://www.kalons.net/e/gallery/">Gallery Data</category><pubDate>2010-01-12T12:31:18+09:00</pubDate></item><item><title>The National Museum of Modern Art, Tokyo</title><link>http://www.kalons.net/e/gallery/galleries_1975.html</link><guid isPermaLink="true">http://www.kalons.net/e/gallery/galleries_1975.html</guid><description><![CDATA[The National Museum of Modern Art, Tokyo was opened as the first National Museum of Modern Arts in Japan by the design of Kunio Maekawa in Kyobashi, Tokyo in December of 1952. The museum then obtained adjoining land two times and extended the facility. In July of 1969, the museum was newly opened by design of Yoshiro in Kitanomaru Park.
Afterwards, a large-scale extension and rebuilding construction was held under the design of SAKAKURA ASSOCIATES for the building superannuated and the reasons of collection expansion for two and a half years from July of 1999, and newly opened in January, 2002. It aimed at strengthening earthquake resistance and enhancing the usability by expanding the exhibition space, enhancing the library service, newly establishing a rest space, a restaurant, a museum shop etc. (Photo right top) The National Museum of Modern Art, Tokyo, photo by Norihiro UENO
The collection exhibition ｓｅｌｅｃｔs 180 - 220 of painting, sculpture, watercolor, rough sketch, print, and photograph works from the approximately 9,800 collection, for a general view of the flow of a modern art of Japan from the 20th beginning of the century to the present age. The substantial ｓｅｌｅｃｔion is worthy to visit repeatedly. The museum also holds enthusiastic special exhibitions on the modern and contemporary art during year.
As the related facilities, there are the film center (main building of Kyobashi and Sagamihara branch) that is only the national movie facility, and the craft pavilion which building was repaired from the former Imperial Guard Command public office building.]]></description><author>Takeshi HIRATA</author><category domain="http://www.kalons.net/e/gallery/">Gallery Data</category><pubDate>2010-01-07T15:31:28+09:00</pubDate></item><item><title>Borderless Art Museum NO-MA</title><link>http://www.kalons.net/e/gallery/galleries_1925.html</link><guid isPermaLink="true">http://www.kalons.net/e/gallery/galleries_1925.html</guid><description><![CDATA[The Borderless Art Museum NO-MA was opened in June 2004 in Omihachiman City, Shiga, in an area of the city in which there has been a long history of preserving the traditional architecture found there. This museum holds variegated special exhibitions in the main gallery on its first floor. There is also a gallery space and a tea room on the second floor. The external appearance of the museum retains the features of a traditional cottage.
The main feature of this museum is to introduce the art activities of disabled people shown in parallel with the works of general artists. It aims at becoming a place in which a new art of the "power of a universal expression of the person" intersects through the works over the presence of any disabilities.  It is remarkable as an attempt to overcome various boundaries, such as those between the disabled and able-bodied, welfare and art, and art and regional society. 
The name "NO-MA" was taken from the name of the landlord of this facility. The word "borderless" expresses the wish to exceed the borders, including "the intersection of welfare and the culture", "the cooperation of art and the city planning", and "the presence of any disabilities".]]></description><author>Takeshi HIRATA</author><category domain="http://www.kalons.net/e/gallery/">Gallery Data</category><pubDate>2009-12-28T14:41:04+09:00</pubDate></item><item><title>artdish g</title><link>http://www.kalons.net/e/gallery/galleries_1835.html</link><guid isPermaLink="true">http://www.kalons.net/e/gallery/galleries_1835.html</guid><description><![CDATA[Opened in March 2006 in Yaraicho, on the slopes of Kagurazaka, an area which still reminds us of the atmosphere of downtown, “artdish g” holds project exhibitions of the contemporary art from emerging to leading artists. 
A dining room, "artdish", is in the annex of this gallery, and a partition keeps both separate. We can enjoy each space respectively. Due to its having a dining area, the gallery is familiar to a wide range of age groups and occupations. I expect it will attract a lot of attention. This gallery attempts an experimental approach by using the compact space though the gallery space is not very spacious, and also collect the statements from the artists and introduces them on the internet blog as a "newspaper". 
The dining room offers mainly vegetarian dishes which use ingredients direct from the farm. We might want to visit the gallery after being attracted there by the pleasant flavours coming out of its dining room.
Among the represented artists are Hamaguchi Sakurako, Atsushi Ushio, Yuki Imai, Kiriko Iida, Takahi Kawanishi, Eru Arizono／Emu Arizono(HAMADARAKA), Akira Uno, and Chikara Matsumoto.]]></description><author>Takeshi HIRATA</author><category domain="http://www.kalons.net/e/gallery/">Gallery Data</category><pubDate>2009-12-15T12:09:48+09:00</pubDate></item><item><title>POLA MUSEUM ANNEX</title><link>http://www.kalons.net/e/gallery/galleries_1816.html</link><guid isPermaLink="true">http://www.kalons.net/e/gallery/galleries_1816.html</guid><description><![CDATA[POLA MUSEUM ANNEX was opened in September 2002 in the Pola Ginza Building of POLA INC. It temporarily closed for redecoration in December 2007, and then reopened in October 2009 in the new Pola Ginza Building under a concept of three "beauties": "Beauty", "Art", and "delicious food".  In contrast to the Pola Museum of Art in Hakone which exhibits Western art, Japanese modern art, Japanese and Oriental ceramics, glass handicrafts, and make-up tools, the POLA MUSEUM ANNEX holds project exhibitions covering a wide range of contemporary art.  You can easily view the art in Ginza due to it having no entrance fee, and stimulate your sense of beauty and the sensibility.
The facade of Pola Ginza Building was designed by the NY-based designer, Chuck Hoberman, under the concepts of "Water", "Light", and "Time". The lighting was designed by Shozo Toyohisa.  The LED in the facade lights up in the evenings, and the facade waves at every hour on the hour.  The facade of the light seems different at daytime and night as beautifully shining on the city.]]></description><author>Takeshi HIRATA</author><category domain="http://www.kalons.net/e/gallery/">Gallery Data</category><pubDate>2009-12-11T10:54:00+09:00</pubDate></item><item><title>ASK? art space kimura</title><link>http://www.kalons.net/e/gallery/galleries_1805.html</link><guid isPermaLink="true">http://www.kalons.net/e/gallery/galleries_1805.html</guid><description><![CDATA[Opened in Kyobashi, Tokyo in March of 2007, "ASK? art space kimura" introduces and supports diversified art expression including paintings, images, sound art, installations and performance art, through project exhibitions and events.  In addition, it organizes project activities such as the image work competition "ASK image festival". 
It is also involved with museums, educational institutions, businesses, and other NPO activities acting as a mode for communication between artists and society.
Among the artists who were exhibited in past are Masaki Fujihata, Kazuhiro Kobayashi, Yoji Kuri, Shiriagari Kotobuki, Yuji Dogane, and Naoko Sekine.]]></description><author>Takeshi HIRATA</author><category domain="http://www.kalons.net/e/gallery/">Gallery Data</category><pubDate>2009-12-09T14:11:38+09:00</pubDate></item></channel></rss>