As animals, each human being grasps the world withtotally different perceptions. We see the world throughour own umwelts. None are the same. No words areidentical. No light is identical. lf the arts preparethemselves for that and address it honestly, then in time,a new ecosystem, filled with the senses, for a small organism, will begin to function. lnstead of substitutingillusions for words, Iet us feel our way to the small things we encounter daily, play, and quietly do our work.—KONOIKE Born in 1960 in Akita Prefecture, Japan. Solo Exhibitions: 2015 Primordial Violence, Kanagawa Kenmin Hall (Received the Minister of Education Award for Fine Arts, 2016), 2018, Fur Story, Leeds Arts University, U.K., Hunter Gatherer, Akita Prefec-tural Museum of Modern Art, etc. Group Exhibitions: 2016, Temporal Turn, Spen-cer Museum of Art, KU Natural History Museum, University of Kansas, U.S.A., 2019, Setouchi Triennale 2019, etc.
Dream Hunting Grounds, 2018
Dream Hunting Grounds, 2018
Moon Bear Goes Up the River, video, 2018
Leather Kite, as displayed at the Setouchi International Art Festival 2019
Leather Kite, as displayed at the Setouchi International Art Festival 2019
Experimenting with a kite
Magic Lantern work in progress
A miniature installation
Fusuma-e work in progress
Artist working on fusuma-e at Nariki Quarry

Tomoko Konoike FLIP Tomoko Konoike FLIP

Jam Session: Ishibashi Foundation Collection×Tomoko Konoike June 23[Tue.] – October 25[Sun.], 2020  Hours: 10:00 ‒18:00 (Fridays until 20:00/suspended until further notice) *last entry 30 minutes before closing Closed: Mondays, August 10 and September 21 (except August 11, September 23)  Venue: 6F Gallery Organized by: Artizon Museum, Ishibashi Foundation

Jam Sessions are joint showings of works from the Ishibashi Foundation Collection and works by con-temporary artists. For our first Jam Session, we are pleased to welcome Tomoko Konoike. Konoike sees the human being as a creature under-going repeated transformations. She carefully re-thinks the types and categories represented by the museums the modern period created and recasts them in ways that connect with our lives today. Her perspective is far from the conventional art-ist-centric point of view. She borrows the words and hands of people she meets when traveling and em-ploys a host of natural phenomena as her media: the sun, typhoons, plants, insects, bacteria, thus liter-ally bringing life to her work, creating her work, to keep on living.

Gustave Courbet, Deer Running in the Snow

Gustave Courbet, Deer Running in the Snow, ca. 1856-57;
Artizon Museum, Ishibashi Foundation

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