Friday Friday
10AM - 6PM
Exhibition
Hello, Human!
One year project – Outing
Phantoms－Timoteus Anggawan Kusno
Semiotics of the Home
EXHIBITIONS & EVENTS
2019 / 12 / 07 Sat.
2020 / 02 / 02 Sun.
10:00 - 18:00
venue
MOCA Studio
Chinese poet Tao Yuanming described the ethereal utopia as the place that you would never reach if you seek in his fable account, The Peach Blossom Spring. Ono overlaps the idea of utopia and “Taiwanese-ness” in that sense since it exists but it is hard to grab when you get closer to its details. For Ono, “Taiwanese-ness” stands for a complex national identity with multiple layers for Taiwan due to the colonization history. It has an enormous connection with outer influences that cause the boundary, which exists between Taiwanese-ness and other influencers who are getting blurry and almost unseen. The affection appears in the architecture as well, prompts Ono’s interest in focusing on the architectural structures in Taiwan for this exhibition.
Ono has been drawing inspiration from architecture as elements that she then incorporates into her drawings and ceramic sculptures in the past several years. She collects the photo images of buildings, which also include the textures and the architectural appearance that she sees every day in Taiwan. During her stay in Taiwan, she has a chance to experience a Taiwanese traditional technique called “-Zhizha” (「紙紮」 or Taoist paper art), which is handmade paper objects that are supposed to be burned as offerings for the ancestors to use in their afterlife. She becomes interested in Zhizha technique and finds a connection in this art to her imaginary architectural works in terms of having realistic appearances with an unpractical purpose. In this exhibition, Ono reconstructs new buildings on paper together with the source she collects and collaborates with a Zhizha company in Taipei to display objects that consist of several facades, which are her hybrid representation of architectures in Taiwan. She also focuses on the composition of pairing in her works and two exhibiting venues due to Taiwanese temples’ frequent use of pairs and even numbers, which is something she has observed and differed from Japanese culture in general.
Ono attempts to create the subtle feeling that consists of actual existing elements and details in her works. Along with her drawings, Ono uses the elements of architecture in Taiwan in various time periods in order to create pseudo architectural objects, which seem familiar but do not exist anywhere. Together with her porcelain works influenced by Brutalist architecture in America, Ono creates an elusive world, which does not belong to anywhere and epitomizes her imagination.
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Yumiko Ono’s recent theme is utopia/utopian architecture, an ideal world that exists in imagination.
Ono's view on Japan, her native country, as a place suspended between East and West, is reflected in the work she creates. Japan is strongly influenced by the United States and is a very Westernized country economically and politically. However, with a national preference for the formal, ritual, and societal standardizations, Japan and the former Eastern Socialist states exhibit similarities in both societal norms as well as architecture.
Ono has spent her life in Russia, Hungary and Czech where are former Socialist states for almost a decade and currently works in the United States. Ono’s current interest lies in the relation between the United States and the Union of Soviet Socialist Republics (USSR) during the Cold War. Despite the fact that both countries are the archrivals of the Cold War, there are a multitude of cultural intersections between the two. As Japanese, Ono’s personal history and identity is also formed in part by these connections to the East and the West, and she finds it important to conduct this comparative research on both nation states, which are very close to her country, but in their own different ways. By combining visual images and artifacts from completely different cultural backgrounds, Ono wants to contribute to uniting the world from her own perspective.
Ono’s major mediums in recent years are drawing and slip cast porcelain, and she focuses on surface nature in both practices. In her drawing, she collects images of various type of surface and fills the drawn imaginary architecture with the surface materials. She also has various experiences with casting objects as she considers it is a medium which is between 2D and 3D in terms of copying surface. By using this method, Ono attempts to create contents with superficial elements.
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