Takehito Koganezawa

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Takehito Koganezawa

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Untitled (mountains)
2012
Wachsstifte auf Papier, Serie von 9, jede
21 x 29,7 cm

More images: www.artnews.org/takehitokoganezawa

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Knut Ebeling: fortunate process, unfortunate process / good time, bad time

The fact that time is the central theme of Takehito Koganezawa’s work, already conjures up a myriad of cultural associations and philosophical problems. He processes time through various media and forms, whereby it is the status of the respective medium that defines the way in which time is treated and vice versa. Koganezawa uses mainly video for these processes, i.e. converting space into a surface, such as the transition from a three-dimensional room to a two-dimensional image on the screen or monitor. This transcription is fascinating, because Koganezawa seems to have found a means of complementing the ways in which "visual modernism“ has been interpreted until now. While the theory of modern painting perceived the movement of the image area to be a monochrome surface that explicitly excludes the moment of time, Koganezawa’s work point us to this theoretical blind spot of despatialisation. The loss of depth, the flattening of a picture is always a temporal event as well, a process, which Koganezawa exposes by choosing video as his medium to depict it. His work deals with the genesis of diachronistic pictures that are synchronised via time.
The diachronicity in this flattening process is demonstrated via different chronologies, which Koganezawa splices together in an image or a room, creating a picture during the time that the video is being played. This is the fundamental principle of his work; in that he allows a current, discontinuous time to play in front of a non-current but continuous time; he marks the different components that are involved in the creation of a picture. The different times run against and with each other and eventuate in a monochrome picture, which perfectly unifies these differing moments in space and time. It is indicative that the culmination of this unification and completion is perfect darkness.
In his current series, the materialness of painting, the visibility of colour as a smudge or fluid substance in relation to time is preserved in its temporality on video. His works allow the spectator to experience the moment where time becomes the medium. It is time that is the vehicle and not the video, which only displays it, allows it to start and documents it by showing paint drip onto a surface, it is the medium, in which paint is able to slowly but surely drip down a wall like a living entity. Time is the medium, which can expose the viscosity and smooth texture of the materials that are used in painting, into the essence of paint, where internal or external no longer exist.
As with Lacan, Koganezawa also believes that it is time which destroys any distinction between the external and internal and reveals any semblance of interiority as mere appearance. Here he turns precisely to the place where "inside“ and "outside“ and space and time are still joined. He makes the temporality of colour visible as ist own process.
The concept of this process enables his video art to bring into play another aspect that is not concerned with the transmission of time via painting, but situations instead. Therefore, in showing themselves in the form of situations these works allow time to become a medium. What is a situation? At first glance a situation is a sequence of specific events that take place in a concrete time frame, it is about the process of an un-mistakeable event in an un-changed moment. It is time, which allows an event to become a situation. A closer look at particular situations reveals that here also we are dealing with a meeting of various diachronistic time-threads: a situation only becomes a situation when one point in time encroaches on another: when, for instance, not just one person is at a place but by chance also another one, when not just one arm moves from one place to another, but when it hits a vase, which also happens to be in the trajectory of this movement. This is an unfortunate process (Bad time).

There are also situations, which distinguish themselves by the fact that each one is in the same synchronous time frame, such as a football game. By giving a concrete event a precise time frame, Koganezawa constructs and satirizes such a situation. For instance, different couples equipped with two spindles are asked to unroll a tape on one spindle and to wind it up on the other one. The difficulty lies in the fact that the tape is not directly connected to the second spindle, but runs across a third intermediary spindle. The third spindle, which can easily be described as representing time itself (and which has since the beginning of time been portrayed as a spindle and metaphorised as such) synchronises both movements with each other. Time thus becomes precisely the medium, just as the two partners communicate with each other via the transmission of this instance, the temporal medium of the spindle.
The key to Koganezawa’s work lies in the fact that the rather absurd occupation of monotonously winding and unwinding the tape, which is already being synchronised via the spindle, is synchronised a second time. In this second time the already temporally defined situation almost simultaneously underlines and covers up the metaphor of the spindle in order to dub it via the medium of time. Every unwinding and winding motion, no matter how long it actually takes is speeded up or lengthened in the video image.
Thus two times meet each other again: the actual time it takes for the event, and the imposed timeframe of the video clip, the "artificial time" as Koganezawa calls it. The actions that Koganezawa directs the actors or the colour to perform, organise themselves according to the pace of time and not vice versa. It is this
which in Kant’s "transcendental aesthetics“, gives the person or colour subject status and regulates its development. Fortunate process (Good time).

