tag:aware.tekunotekuno.com,2013:/posts Aware by Tekuno 2020-02-11T18:30:22Z Tekuno tag:aware.tekunotekuno.com,2013:Post/1508583 2020-02-11T18:30:21Z 2020-02-11T18:30:22Z Wasara Disposable Tableware

Elegant and flowing form that fits straight into one’s hands, texture like handmade Japanese paper, subtle shading, and the beautiful image of the dishes stacked on top of each other. We place great importance on the touch of the tableware and the feeling when you bring it to your mouth. In the search for a design that is easy to hold, we settled on the organic form of WASARA. It has a natural fit with the curvature of human hands, and brings grace to the movements of everyone who holds it. With elegant form and texture that reflect its handcrafted roots, WASARA is the essence of functional beauty, made possible by the unparalleled skill of Japanese craftsmen. Such skillful modeling has resulted in these exquisite forms overflowing with character.

Disposable tableware from Wasara

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Tekuno
tag:aware.tekunotekuno.com,2013:Post/1507514 2020-02-08T16:36:25Z 2020-02-08T16:36:25Z Susumu Yokata - Sakura

Susumu Yokota, Sakura - (2000)
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tag:aware.tekunotekuno.com,2013:Post/1507510 2020-02-08T16:27:21Z 2020-02-08T16:27:21Z Shiro Tsujimura "Soil"

Shiro Tsujimura, Solo Exhibition "Tuchi (Soil)", 2012
Imura art gallery, Kyoto, Japan
Read more ↗

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tag:aware.tekunotekuno.com,2013:Post/1506794 2020-02-05T23:04:46Z 2020-02-06T16:04:53Z Shiro Tsujimura @ Kami Ya


Kami Ya Co. Ltd. Shiro Tsujimura, Enkai Banquet, うたげ (2.3.2020-2.29.2020)
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tag:aware.tekunotekuno.com,2013:Post/1506778 2020-02-05T22:30:58Z 2020-02-06T16:05:09Z Texture on Texture @ Cociety

Exhibition by Texture on Texture, Cociety

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tag:aware.tekunotekuno.com,2013:Post/1506772 2020-02-05T22:24:34Z 2020-02-06T16:05:19Z Lee Heon Jung @ Gallery O Square

Gallery O Square. Lee Heon Jung Exhibition, Journey Part I.. (11.20.2019-12.31.2019)


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tag:aware.tekunotekuno.com,2013:Post/1506082 2020-02-03T23:37:31Z 2020-02-03T23:37:31Z A world of dew / Kobayashi Issa

A world of dew,
And within every dewdrop
A world of struggle.

Kobayashi Issa (1763-1828)


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Tekuno
tag:aware.tekunotekuno.com,2013:Post/1504577 2020-01-31T18:39:49Z 2020-01-31T18:40:07Z Ceramics & Ikebana / Satoshi Nishikawa, Yuji Ueno

Satoshi Nishikawa & Yuji Ueno, 2019

Exploring harmony

In both his sculptural and functional wares, Kanagawa-based ceramicist Satoshi Nishikawa explores the contradiction of modern and ancient. He does this by combining conflicting forms, materials, and textures: mixing rough soil with straight sides or marrying prehistoric colors—primarily white, black, and red—with large, bulbous bodies. Pick up an object by Nishikawa and one will feel a sense of necessity in harmony: old and new, soft and hard, form and function. The ceramicist expounds a more relaxed—in fact, balanced—approach to primarily function- or form-based artists.

And yet, it is his collaborations with ikebana artist Yuji Ueno that truly highlight and elevate Nishikawa's intent. In a 2016 interview in which the artists interview each other², Ueno describes his work as a study and extension of the vessels he works with. "There are many people who are attracted to the expression of their flowers rather than their relationship with the vase, " he explains, "and because of [this], [sometimes] an artist is distrusted that he may be able to live with the vessel alone." Ueno works to uphold the proportions and shape of the vessels its arrangements sit in—and this is precisely why Ueno and and Nishikawa's works are so powerful together. By creating a union of flower and container, Ueno and Nishikawa demonstrate the beauty of "wa・和": living in harmony.

¹: Interview with Satoshi Nishikawa
²: Nishikawa and Ueno joint interview

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Tekuno
tag:aware.tekunotekuno.com,2013:Post/1504721 2020-01-31T08:01:46Z 2020-02-06T16:05:37Z Jason Polan

Jason Polan

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tag:aware.tekunotekuno.com,2013:Post/1504740 2020-01-31T07:48:52Z 2020-01-31T07:49:11Z Le Corbusier


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tag:aware.tekunotekuno.com,2013:Post/1504738 2020-01-31T07:36:21Z 2020-02-06T16:05:55Z Anne Appleby

Anne Appleby. Jasmine, 2000.

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tag:aware.tekunotekuno.com,2013:Post/1504737 2020-01-31T07:32:13Z 2020-01-31T07:32:13Z Felix Valloton

Félix Vallotton. Marée haute dans la lumière du soir, 1915.

