In the depths

Many thanks to the Japan Foundation and the House of Japanese culture in Paris (Maison de la Culture du Japon à Paris) for the wonderful Fukami exhibition, held in the Salomon de Rothschild mansion. It was perfect from start to finish, with an amazing choice of works of art, a splendid venue, and a marvelous staging.

Dōmo arigatō gozaimashita !

Fukami means depths in Japanese. There definitely was profoundness in this display of art, creating links between digital creation, antiques, laquer paintings, massive contemporary compositions and classical prints, such as the renowned Under the wave off the coast of Kanagawa (Sous la vague au large de Kanagawa), by Hokusai.

I was particularly delighted to see the latter, as I had missed the Grand Palais exhibition on Hokusai, a few years ago.

The slow transformation and erasure of Shinji Ohmaki’s Echoes Infinity as people were allowed to walk on the pigments was fascinating. I also particularly appreciated Lee Ufan’s installation Relatum Dwelling (2) : a full room covered in cut stones, that made an experience of each step.

Fukami was staged by the wold famous SANAA architecture agency. In France, it is mostly known for designing the Louvre-Lens, a satellite of the famous Parisian museum. It is also currently in charge of the very difficult and controversial renovation of the former department store la Samaritaine, in Paris, by the Seine river.

You will see excerpts of various artwork on the pictures below, amongst which :

  • Ryôheui Miyata / Gong (2016);
  • Shinji Ohmaki / Echoes Infinity, pigments sur feutre (2018, oeuvre éphémère);
  • Shinichi Sawada / masques en terre “Omen” & oeuvre en terre sans titre;
  • Agence SANAA / maquette du sanctuaire d’Ise (2018);
  • Fragments de céramique Jômon (3500-2500 av. J.C.);
  • Anne-Laure Sacriste / Spleen & Idéal + souche bleue (2013); Cascade originelle (2006);
  • Lee Ufan / Relatum Dwelling (2), ardoise (2018);
  • Justine Emard, Mirai Moriyama, Alter, Co(AI)xistence, vidéo (2017);
  • Kohei Nawa, Foam (2018).

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