Hillside Terrace A, 29-18, Sarugaku-cho, Shibuya-ku, Tokyo 150-0033, Japan



Art Front Gallery presents four artists among many of those who work and exhibit internationally.

Tadashi Kawamata already innovated so-called site-specific work as early as the ‘80s, where he intervened the given space using wooden materials. He showed the creation process itself as artwork, often involving the local people for his assistance. Plan drawings created as site plans will be exhibited in the social and historical context of urban development.

TODO, on the other hand, is interested in the archaeology of cities, with their rapid cycles of construction and destruction. Fragments of construction, from the Berlin Wall, ruins from the Tohoku Disaster, or remains from Tokyo’s structures built at the time of the 1964 Olympics are revealed by him no longer as debris, but as witnesses of the past. The ruin works will shed new light to the relation of the value of their previous structures.

If these artists are to explore the border of the artworks in their social context, emerging artist Kouseki Ono deals with his own inner scape. Ono has been known as an original artist with unique method of print making. Using handwritten dot pattern as a plate for printing, he prints various colors nearly 100 times on the dots by silkscreen printing. The completed work embraces haptic sensation of the thick surface as well as the beauty of transitional color change depending on the viewer’s visual angle, which is produced through the process of printing by the subtle unevenness or undulation of the surface.

Takako Azami also focuses on the surface of the picture plane. She paints from the reverse of the plane, her first brushstrokes appearing on its top and Azami overlays each spot creating the foliage of organic form of tree. Approaching the figurative picture plane, the viewer discerns a field of different stains, seeing the interplay of a variety of brush strokes creating a complex space. Thus these artists present new charms of contemporary art of Japan today, surely appealing to the audience of Basel.

Tadashi Kawamata, Site plan 2, 2015, Mixed media on paper on wood, 53 x 74 x 2 cm
Tadashi Kawamata, Site plan 4, 2015, Mixed media on paper on wood, 53 x 74 x 2 cm
Tadashi Kawamata, Site plan 8, 2015, Collage on paper, 60 x 85 x 3 cm
TODO, Untitled – GGW, 2016, Laminate glass and coal, 32.5 x 18.1 x 25 cm
TODO, Debris – National Stadium, 2016, Rubble, laminate glass, iron, ca. 24 x 54 x 20 cm
TODO, Ruhrgebiet an die Wand, 2006, Layered glass and stone, 7 x 23 x 18 cm
TODO, Redrose, 2006, Laminate glass and stone, 32 x 11 x 31 cm
Kouseki Ono, HLC 107, 2016, Screenprint on aluminium, 75 x 90 x 3 cm
Kouseki Ono, HLC 120, 2016, Screenprint on aluminium, 75 x 90 x 3 cm
Kouseki Ono, HLC 110 (side view, detail), 2016, Screenprint on aluminium, 90 x 75 x 3 cm
Takako Azami, Pine tree night, 2016, Sumi ink on paper on panel, 97 x 130 x 4 cm
Takako Azami, Deep Silence, 2006, Sumi ink on paper on panel, 140 x 180 x 4 cm