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Aiko Tezuka, A Study of Necessity (Satsuma-Buttons and Self-Orientalism) - 02, 2019, Jacquard weaving designed by the artist, 320 x 735 x 325 cm (installation), Fabric development and production by TextielMuseum | TextielLab - Tilburg, the Netherlands © Lepkowski Studios, Berlin
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Aiko Tezuka, Dear Oblivion (A Study of Empress Haruko) - 02, 2019, Jacquard weaving designed by the artist, 165 x 444 x 171 cm, Fabric development and production by TextielMuseum | TextielLab - Tilburg, the Netherlands © Lepkowski Studios, Berlin
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Aiko Tezuka, Installation view - Dear Oblivion – 親愛なる忘却へ, Galerie Michael Janssen © Lepkowski Studios, Berlin
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Aiko Tezuka, Flowery Obscurity (The Night Watch - 01), 2019, Jacquard weaving designed by the artist, 130 x 175 cm, Fabric development and production by TextielMuseum | TextielLab - Tilburg, the Netherlands, Collaboration with Ching-Ling Wang (Curator of Chinese art, Rijksmusem - Amsterdam, the Netherlands) © Lepkowski Studios, Berlin
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Aiko Tezuka in her studio in Berlin © Estefanía Landesmann for Küche
Exhibition
Aiko Tezuka "Dear Oblivion – 親愛なる忘却へ"
14 Sep 2019 – 30 Nov 2019
Regular hours
- Monday
- Closed
- Tuesday
- 11:00 – 18:00
- Wednesday
- 11:00 – 18:00
- Thursday
- 11:00 – 18:00
- Friday
- 11:00 – 18:00
- Saturday
- 11:00 – 18:00
- Sunday
- Closed
Address
- Bleibtreustr. 1
- Berlin
Berlin - 10623
- Germany
Galerie Michael Janssen is pleased to present Aiko Tezuka’s new exhibition “Dear Oblivion – 親愛なる忘却へ” curated by Sachiko Shoji of the Fukuoka Art Museum, Japan.
About
Organized on the occasion of Berlin Art Week 2019, “Dear Oblivion” is the artist’s second solo exhibition in the gallery’s space, and it features works created in collaboration with the Textile Lab at Textile Museum in Tilburg (the Netherlands), the Kyoto Costume Institute (KCI), Kawashima Selkon Textiles and Kyoritsu Women‘s University Museum.Tezuka’s creative practice, though grounded in painting, has long found expression in intricate fabric installations and objects that explore themes related to the culture, industry, and history of the global textile enterprise. Processes of weaving and unweaving function to characterize both the artist‘s trademark aesthetic and her particular thematic preoccupations; as she articulates in her artist’s statement, she is “interested in loosening up such readymade narratives to unravel forgotten histories or discover new plotlines,” and in so doing “facilitate the reexamination of the subjective nature of time and the process of metamorphosis.” In “Dear Oblivion,” Tezuka further explores these ideas with a critical emphasis on the deconstruction, reexamination, and reconstruction of the relationships between past and present, Japan and Western Europe, and art and craft.
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Text by Patrick J. Reed
