Cheers! I am currently doing a residency at a printmaking workshop in a small village near Leipzig.
When I heard of the concept of “Drawing Tube”, I imagined a well-ventilated thing that I could peek into at either end or from various ends. It is the circumstance that information flows not only in one direction, but goes backwards as well. I hope it will be a tool that connects the drawing scene across the world and allows anyone to see it.
In the book “文字逍遥 – Moji Shouyou (character stroll) ” written by an authority on kanji ideograms (Chinese characters) Shizuka Shirakawa, I found that the definition of ‘way’ and of ‘space’ is deeply connected with the concept of drawing.
In the primitive age of kanji culture the concept of the word “道 – Michi (way)” included the meaning that when humans tried to expand their living area they invade the space where wildlife and gods come and go.
“空間 – Kūkan (space)” and “空 – Kū (emptiness)“ are not inorganic blanks themselves, but rather living real worlds. There should be a special tension when making a way in such a space that is different from tracing an established line today. Thus organic lines involve the will to contact the outer world and the sense of tension of entering a space which is empty but not blank.
Kazuki Nakahara (b. 1980, Kagawa,Japan) lives and works in Berlin. He studied for a Bachelor of Economics(Japan) at Yokohama City University (2000-2005), followed by History of Art at The University of Vienna (2003-2004), Fine Art at The Berlin Weisensee School of Art (2005-2010) and a MFA at The Berlin Weisensee School of Art (2011). His recent solo exhibitions include Galerie Inga Kondeyne, Berlin (2015, 2013) ; Le Salon Vert, Geneve (2015); Schrift, curated by Maya Minder, Werbeflaeche, Zurich (2013);. Recent group exhibitions include FID Drawing Prize, Gallery Catherine Putman, Paris (2014); Paarlauf, Gallery Inga Kondeyne, Berlin (2014); FID Drawing Prize,The Drawaing Box,Tournai (2014); travelling light, Centre for Recent Drawing, London (2014); Dachwood und Zeichnug, curated by Rieger+Shtein, Marthashof, Berlin (2014); Transition, LIA, Leipzig (2013); ICH UND DU,Galerie Inga Kondeyne, Seitz und Partner, Berlin (2013); 3.André Evard-Preis für konkret-konstruktive Kunst, Kunsthalle Messmer, Riegel am Kaiserstuhl (2013); Reactivate!Art in Public, Zug (2013); and Preview Berlin, Galerie Maniere noire, Berlin (2013).
Image: Kazuki Nakahara /道 – Michi (way) / 2015 / 21x30cm / ink on paper
Cheers! I am currently doing a residency at a printmaking workshop in a small village near Leipzig.
When I heard of the concept of “Drawing Tube”, I imagined a well-ventilated thing that I could peek into at either end or from various ends. It is the circumstance that information flows not only in one direction, but goes backwards as well. I hope it will be a tool that connects the drawing scene across the world and allows anyone to see it.
In the book “文字逍遥 – Moji Shouyou (character stroll) ” written by an authority on kanji ideograms (Chinese characters) Shizuka Shirakawa, I found that the definition of ‘way’ and of ‘space’ is deeply connected with the concept of drawing.
In the primitive age of kanji culture the concept of the word “道 – Michi (way)” included the meaning that when humans tried to expand their living area they invade the space where wildlife and gods come and go.
“空間 – Kūkan (space)” and “空 – Kū (emptiness)“ are not inorganic blanks themselves, but rather living real worlds. There should be a special tension when making a way in such a space that is different from tracing an established line today. Thus organic lines involve the will to contact the outer world and the sense of tension of entering a space which is empty but not blank.
Kazuki Nakahara 2016-8-10
Shizuka Shirakawa. 1987. 文字逍遥 – Moji Shouyou (character stroll) . 平凡社 – Heibonsha.
Kazuki Nakahara (b. 1980, Kagawa,Japan) lives and works in Berlin. He studied for a Bachelor of Economics(Japan) at Yokohama City University (2000-2005), followed by History of Art at The University of Vienna (2003-2004), Fine Art at The Berlin Weisensee School of Art (2005-2010) and a MFA at The Berlin Weisensee School of Art (2011). His recent solo exhibitions include Galerie Inga Kondeyne, Berlin (2015, 2013) ; Le Salon Vert, Geneve (2015); Schrift, curated by Maya Minder, Werbeflaeche, Zurich (2013);. Recent group exhibitions include FID Drawing Prize, Gallery Catherine Putman, Paris (2014); Paarlauf, Gallery Inga Kondeyne, Berlin (2014); FID Drawing Prize,The Drawaing Box,Tournai (2014); travelling light, Centre for Recent Drawing, London (2014); Dachwood und Zeichnug, curated by Rieger+Shtein, Marthashof, Berlin (2014); Transition, LIA, Leipzig (2013); ICH UND DU,Galerie Inga Kondeyne, Seitz und Partner, Berlin (2013); 3.André Evard-Preis für konkret-konstruktive Kunst, Kunsthalle Messmer, Riegel am Kaiserstuhl (2013); Reactivate!Art in Public, Zug (2013); and Preview Berlin, Galerie Maniere noire, Berlin (2013).
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