Exhibition "Keisho-ha V: A New Materialism"
Thu, 11th October - Sat, 20th October, 2018 / Yufuku Gallery, Tokyo, Japan
Exhibited Artists: Sueharu Fukami, Ken Mihara, Joseph Walsh, Masaaki Yonemoto, Artis Nimanis, Osamu Yokoyama, Yasutaka Baba, Masanori Maeda
“The limits of our language are the limits of our world,” said Wittgenstein. The prejudice permeating from the word Kogei (Craft) is but one example of the insufficiency of Japanese language in capturing what is truly taking place in the world around us. Instead, the artists assembled in this exhibition are emblematic of a new aesthetic movement, a movement that Yufuku considers its raison d'être. They herald the dawn of a new era, wherein works of self-expression are created by artists who push the boundaries of their respective mediums to heights not seen before. Called the Keisho-ha (School of Form), these artists signify a return to innocence, an emancipation of art from its shackles, a new and bold aesthetic for tomorrow, today. Wahei Aoyama, Yufuku Gallery
Situated in the heart of Tokyo, Yufuku Gallery represents Japanese and international artists whose works define space itself. Placing emphasis on abstract sculptures made with materials such as ceramics, metal, glass and lacquer, Yufuku's artists, wielding classical techniques enhanced by triumphs in both innovation and imagination, push the boundaries of their mediums to brave new heights.
Founded in 1993 by Tom M. Aoyama, Yufuku brings to you the finest in Japanese art, presenting the aesthetics of contemporary Japan to the wider world. But as art is dialogue, we also wish to be a venue for cultural exchange, thereby introducing the beauty of global artists and cultures to a discerning Japanese audience.
Further, we do not demarcate or divide the lines between art and craft. Although our artists' works are created using original innovations in classical techniques, their abilities to express their inner aesthetics are not limited but heightened by their unique skills, and symbolise a 'Return to Innocence' within contemporary art. These works are devoid of functionality, and stand alone as art for art's sake. How are we to define such works in the 21st century? The answer to this question may be found in our ultimate goal - to bring peace and happiness through the dissemination of beauty.
Owner and Director