Venue│Kyoto International Conference Center Event Hall (Takaragaike, Sakyo-ku, Kyoto 606-0001 Japan)
Booth│C12
Participating Artists│Lee Ufan, Mariko Mori, Yuan Goang-Ming, Charwei Tsai, Reijiro Wada, Kong Chun-Hei
Opening Hours│
▋Collectors Preview ▋
November 17（Thurs.）12:30–23:00
November 18（Fri.）11:00 - 12:00
November 19（Sat.）11:00 - 12:00
November 20（Sun.）11:00–12:00
▋Public Days ▋
November 18（Fri.）12:00 - 19:00
November 19（Sat.）12:00 - 19:00
November 20（Sun.）12:00–17:00
TKG+ is pleased to announce its first-time participation in Art Collaboration Kyoto (ACK) for its second edition in 2022. Against the backdrop of the ancient city of Kyoto, the fair aims to bridge Japanese and international galleries, while promoting intriguing artists and their works. Each Japan-based gallery invites an international guest gallery or galleries to host and co-exhibit with. The presentation highlights partnership beyond boundaries. Booths are placed in seemingly random orientations and relations to each other. This unconventional approach allows for a sense of serendipity with which fairgoers chance upon riveting works of art.
SCAI THE BATHHOUSE and TKG+ jointly present works by six established and emerging artists, seeking philosophical and perceptual emancipation through contemplation and inquiry into spirituality.
From Winds ’91 (1991) by Lee Ufan features wide calligraphic strokes painted adeptly through restrained breathing, exuding a sense of vibration that heightens one’s consciousness of the surroundings. For Lee, “wind” refers to an enlightened acceptance of the other that ultimately enlarges the perception of the world.
Spirifer (2017-2018), a sculpture by Mariko Mori represents the incorporeal flame of one’s spirit. Informed by her anthropological inquiry into primordial mystic beliefs, Mori’s practice explores universal questions at the intersection of life, death, reality and technology. Her NFT work is also featured in this year’s edition of the fair.
Tomorrowland (2018) by Yuan Goang-Ming confronts the viewer with a sudden explosion of an amusement park as a symbol of utopia, unfolding in slow motion. Invoking the normalization of warfare in our time, the work explores the existential concept of time and space in modern life from a critical perspective.
A series of watercolor drawings, We Came Whirling Out of Nothingness (2019) by Charwei Tsai depicts different forms of spirals containing the Heart Sutra. The Buddhist text is drawn in a dynamic movement, repeating and gradually dispersing outwards to reach nothingness. Quoting Jalaluddin Rumi’s poem, the works embody the cyclical idea of life.
Reijiro Wada’s VANITAS-BR250-4 (2017) recalls the transient nature of life and inevitable death through the metaphorical use of fruits of which the movement and decay caused an organic formation of erosion and patina on the brass plates.
With their deceptive surface appearances, Kong Chun-Hei’s ink paintings demonstrate the uncertainty of perception and the necessity of conscious observation in the act of looking, as exemplified by Highly Transparent IV (2019), which from afar appears to be a transparent film mounted in a frame.
