vol.72
Kazushi Yoshida
Open and closed sequences Floating tools
2014.8.9-8.24
At first glance, the things here look like casual everyday tools and parts, or somewhere along the way. All of them have a neat and beautiful appearance, but when I take a closer look, I see a spoon with handles on both sides, a hanger that can't be swept, and a hanger that can't be hung. Or a broom? … "Wait, isn't there something wrong?"
The sculptures that do not use this purpose are not limited to a single tool, but (or even do not), and while looking at them, like Alice in Wonderland, in space-time and our common sense. It slips into the gap. As I say, I am one of the people who appreciates, praises, and collects these useless "very beautiful and strange tools".
This time too, the collection habit has ignited, and I'm already tingling with a strange tension.
Kazushi Yoshida's work always has a unique aesthetic, but before you know it, it sits in the space and stimulates our daily lives. It must have a small amount of humor and perhaps a conscious awakening material.
Nao Masaki
How do "tools" continue to exist? Tools are indispensable for making something and doing something. For example, if it is a vessel, it has various shapes, but it cannot be used as a vessel unless it has the role of storing. However, if the reservoir is not water, it may be reticulated. You can wash away the soil by putting in the harvested crops.
Tools with roles will remain in the environment in time, solving problems and improving them to make them easier for users to use. But has all the improvement efforts led to the solution of the problem? That wouldn't be the case. Then, what does it mean that what was created in the failure of the mind has a new role? A tool whose use is unknown as a solution to past problems that rarely appear in front of you. It cannot become mainstream, and in the past the flow was interrupted and remained there, but rather it is a floating idea left unconsumed.
When faced with them, it is recovered by the viewer's past experience, but the new experience of seeing it traces physical memory and goes back and forth in time. It is not possible to touch the existence of a very long span solution that has been piled up in the thing of tools.
I wonder.
Kazushi Yoshida
Kazushi Yoshida
1978 Born in Mie Prefecture
2001 Graduated from Musashino Art University, Faculty of Art and Design, Department of Oil Painting
2005-2007, 2009 Enrolled in Yotsuya Art Studio
I am working on the tools of "things that seem to be unusable and seem to be usable" from the aspect of objects and performance.
Major exhibitions include "Yoshida Monogatari Remarks on the selected junk code." (Alleys and people) and "The World of Images" (Gallery NAO MASAKI), "Wandering series" (Morioka Shoten), "GALLERY OBJECTIVE CORRELA TIVE".
"Improvisational Tools" at "Explosion" (BankART Studio NYK), "radio / human / no" at "Fussa Stolen Base" (Fussa Baseball Stadium)
voice》 etc. Since 2009, he has also been active as an artist's unit "Milk Warehouse". (Http://milksouko.com/)
