Events category: Exhibition

6 October 2022

La Mer by Yuken Teruya

The Daiwa Anglo-Japanese Foundation is pleased to showcase Yuken Teruya’s first UK show, marking the 50th year of Okinawa’s reversion to Japan after the American occupation. Yuken Teruya is one of the most prolific Okinawan artists of his generation. His work is known for using humble objects – cardboard, paper bags, newspapers, board games, balloons – in ways that echo Okinawa’s historical narrative. It explores the ongoing psychological and political impact of power relationships and their effects on the natural world. In doing so, it attempts to disentangle individual memories from dominant narratives, leading us to critical understandings of our current situation. His works have delved into today’s critical thinking and discourses on democracy, identity, the US military presence, war, violence and ongoing issues related to colonialism. His voice is unique in Japan, yet resonates with audiences beyond. 

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12 October 2022

Thinking out loud by Linda Havenstein

Linda Havenstein is an interdisciplinary artist whose work deals with language, signs and symbols, and how they shape our perceptions of reality. Starting with moving images, she works with installations, sculpture, painting and virtual contents, combining analogue and digital aspects in the same artworks. Her recent focus is on the use of code and encryption in order to distort and change notions of meaning, as well as applying new forms of decryption and decoding to establish new interpretations. In her talk, Havenstein introduced her artistic practice and the approaches she developed while staying in Okinawa and Korea, as well as her collaborative practice with Yuken Teruya.

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6 October 2022

Private View: La Mer by Yuken Teruya

The Daiwa Anglo-Japanese Foundation is pleased to showcase Yuken Teruya’s first UK show, marking the 50th year of Okinawa’s reversion to Japan after the American occupation. Teruya is fascinated by human perceptions of the ever-changing moment. For him, the modest practice of drawing is a mighty tool not only to observe hierarchies, but to rebalance them. Teruya’s work utilises temporary, fragile materials: his cut-out pieces can be described as expanded drawings, but also as delicate sculptures. The sea is a constant presence in the Okinawan landscape and a recurring theme in Teruya’s work. The exhibition La Mer encapsulates Teruya’s perspective: historic and present references to the Okinawan condition, ecological systems within material cultures, and power relationships between countries.

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20 July 2022

HIROSHIMA by Iri Maruki and Toshiko Akamatsu

From 1950 to 1982 Iri Maruki and Toshiko Akamatsu (also known as Toshi Maruki) created the Genbaku no Zu series of artworks, internationally known as the Hiroshima Panels. The works became an apparatus to convey the story of the atomic bombing of Hiroshima and Nagasaki to the general public, first during a period of censorship, then during protests against nuclear weapons by the artists and their supporters. Amidst a mood of fear and anger towards the Cold War, almost 20 countries invited the works to be exhibited in a gesture of peace and transnational solidarity. As we potentially enter an era of escalating nuclear rhetoric, the Daiwa Anglo-Japanese Foundation showcases the panels’ drawings and exhibition archives in an opportunity to reflect on the consequences of nuclear warfare.

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19 July 2022

Private View: HIROSHIMA by Iri Maruki and Toshiko Akamatsu

From 1950 to 1982 Iri Maruki and Toshiko Akamatsu (also known as Toshi Maruki) created the Genbaku no Zu series of artworks, internationally known as the Hiroshima Panels. The works became an apparatus to convey the story of the atomic bombing of Hiroshima and Nagasaki to the general public, first during a period of censorship, then during protests against nuclear weapons by the artists and their supporters. Amidst a mood of fear and anger towards the Cold War, almost 20 countries invited the works to be exhibited in a gesture of peace and transnational solidarity. As we potentially enter an era of escalating nuclear rhetoric, the Daiwa Anglo-Japanese Foundation showcases the panels’ drawings and exhibition archives in an opportunity to reflect on the consequences of nuclear warfare.

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29 June 2022

Three women by Maria Farrar

Maria Farrar is an artist based in London. Born in the Philippines in 1988, she was brought up in Shimonoseki, Japan, until the age of 15, when she moved to the UK. In this talk, Maria told the stories of three Filipina women who have left their country for work or through marriage. The three stories reflected the effects of separation, the sacrifices first-generation immigrant communities make, and how, despite the difficulty of being separated from your larger family circle, building new families in a new country is a beautiful thing.

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26 May 2022

Private View: Somewhat Infrequently by Daisuke Kosugi

The Daiwa Anglo-Japanese Foundation is pleased to present Daisuke Kosugi’s first UK solo exhibition Somewhat Infrequently, showcasing Kosugi’s two latest works, A False Weight (2019) and All that goes before forget (2021). Kosugi utilises video as his primary medium to produce work that focuses on dislocated subjectivity in a normalised social milieu. He uses moving images to distort our sense of time – fixed, universal, always marching forward – and make us question what we thought we knew about our memory. While the world tries to advance and grow, desperately trying to keep up with the pace of change, Kosugi’s works make us pause and allow us to experiment with different relations and connections to ourselves and others.

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26 May 2022

Daisuke Kosugi - Somewhat Infrequently

The Daiwa Anglo-Japanese Foundation is pleased to present Daisuke Kosugi’s first UK solo exhibition Somewhat Infrequently, showcasing Kosugi’s two latest works, A False Weight (2019) and All that goes before forget (2021). Kosugi utilises video as his primary medium to produce work that focuses on dislocated subjectivity in a normalised social milieu. He uses moving images to distort our sense of time – fixed, universal, always marching forward – and make us question what we thought we knew about our memory. While the world tries to advance and grow, desperately trying to keep up with the pace of change, Kosugi’s works make us pause and allow us to experiment with different relations and connections to ourselves and others.

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