In Borderline, Masuyama exhibits Crossing the Border and Moving, two works that combine performative acts and their manifestation as documentation through object and video. Both works address the notion of travel and physical/non-physical borders.
Masuyama found himself at Schiphol Airport at final security check before boarding a plane, when he became interested in a small gap between the top of a glass wall and the ceiling; a design feature that visually and physically determines the space beyond as forbidden, unless undergoing a rigorous systematic inspection. Thinking about the aspects of border control, Masuyama mischievously returned to the security checkpoint and repeated the childlike gesture of aiming an ordinary rubber band with his fingers firing it at the gap between the glass and the ceiling. Without attracting the attention of the border guards, the bands that landed on the other side testified to a quiet transgression; a breaking of the border. Video documentation of this act, along with the rebel rubber band on display becomes 'Crossing the Border'.
In Moving, Masuyama addresses his curiosity surrounding processes of mobilisation and the unknown spaces traversed between real and metaphoric borders. His intent is attempting to accurately record and document modern conditions of transit and transference. Through a process of experimentation Masuyama invented a 'moving' box containing a hidden camera in order to investigate a journey through the various stages of a postal delivery system. For Borderline, he produced a video document that transcribes the passage of a 'moving' box from Vienna to Krems in 2008, and also lets the viewers encounter the 'moving box' as a sculpture.
* Hal Foster, ‘Real Fictions’, Artforum, April 2017
3.00 – 4.10pm, Screening Programme
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Héloïse Delègue, Beverley Gadsden, Varvara Shavrova, Marios Stamatis, Joseph Steele, Emily Willey, Johanne Wort
4.30 – 6.40pm, Guest Contributors
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4.30 – 5.00pm, Ellen Kenyon Peers, 'Ana Key is Imagining Utopian Futures: Can art be used as a tool for change in contemporary politics?’
5 – 5.30pm, Emily Rosamond, 'Distortions'
5.30 – 6pm, Simone Rowat,' Forensic Aesthetics'
6.00 – 6.10pm, Guest Film Screening, Joey Holder, ‘Adcredo’ (2018)
6.10 – 6.40pm, Q&A
7 – 9pm, Private View
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8 – 8.10pm, Performance, Paul Gaudet, 'A Glimpse Inside (Introducing Darren Reeves)', Performed by Darren Reeves (2018)
Exhibiting Artists, Héloïse Delègue, Beverley Gadsden, Paul Gaudet, Samantha Greer, Parinot Kunakornwong, Norman Mine, Denis Mortell, Miriam Naeh, Serkan Sarier, Varvara Shavrova, Marios Stamatis, Joseph Steele, Emily Willey, Johanne Wort
Conspiracy of the Real: Artistic Perspectives in a Post-Truth Climate was developed by:
Paul Chapellier, Héloïse Delègue, Saskia Fischer, Beverley Gadsden, Paul Gaudet, Samantha Greer, Parinot Kunakornwong, James Low, Norman Mine, Denis Mortell, Miriam Naeh, Phillip Reeves, Serkan Sarier, Varvara Shavrova, Marios Stamatis, Joseph Steele, Emily Willey, Johanne Wort. Project supervision by: Kate Pickering and Sam Plagerson. Special thanks to Michael Newman and Borbála Soós. Produced in collaboration with Tenderpixel and the MFA Fine Art programme at Goldsmiths College.
Shiro Masuyama is a conceptual artist who has shown internationally including solo shows at Water and Sculpture Hills Ichihara Museum, Japan (2010), Contemporary Art Factory, Tokyo (2010), Tinbox Contemporary Art Gallery, Bordeaux (2010) and the ADN Galeria, Barcelona (2006). Masuyama was born in Tokyo but currently lives and work in Berlin. He is also the Director of the residency program ART No. 11. Undercurrents, in this body of work question a global anxiety around correspondence and a collective paranoia insinuated by acts of terrorism, as well as the authorative procedure around the current concept of borders.
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