Satomi Edo: New Ground / portrait on grid papers color

U Galeriji AŽ / Atelieri Žitnjak, 18.09. 2018., otvara se izložba japanske umjetnice s boravištem u Düsseldorfu, Satomi Edo, pod nazivom ”New Ground /portrait on grid papers color”.
Izložba se odvija u okviru Programa međunarodne umjetničke razmjene Zagreb-Düsseldorf, iniciranog 2007., od strane Gradskog ureda za kulturu Grada Zagreba.
Izložba se može pogledati do 27.9.2018.

Satomi Edo rođena je u Kyotu, 2001. preselila je u Njemačku gdje je često mjenjala boravišta i adrese, a od 2017. živi i radi u Düsseldorfu i Münsteru. U recentnoj seriji radova “Fragmentary Reminiscences”, na osobnoj razini bavi se problemom domovine i preseljenja, kronološkim redom razvijajući modele kuća/mjesta na kojima je živjela, često koristeći reference na kazalište i međunarodnu književnost.
Multimedijalna ambijentalna instalacija koju prezentira u Galeriji AŽ, dio je projekta ”New Ground” u kojem izrađuje imaginarne karte svijeta koristeći ljuske od jaja, u procesu koji uključuje različite medijske pristupe: akciju, fotografiju, crtež, instalacije i video.
/www.satomi-edo.com/

”…Godine 2017. japanska umjetnica Satomi Edo izradila je kartu svijeta koristeći ljuske od jaja, poravnavajući manje i veće komade, šifrirala je neodređene teritorije i prostore.Potom je prevela ove reljefe u slike: finim diskretnim bojama umjetnica je naslikala kompozicije sačinjene od ljuski jaja na 50- tak listova japanskog papira. U radu koji kruži oko ideje doma, i gubitku istog, koji govori o istraživanju i ponovnom otkrivanju, o kretanju između mjesta i o osjećaju pripadnosti, Satomi Edo nije samo usmjeravala svoje poglede i razmišljanja prema ”Atlasu” poput Goethe-a, oživjela je i simboliku jajeta te izmjerila njegov utjecaj na svoje umjetničko djelo: jaje kao ‘simbolički apsolut’ svih kreativnih snaga, ”svjetsko jaje”… koje oslobađa cijeli svijet, sve elemente, ili ponekad samo raj i zemlju”.*
Satomi Edo nastavila je popunjavati ovu ‘slijepu točku’ i u 2018., na Međunarodnom ženskom doručku u Ahlen-u. Tamo su kuhana jaja bilo doslovce konzumirana, a njihova ljuska iskorištena za stvaranje novih karata. Bijela odjeća u koju su svi sudionici bili odjeveni, reprezent je praznog bijelog papira koji ne sadrži osobne podatke kao što su prošlost, profesija itd, i poslužila je kao odgovarajući korespondent bijelim tanjurima na kojima su postavljane svjetske karte. Odjećom sudionika i upotrebom ljuski jajeta naglašena je i druga važna semantička vezu – oba ova elementa pokrivaju vanjsku površinu tijela, pokrov koji se odnosi se na termin ‘ispod’, definiran u odnosu na ‘dubinu’.
U umjetničkom djelu Satomi Edo, ‘dubina’ je ono što izbjegava našu izravnu vezu, što opisuje dublji smisao, skrivenu poruku kojoj ne može svatko pristupiti. Percepcija konstruirane topografske figuracije i njezina reprezentacija stoga se u radu sjedinjuju s činom čitanja publike.
Tijekom stvaranja svojih svjetskih karata Satomi Edo ne uvodi zajedničke simbole niti nazive, niti druge termine za definiranje mjesta, nacija ili geografskih znamenitosti. Također nisu korišteni mrežni kvadranati ili koordinate. Rad je stvorio novu topografsku ‘individualnost’, bez modeliranja specifičnog redoslijeda znanja.
Sudionici su ispred sebe imali bijele, okrugle tanjure – s jedne strane tipičan komad stolnog posuđa, s druge strane »tabula rasa«, koja bi trebala postati »tabula plena«. Zadatak je bio usredotočiti se na pitanja poput: Kako ja vidim svijet? Kako bi trebao izgledati svijet koji sam ja stvorio?
Kakav je moj osjećaj u smislu geografske udaljenosti od mjesta gdje rođen i gdje sam sada, npr. Njemačka-Japan? Osnovni ‘građevni materijal’ – ljuske od jaja, sudionici su dopunili i drugim materijalima poput sitnih mrvica žumanjaka, šarenih cvjetova ili tankih vlati trava.
Neki su sudionici stvorili figurativno-asocijativne slike svijeta: slovo A, ulični znak, jato ptica na nebu, sazviježđa, atom s cirkulirajućim elektronima ili smiješak. Drugi nisu dopustili da se njihovi svjetovi oponašaju transformiranjem u nešto što se nalazi u ‘atlasu’. Te su slike postale likovni modeli zemljopisnih pejzaža: neki kružni ili zaoštreni komadi ljuski jaja formirali su skulpturalne, ispupčene planine i ledenjake, šupljine (udubine u ljuski ) postale su doline. Različite nijanse ljuski jajeta u kombinaciji s cvjetovima i vlatima trave dale su ovim kartama radostan, pikturalni efekt.
U svim tim prikazima nalazimo imaginalni svijet-prostor: “imaginal opisuje specifičnu, pikturalnu stvarnost koja se razlikuje od često korištenog pojma” imaginarnog “.” Imaginalni prostor postoji kao kvaliteta sama po sebi, ali ovisi o djelovanju usmjerenom na njegovo ostvarenje. Slično igri koja se treba igrati da bi postojala. “*

