ENTOMORODIA | curatorial net/work

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E. meets with young Japanese artist Ryohei Kan who works on the borderline of painting and photography to discuss his recent works and possible ways of collaboration. (f.1-3)
E. visits studio of Atsushi Takahashi to see his new works made by squeezing oil on canvases leaving no touch or stroke on the surface of the painting. (f.1-11)
E. visits studio of Katsuya Sugimoto to see his hyperrealistic oil paintings and collection of miniature toys he uses for his works. (f.1-12)
E. visits COSMOSCOW, new art fair in Moscow with the best selection of Russian galleries held at Red October Chocolate Fabric.
E. meets with Taisuke Mohri to discuss his work in progress and see preliminary sketches. (f.1-11)
E. visits graduation works exhibitions of main Tokyo art universities.
E. participates and supports “Dada Event” organized by Waseda University. It is dedicated to the avant-guards of the 20th century. We are going to read texts by Velimir Khlebnikov, Aleksei Kruchenykh, Vladimir Mayakhovskiy and extracts from the manifests of Russian Futurists. (f.1)
E. negotiates with Première Vision, the world’s leading fabric show, about using one of the images by New Media artist Macoto Murayama on different media that represent the fair. Première Vision would like to present Murayama’s work as one of possible symbol of the atmosphere of the season 2011. (f.1)
E. curates “The Altar: Gods and Offerings” Exhibition at Ultra Art Fair with participation of Naoki Sasayama and Kentaro Isotani. Closing the exhibition season of 2010, we are glad to have a chance to think on topics of Warship and Sacrifice and present our ideas in alternative for the art fair installations way. (f.1-3)
E. publishes article titled “Three Vampires” dedicated to the function of emptiness in art according to Jacques Lacan in “Lacanalia” e-magazine produces by the group of psychoanalysts in Freud’s Dreams Museum in Saint-Petersburg, Russia. This issue is dedicated to “Capital-Vampire”, the function of desire, money, market etc. (f.1-3)
E. opens exhibition of Russian artist Valeriy Chtak titled “Chengurlak Valley, 4:20” at Spiral Hall in Tokyo and struggles to introduce new Russian art, which is not limited by stiffed links with Russian Revolution, Constructivism or any of recent visual transgressions in art of New Russia. (f.1-4)
E. presents “Japanese Contemporary Abstract Painting” Exhibition at Cutlog Art Fair in Paris. We are glad to have opportunity to discuss nonfigurative expressions in Japanese Art with our European colleagues and audience and shake the common stereotype of Japanese Contemporary Art as being only character based imaginary. (f.1-7)
E. starts series of articles dedicated to Japanese Contemporary Art for “Japan” magazine published by Japan Embassy in Russia. The upcoming 4 articles will be dedicated to Time, Space, Material and Method in Japanese Art. We bring attention to works by Aiko Miyanaga, Macoto Murayama and Cousteau Tazuke in the first issue dedicated to “Japanese Times”. (f.1-6)
E. opens “Extra Real” Exhibition at ShContemporary Art Fair in Shanghai presenting Japanese hyperrealists Taisuke Mohri and Naritaka Satoh and New Media artist Macoto Murayama during World Expo and World Attention directed to this city at the moment. (f.1-4)
E. publishes “Meaty Watercolors” article dedicate to the topic of material base of artworks in “Lacanalia” e-magazine produced by the group of lacanians in Freud’s Dreams Museum in Saint-Petersburg, Russia. (f.1-3)
E. visits studio of Naritaka Satoh to see his new works for ShContemporary Art Fair in Shanghai, September 2010. (f.1-4)
E. is searching new approaches to frames for contemporary art works. We visit Japanese frame shops to check “second hand “and “old fashionable” frames and discuss the relationship between art work content and visual qualities of the frames. (f.1-3)
E. visits studio of Taisuke Mohri to see his new hyper-realistic works for presentation at ShContemporary Art Fair in Shanghai, September, 2010. (f.1-4)
E. starts negotiations with Marina Gisich Gallery in Saint Petersburg, Russia on possible exhibitions of Japanese artists. Being representing gallery of main Russian Necrorealism movement’s artists, namely Vladimir Kustov and Yevgeniy Yufit, Marina Gisich Gallery might be one of the best gallery in Saint-Petersburg to show works of such Japanese artists as Naoki Sasayama, Kentaro Isotani and alike. (f.1-4)
E. talks to Cengage Learning, Inc. about using one of Macoto Murayama’s images on the cover of the book “Writing, A Manual for the Digital Age”, book by David Blakesley and Jeffery L. Hoogeveen. (f.1)
E. researches the best way to deliver art works to China by comparing prices and conditions of work of several shipping companies, which are asked to deliver works to ShContemporary Art Fair in Shanghai in September, 2010.
E. negotiates with Loyalty Creative design agency about using several images of Macoto Murayama for Panasonic Hollywood Laboratory’s video, the creator of Blue Ray system.
E. is going to curate Volga Gallery (Moscow, Russia) at Ultra Art Fair (October-November, 2010, Tokyo), which is going to present Russian group artists, named 3art (Igor Chirkin and Aleksey Podkidyshev). (f.1-3)
E. is helping one of Japanese collector to present several of the photo-works from his collection at Artnet auction. Photographs by Man Ray, Joel-Peter Witkin and Michael Kenna are among presented works. (f.1-3)
E. starts to prepare article for published by Japanese Embassy in Russia magazine "Japan. Styles and Lives". First article is going to be dedicated to the concept of time in works of several Japanese contemporary artists.
E. launches the web site, based on the visual culture of entomology books.