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tag:aware.tekunotekuno.com,2013:Post/1504755 2020-01-31T07:09:00Z 2020-01-31T08:10:20Z Jason Polan

Jason Polan

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tag:aware.tekunotekuno.com,2013:Post/1504342 2020-01-30T01:50:07Z 2020-01-30T01:50:07Z Twenty Saints / Chris Kenny

Twenty Saints, 2017.
Constructed using found twigs. 26 x 26 x 3 inches

Chris Kenny

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Tekuno
tag:aware.tekunotekuno.com,2013:Post/1504263 2020-01-29T22:06:28Z 2020-01-29T22:37:40Z Mirror, Andrei Tarkovsky

An instantaneous mirror of memory, every photograph leaves a motionless trace of what has been, a fixed imprint of something that is no longer what it was before, a silent simulucrum of someone who was disappeared forever from our field of vision. And as a simple act of remembering, the photograph seems to testify only the disappearance and death of people and of the feelings that blind us to them, of things and of the places where they belong.

A. Tarkovsky

Mirror, 1975.

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tag:aware.tekunotekuno.com,2013:Post/1504210 2020-01-29T18:53:49Z 2020-01-29T22:42:21Z Davide Balliano

Davide Balliano

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tag:aware.tekunotekuno.com,2013:Post/1503936 2020-01-29T01:13:42Z 2020-01-29T01:14:14Z Painting / Pierre Boncompain

Pierre Boncompain

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Tekuno
tag:aware.tekunotekuno.com,2013:Post/1503861 2020-01-29T00:46:05Z 2020-01-29T00:48:53Z Oasis Of The Wind II / Takashi Kokubo

Oasis Of The Wind II ~A Story Of Forest And Water~, 1993

Takashi Kokubo

Best known for his "image albums,"¹ Takashi Kokubo creates commercial musical compositions meant to breathe life and personality into a character through sound. These songs are found in anime, manga, and Japanese commercials, accompanying a protagonist or even inanimate objects: a printer, a glass of whisky, a cell phone. Such is the all-encompassing universe of Japanese sound design.

Kokubo's most famous work is Get At The Wave, an enchanted musical story made for luxury air conditioner Saryo in 1987². The track compilation above, Oasis Of The Wind II ~A Story Of Forest And Water~, is part of his Ion Series, in which he released ten albums over the course of 1992-1993. It is ethereal, tranquil, and will transport one to a world far from the stresses of urban life.

¹: About image songs
²: About A Dream Sails Out To Sea (Get At The Wave)
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Tekuno
tag:aware.tekunotekuno.com,2013:Post/1503908 2020-01-29T00:10:31Z 2020-01-29T00:10:40Z Ugliness is not the absence of beauty / Robert Hoge

“Ugliness is not the absence of beauty”

Robert Hoge

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Tekuno
tag:aware.tekunotekuno.com,2013:Post/1503893 2020-01-28T23:20:25Z 2020-01-29T22:42:31Z Chawan / Izumita Yuykiya

Izumita Yukiya

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tag:aware.tekunotekuno.com,2013:Post/1503873 2020-01-28T23:00:36Z 2020-01-29T22:42:37Z Spring, Summer, Fall, Winter... and then Spring / Kim Ki-Duk

Spring, Summer, Fall, Winter...and then Spring (2003), 
Dir. Kim Ki-Duk, DOP Baek Dong-hyun 


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tag:aware.tekunotekuno.com,2013:Post/1503854 2020-01-28T22:12:37Z 2020-01-29T22:58:24Z Sculpture / Kathleen Ryan

Kathleen Ryan.  

Emerald City, 2019
Serpentine Foam, 2019
Green-eyed monster, 2019

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tag:aware.tekunotekuno.com,2013:Post/1503798 2020-01-28T19:45:37Z 2020-01-29T01:14:23Z Death of Citrus Fruit / Josephine Jeannin

Josephine Jeannin

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Tekuno
tag:aware.tekunotekuno.com,2013:Post/1503723 2020-01-28T16:41:29Z 2020-01-28T22:41:06Z Over the wintry / Natsume Soseki

Over the wintry
forest, winds howl in rage
with no leaves to blow.

Natsume Soseki (1867-1916)

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Tekuno
tag:aware.tekunotekuno.com,2013:Post/1503095 2020-01-27T06:26:28Z 2020-01-29T01:14:50Z Ecriture / Park Seo-Bo

“Ecriture(描法)No. 010108”, 2001.
Acrylic with Korean Hanji paper on canvas. 182 x 228 cm / 71 3/4 x 89 3/4 inches

Park Seo-Bo

"An artist must reflect on one's own time period, not encompassing a sense of historicity."¹ These are the words of 88-year old Park Seo-Bo, a seminal figure in modern Korean art who continues to create his painstakingly labor intensive paintings to this day. Born in an age interrupted by the Korean War, Park became known for his three part Ecriture (Fr., "writing") series, in which he rakes a pencil through layers of oil paint on canvas. This repetitive pattern is meditative both for the artist to create and for the viewer to observe. In an interview with The Korea Times², Park described his Ecriture series as a means to empty himself, and analogously, the paintings attempt to convey the ideal of emptiness or "no mind."

The concept of emptying oneself became particularly poignant in his third and final phase of Ecriture. Park remarked, "For 70 years, I was living in the Analogue Era. I was successful and very comfortable...[but] the 21st century was a transition into the Digital Era. I struggled and thought a lot about how I was going to survive as an artist..."³ In 2000, Park saw the daily stressors that digitalization brought—not unlike the tumultuous political period he grew up in—and recognized his art as a therapeutic means to "heal the minds of people just like nature does."⁴ He began incorporating color, adding life to his paintings that he had previously avoided while still adhering to his Dansaekjo (Kr., "monochrome") sensibility. The result is a body of artwork that is empty yet warm, unyielding yet empathetic.

¹, ², ⁴: Interview with The Korea Times
³: Interview with Galerie Perrotin

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