Today 8/21 the sensational exhibition “Bitter Sweet" opens its door at the Tenri Cultural Institute in New York
Japan Contemporaries | Series 2
BITTER SWEET
Curated by Motoichi Adachi and Kyoko Sato
Artists:
Debuting in the US from Japan:
Koyuki Sakamoto, Sugako Hamazaki, Tomo, Yoko Morishita
Guest artists:
Joseph Ralph Fraia, Ola Rondiak
Reception: Friday, August 25, 2023 6-8pm
Monday, August 21 - Saturday, August 26, 2023
[Aug 21-24, 12-6pm | Friday, August 25, closed, reception only | Saturday, August 26, 12-3pm ]
Tenri Cultural Institute, New York | 43A W 13th St, New York NY 10011 | 212-645-2800
Tenri Cultural Institute is a non-profit organization founded in 1991. The mission of the Institute is to promote the study of Japanese language, the appreciation of international art forms, and to foster understanding and harmony in the community.
Through its diverse programs, the Institute hopes to draw together the multi-ethnic people of New York City to engage in cross-cultural dialogue and exchange.
The Institute is comprised of Tenri School of Japanese Language and Tenri Gallery.
The Institute is supported by the Tenrikyo Church, Headquarters in Tenri, Japan.
This exhibition is the second installment in a series of exhibitions that aims to collaborate with Emmy Award-winning writer Motoichi Adachi and Kyoko Sato, a renowned curator based in New York known for her expertise in Japanese culture. The overarching goal of this series is to showcase the talent of Japanese and global artists who produce captivating works across various genres and backgrounds while integrating them into the forefront of the global art scene. By facilitating meaningful interactions and inspirational exchanges between these Japanese artists and leading figures in New York's artistic community as well as those working internationally, the series aims to foster a dynamic and impactful artistic dialogue.
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"I cut through the art world with the sensibility that has long been active in the world of Japanese television. We want to bring a new wind of free and unrestrained ideas to a world that values old traditions. Beautiful works are beautiful and interesting works are interesting, even if they are not from famous art universities or patronized by influential galleries. We want to let attractive artists run amok in the world. I would like to try an unconventional challenge this time.”
— Motoichi Adachi
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When we translate the term "Bitter-sweet" into Japanese, it encompasses the essence of ambiguous Japanese culture and language. In Japanese, the translation of "sweet" does not have a direct equivalent, but rather implies a sense of "somewhat" or "mildly." On the other hand, in English, the term "bitter" and "sweet" are used together to describe the simultaneous experience of pleasure and suffering that arises when contrasting tastes are combined.
Until now, our world has been understood in terms of dualism based on Western philosophy. Body and soul, moon and sun, woman and man, peace and war, front and back, success and failure, West and East, wealth and poverty, ordinary and extraordinary, positive and negative....
But can we really be divided by this dualism? In New York, same-sex marriage was legally recognized in 2011, followed by LGBTQ human rights. This is important progress that promotes the ideal that everyone has the right to be happy, no matter what gender or sexuality they are. More children have access to information about queer identities, such as the possibility of one being "genderfluid". Genderfluid people, regardless of the body they have, fluctuate between genders as the name represents. In other words, they are outside the binary, coming and going between genders. They cannot be divided by dualism. Perhaps our world is moving toward a world of "ambiguity," as in Japanese culture.
— Kyoko Sato
Media sponsor by Livein Magazine
And now an insight on the artists presented in the exhibition:
Koyuki Sakamoto, originally a pastry chef, has ventured beyond the realm of cakes to create a unique genre of sugar art on large canvases. While sugar is typically associated with sweetness rather than bitterness, her artistic creations transcend conventional boundaries. Her motifs predominantly draw inspiration from animals found in Oriental legends, such as dragons and Suzaku, without featuring any Western counterparts. The color palette she employs consists of pastel shades, exuding brightness and gentleness while intentionally avoiding any elements of darkness or harshness. Interestingly, the cake decorations she incorporates originate from the West, resulting in a fascinating convergence of Eastern and Western influences in her work.
Sugako Hamazaki, an artist based in Hiroshima, resides in a city deeply affected by the aftermath of World War II. Hiroshima, along with Nagasaki, experienced the devastating impact of the atomic bombs dropped by the United States, leaving a lasting shadow of cruelty in the lives of its people. In the years following the war, efforts were made to rebuild and bring hope amidst the darkness that enveloped the city. Hamasaki incorporates the "foils" that emerged during this postwar period into her paintings as artistic materials.
The central theme of her work revolves around capturing the last sights, represented by light, witnessed by those who tragically lost their lives in the river immediately following the atomic bombing, symbolizing the darkness of that tragic event. Through her paintings, she expresses the essence of light, serving as a testament to the resilience and spirit of those affected by the darkness of that period in history.
Tomo's artistry embraces the use of Japanese calligraphy ink, rooted in China, and coffee from Ethiopia, associated with Islamic culture, as her unique painting materials. This fusion allows her to incorporate influences from both the East (China) and the Middle East (Islamic culture). Furthermore, Tomo includes depictions of the Buddhist "Heart Sutra" originating from India, showcasing the cultural impact of South Asia. While historical focus was often on the exchange between the East and West, Tomo's artwork unveils a broader cultural presence. Her creations illuminate the profound influence not only of the East and West but also of the Middle East, South Asia, and Africa. This recognition underscores the extensive range of diverse cultural expressions, illustrating the interconnectedness of regions and their valuable artistic contributions to the global stage.
Yoko Morishita's artistic theme centers around the "liberation of women's minds." Throughout history, our society has been predominantly male-centered, and breaking free from these long-standing conventions requires time, ingenuity, and concerted effort. Morishita's approach and artwork, shaped by her own Japanese background and personal experiences, go beyond portraying women as a mere contrast to men. Instead, she offers a direct and unapologetic exploration of female beauty.
Morishita's work is attuned to the growing recognition and appreciation of women in the art world. By aligning with the natural demands of the current era, her art serves as an act of empowerment and encouragement for women. It reflects a sensitivity towards the evolving role and visibility of women, contributing to the ongoing narrative of female empowerment and challenging societal norms.
Joseph Ralph Fraia, an American of Italian descent, holds a perspective that Eastern women are seen as exotic, mysterious, graceful, opulent, and seductive from a Western viewpoint. He believes this captivating allure will endure even as globalization blurs the lines between East and West. Against the backdrop of notable instances of violence targeting Asian women in pandemic-stricken America, Fraia's perspective on appreciating Asian women becomes particularly valuable. It offers insight into cultural perceptions, challenges stereotypes, and emphasizes the importance of respect and appreciation for diverse cultures in fostering a more inclusive society.
Ola Rondiak, born in the United States, belongs to a Ukrainian family with a rich history. During World War II, Rondiak's grandmother, Paraskevia Michniak, was imprisoned by Russian occupiers. Despite the harsh conditions, Paraskevia displayed remarkable ingenuity by using fish bones as needles and repurposing cloth and threads from her own garments to clandestinely embroider religious Ukrainian icons. Under the luminous nights of the northern latitudes, she devoted 13 years to creating a collection of intricate artwork, carefully concealing it whenever possible. After her release, Paraskevia smuggled the artwork to her family in the United States. Ola often incorporates motifs adorned by her grandmother in her own work. War is hell, and art is salvation.