In the final interview for this series of posts about the DIY scene in Osaka, Japan, I spoke to Kazuma Sasajima who runs an “independent culture shop” called Nice Shop Su from his tiny apartment in the attic of an old residential building not far from Umeda (one of the major commercial districts of Osaka). Nice Shop Su was established by Kazuma and his partner Kaori Nakao in 2013, and sells many different types of artist-produced bits and bobs. One thing that interested me about Nice Shop Su was that Kazuma deliberately chose to locate it in an area without a strong art community. This approach provides a contrast with the development of the community of artists in Baika, which was discussed in the first two interviews in this series (with Go Tsushima and Kaori Yoshikawa). For this interview Kazuma and I were joined by Kazuma’s friend, the graphic designer Daisuke Minami, and the artist Makiko Yamamoto, who acted as guide and translator for my visit and to whom I am hugely grateful.
For the second part of this three part series of posts touching on DIY/alternative cultural practices in Osaka, Japan, I spoke to artist Kaori Yoshikawa who set up Noooooooooooo Kitty last year with her teammate Snoo. Noooooooooooo Kitty is an artist-run gallery and events space that they opened following the closure of their previous space, named Bar Kitty. The latter was located in the suburbs south of Osaka, while Noooooooooooo Kitty is located in the Baika area in the west (around the corner from Go Tsushima’s home/studio, who I interviewed in the first part of this series). Over the past few years Baika and its surroundings have become popular for artists and musicians, and a number of small galleries and live venues are also located there. In this way a certain informal cultural community appears to have developed in this area, which Noooooooooooo Kitty is now part of and benefits from in various ways. In this interview Kaori goes into detail about their motivations for the move to Baika, and how Snoo and her artistic practices are reflected in their plans for Noooooooooooo Kitty.
Liu Wei rose to prominence in China in the early 2000s with a diverse practice encompassing painting, photography and sculpture, often presented with a touch of humour. His solo show at White Cube focused on recent sculpture and installation pieces that demonstrated the artists professed move away from figuration but which, in the process, seemed to lose some of the agility that characterised the artist’s earlier practice.
Liu presented works from three distinct series that were organised over the two floors of the gallery. Dominating the basement gallery floor stood six geometric sculptures (1, 2, 3, 4, 5, 6, from the ‘Density’ series, 2013) – including a cube, a ball, and other less specific shapes, the larger pieces looming over the visitor. These works used layers of cut books to form their off-white surfaces; the Chinese characters printed on the books’ pages still visible along the cut edges. This paper lent a material softness to the sculptures that contrast with the hard-edged, abstract shapes they formed.
Displaying a long-term commitment to his practice, most visible for the last six years in the ongoing Keywords Project, Guangzhou-based Xu Tan chooses to address both the detail as well as the ‘bigger picture’ of cultural and social change through his works. His current solo show in Guangzhou’s Vitamin Creative Space, titled Questions, Soil and ‘Socio-Botanic,’ shifts the subject matter from language—as demonstrated by Keywords—to issues of the conceptual and legal construction of the social landscape.
Following the series of interviews I made with sound workers in China back in April, and since I’ve now (temporarily!) moved back to the UK, I’ve taken the opportunity to record a further set of chats with people and groups in this country. Generally speaking these people interested me because of their approach to the way a practice negotiates the social fabric. The relationship between these speakers activities and what one might call a cultural practice is perhaps quite an ambivalent one, in some cases even an irrelevant consideration for them. I point that out because such activities have in some cases been subsumed within an art practice—specifically the “dialogic” approach—but such practices may at times be seen to “work” better when kept at a distance from such a context, a choice of position which in the process calls into question the efficacy of an art-based practice in attempting to come to grips with the world.
A chat with Bianca Elzenbaumer, Paolo Plotegher, and Rosanna Thompson of New Cross Commoners:
A chat with Dr. Lynn Turner on Guerrilla Gardening:
“We at Camden Arts Centre are Exceedingly Proud to Present an Exhibition of Capable Artworks by the Notable Hand of the Celebrated American, Kara Elizabeth Walker, Negress.” at Camden Arts Centre, London.
NOIT Journal Launch, at Flat-Time House, London.
From Kara Walker at the Camden Arts Centre, to John Latham at the Flat-Time House; from the visceral, to the cerebral (but that’s more about playing with words than a fair assessment of the two shows – although it does tell you something fairly basic about certain features of each show; I’m pretty sure there were never so many representations of penises in Latham’s work, as there are no scientific formulae in Walker’s, to my knowledge).
The events that Walker represents in her silhouettes seem stuck in their time, by their development and exploitation of an extreme imaginary of the history of slavery as it took place in the American South; whereas Latham’s works (at least in their meaning) have no such specificity of time and event, but are all about time and event as qualities in a very scientific sense, and as these pertain to the creative act.
Although Latham’s work might be said to have a certain style of the period when they were made, a style of the British-flavours of conceptual art (Art & Language, Liliane Lijn, to name two). But this recognition of a style might be said to incorporate as much of an imaginary as the recognition of the imagery that Walker exploits.
Nevertheless, it is difficult to imagine two more different artists.
To focus primarily on Walker’s work, the way I have characterised it as being stuck in a time, I am suggesting is problematic. They have an interesting relationship to the development of Walker’s artworks. At this point it seems as if her format and imagery has been mined to exhaustion, and now to be actually self-creating its subject matter (although perhaps they always were). From work that draws attention to existing tropes and stereotypes, we seem to have reached a stage where these silhouettes are pushed to become a completely new set of stereotypes – Walker’s own creations rather than a reflection of a historical situation. Is this not problematic? Is the work not now creating that world which it originally accused history and society of brushing under the carpet?