/iz teksta dr. Dalie Klippenstein povodom akcije izvedene na International Women’s Breakfast , Ahlen, Ahlen Family Education Center/

*Herder-Lexikon Symbole, Freiburg, Basel, Wien, p. 39-40.
* Helene von Oldenburg: Der imaginale Ort IV. In: Denkräume zwischen Kunst und Wissenschaft, 1991 Berlin, p. 162; 165.

The exhibition ‘New Ground / portrait on grid papers color” by a Japanese artist living in Düsseldorf, Satomi Edo, opens in Gallery AŽ / Atelieri Žitnjak, 19.09. 2018. The exhibition takes place under the Zagreb-Düsseldorf International Art Exchange Program, initiated in 2007, by the Zagreb’s City Office for Culture.
Satomi Edo was born in Kyoto, in 2001she moved to Germany where she often changed the places of residence and addresses, and where since 2017 lives and works in Düsseldorf and Münster.
In a recent series of works entitled “Fragmentary Reminiscences”, she deals with the problem of homeland and relocation on a personal level, developing in chronological order, the models of the houses she lived in, often using references to theater and international literature.
The multimedia ambient installation presented in the AŽ Gallery is part of the ”New Ground” project in which she creates imaginary maps of the world using egg shells, in a process that includes various media approaches: action, photography, drawing, installation and video.
/www.satomi-edo.com/

”…In 2017 Japanese artist Satomi Edo created a world map from egg-shell by aligning smaller and bigger pieces, ciphering undescribed territories and spaces. She then proceeded to translate these reliefs into painting: in fine discreet colors the artist painted her egg-shell compositions on about 50 small sheets/pieces of Japanese paper. This work revolved around ideas of home, the loss of it, the search and rediscovery, about moving between places and feelings of belonging. Satomi Edo did not just direct her view and reflections towards ”the Atlas” like Goethe, she revived the symbolism of an egg and measured its impact in her artwork: as ‘symbolic absolute’ of all creating forces, the ‘world-egg’, which ”…released the whole world, the elements, or sometimes only heaven and earth”.*
Satomi Edo continued to fill this ‘blind spot’ or act in terms of ‘tabula rasa’ in 2018 at the International Womens Breakfast at Ahlen. There the cooked egg was literally consumed as well as its shell used to create more maps. One requirement of her guests was to dress in all white. This was representative of the empty piece of white paper which contains no personal information like heritage, profession, etc. The white clothing served as a fitting correspondence to the white plates on which the world maps were layed out.
Clothing and egg-shells shared another semantic connection – both cover the body´s outer surface, this cover only exists in defining terms of ‘the underneath’, defined in terms of depth. In Satomi Edo´s artwork ‘in depth’ we find what escapes our direct grip, what describes a deeper sense, a hidden message not everyone can access. The perception of a constructed topographic figuration and its representation is therefore fused with the audience’s act of reading.
One distinction of maps is that they combine image and writing. During the creation of Satomi Edo’s world maps, no common symbols nor names nor other terms for defining places, nations or geographical sights were introduced. There also was no use of network quadrants or coordinates.This work created a new topographical »individuality«, without modelling a specific order of knowledge.
Participants found a white, round plate in front of them – on one hand a typical piece of table ware, on the other hand »tabula rasa«, which should become »tabula plena«. The task was to focus on questions such as: How do I see the world? What should a world created by me look like? How do I feel about my place of origin in terms of geographical distance to where I am now, e.g.: Germany-Japan? The ‘building material’ – egg shell was complemented by the participants with things like little crumbs of egg yolk, colorful blossoms and thin grass leafs.
Some participants created figurative-associative images of the world: The letter A, a street sign, a flock of birds in the sky, star systems, an atom with circulating electrons, or a smiley. Others did not let their worlds mimicly transform to something found in an ‘Atlas’. Those images became figurative models of geographic landscapes: some round or edged pieces of egg shell formed sculptural, bulged mountains and glaciers, hollows/deepenings became valleys. Different shades of egg shell in combination with blossoms and grass leafs gave those maps a joyful, picturesque effect. In all of those depictions you find imaginal world-space: ”imaginal describes a specific, pictorial reality, different from the often used and rather derogatory term ‘imaginary’. ”Imaginal Space exists as a quality in itself, but depends on an action directed at it to be realized. Similar to a game which needs to be played to exist“.*

/from the text of dr. Dalie Klippenstein – action realised in International Women’s Breakfast , Ahlen, Ahlen Family Education Center/

*Herder-Lexikon Symbole, Freiburg, Basel, Wien, p. 39-40.
* Helene von Oldenburg: Der imaginale Ort IV. In: Denkräume zwischen Kunst und Wissenschaft, 1991 Berlin, p. 162; 165.

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