Exhibition
Sunset Eco
31 May 2018 – 07 Jul 2018
HANS & FRITZ CONTEMPORARY
London, United Kingdom
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“Throw a Stone” (SHashimo/I 561) Stones, timber, instructions (visitor interaction), Variable dimensions, 2018
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Bucket and Reference: One Foot SHashimo/I 570 Bucket, water, photograph print on tracing paper Variable dimensions 2018
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Stone and Reference: Stone Throwing_(SHashimo/I 571)_Stone, photograph print on paper_Variable dimensions_2018
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Or Stride Over Or Duck Under (SHashimo/I 563) Instructions on a squared timber (visitor interaction)_Variable dimensions_2018
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Stone and Reference: Stone Throwing_(SHashimo/I 558)_Stone, photograph print on paperPhotograph: Arab Spring, Tahrir Square, 2011_42.6 × 32.5 cm_2018
Exhibition
Night – Time = Darkness
10 May 2018 – 7 Jul 2018
Event times
Tuesday – Saturday
12 – 18 hrs or by appointment
Cost of entry
Free Entry
Address
- San Gil 17
- unit 1
- Barcelona
Catalonia - 08001
- Spain
Travel Information
- Bethnal Green
- Bethnal Green
Event map
HANS & FRITZ CONTEMPORARY is pleased to present the exhibition NIGHT - TIME = DARKNESS by the artist SATOSHI HASHIMOTO.
About
SATOSHI HASHIMOTO is currently one of Japan’s most ‘alarming’ artists, producing works of art in the form of performances, actions, and instructions aimed at inducing the viewers’ into questioning their role in experiencing art.
In the experience of art appreciation, we have acquired the habit of playing the role of an art viewer, which is allocated as one part of the structure of artist-artwork-viewer. Generally, we cannot bring personal feelings and private affairs into an art gallery because we must try to interpret the artwork objectivity and correctly. Exploring what he calls fuka, a term pointing to a sense of suspense, risk and pressure, Hashimoto disrupts this structure.
In an art exhibition, viewers are not only influenced by the artwork and venue but are also significantly influenced by the viewers themselves. The viewers are not transparent existences in the exhibition space. At times, they are even more real and active than the actual artworks and have the potential to cause something to happen inadvertently. One can go further and say that the venue exists to install viewers rather than artwork, and that the artworks act as assistants to produce the performance.
Offering a way out of an “art of the everyday”, Hashimoto’s sometimes—unreasonable instructions and micro-actions freely transcend any borders, posing a question to our principle of existence.