Knut Ebeling

Takehito Koganezawa

1974 born in Tokyo, Japan

Lives and works in Berlin, Germany

Education

1988 Abschluß an der Musashino Art University, Tokyo
1999 Scholarship POLA Foundation, Tokyo
2001 Scholarship Japanese Department of Art and Culture
2005 Scholarship Senatsverwaltung für Wissenschaft, Forschung und Kultur

Grants

1999 Stipendium POLA Foundation, Tokyo
2001 Stipendium Japanese Department of Art and Culture
2005 Stipendium Senatsverwaltung für Wissenschaft, Forschung und Kultur

Solo Exhibitions

2012
Haus am Waldsee, LUFTLINIEN, Berlin, Germany

2011
Langen Foundation, PARTICLE TICKLE, Neuss, Germany

2010
EnBW Showroom, SHALLOWLY DANCE, Berlin, Germany

2009
Loock Galerie, Berlin, Germany
Wohnmaschine, Berlin, Germany
Kunstfenster im BDI, Haus der Deutschen Wirtschaft, POLYRYTHM, Berlin, Germany
Mimoca, MIMOCA´S EYE, Vol. 2 – TAKEHITO KOGANEZAWA, Marugame Genichiro-Inokuma, Japan
Haus Konstruktiv, KOGANEZAWA, Zurich, Switzerland

2008
Kanagawa Prefectural Gallery, Yokohama, Japan
Qbox Gallery, EPHEMERAL GRAFFITI, Athens, Greece
Christopher Grimes Gallery, UNDISCIPLINED WAITING ROOM, Santa Monica, USA

2007
Wohnmaschine, Berlin
SUPRAFICCIONS, Fundació „la Caixa“, Lleida, Spain *
Dominique fiat Gallery, Paris, France

2006
DRAWINGS, Christopher Grimes Gallery, Santa Monica, USA
FORGETTING NUMBERS, Hiromi Yoshii Gallery, Tokyo, Japan

2005
DANCING IN YOUR HEAD, Christopher Grimes Gallery, Santa Monica, USA
WORKS ON PAPER, Wohnmaschine, Berlin
PROBABLY SOMETHING, Performance, Berlinische Galerie, Berlin
SEX WITHOUT SEX, JETZT / NOW, Berlinische Galerie, Berlin

2004
DANCING IN YOUR HEAD, Shiseido Gallery, Tokyo, Japan *
PENCILS, PAPERS, DESK AND CHAIR, Yoshii Gallery, Tokyo, Japan
Haunch of Venison, London, UK

2003DANCING IN YOUR HEAD, INOVA - Institute of Visual Arts University of Visconsin, Milwaukee
ON THE WAY TO THE PEAK OF NORMAL (with Carsten Nicolai), permanent collection Hamburger Kunsthalle
DANCING IN YOUR HEAD ,Wohnmaschine, Berlin
DANCING IN YOUR HEAD, Borromini Arte Contemporanea, Ozzano Monferrato, Italy

2001
SOME ISLANDS, Project Rooms, ARCO Madrid
ON THE WAY TO THE PEAK OF NORMAL,Wohnmaschine, Berlin
NEWMEN, Kunst-Station Sankt Peter, Cologne

2000
Vedanta Gallery, Chicago
Rhodes + Mann, London

1999
Wohnmaschine, Berlin

1998
Galerie Brutto Fonster, Malmoe Sweden

Group Exhibitions

2012
NGBK / Kunstraum Bethanien, IN ANDEREN WORTEN..., Berlin, Germany
Stadtgalerie Kiel, BERLIN ZEICHNET, Kiel, Germany

2011
Akademie der Künste, TRANSATLANTISCHE IMPULSE , Berlin, Germany

2010
Ludwig Museum, BERLIN ZEICHNET, Koblenz, Germany
Kunsthalle Dominikanerkirche, BERLIN ZEICHNET, Osnabrück, Germany
Aichi Triennale 2010, ARTS AND CITIES, Nagoya, Japan
Museum der Bildenden Künste/Hochschule für Grafik und Buchkunst Leipzig, SCHNITTSTELLE DRUCK, Leipzig
Arts Santa Mònica, REMOTE VISION. LOOP BARCELONA (2003-2009). A PERSONAL VIEW BY PAUL YOUNG, Barcelona, Spain
Galeria Isabel Hurley, PERSPECTIVES OF CONTEMPORARY DRAWING, Málaga, Spain
Mori Art Museum, ROPPONGI CROSSING 2010: CAN THERE BE ART? THE CREATIVE POTENTIAL OF A NEW JAPAN, Tokyo, Japan
Biennale für Internationale Lichtkunst 2010, Unna, Germany
Palais für Aktuelle Kunst, 10 Jahre PaK, Glückstadt, Germany

2009
Pacific Design Center, REMOTE VISION. THE BEST OF LOOP: NEW VIDEO ART FROM EUROPE AND THE AMERICANS, Los Angeles, USA
Asian Art Biennial, Taichung City, Taiwan
Takehito Koganezawa und Robin Rhode, Isabelle Du Moulin und Niels Borch Jensen Galerie, Berlin, Germany

2008
Otis’ Ben Matz Gallery, LOOKY SEE: A SUMMER SHOW, Los Angeles, USA
Museu de Arte Moderna de São Paulo, WHEN LIVES BECOME FORM: DIALOGUE WITH THE FUTURE- BRAZIL, JAPAN, São Paulo, Brazil
Stiftung Opelvillen, SPEED, SPEED! THE PHENOMEN OF SPEED IN FILM, Rüsselsheim, Germany

2007
Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain
Mumbai, India
Museum of Modern Art, New Delhi, India
OUT OF THE ORDINARY: NEW VIDEO ART FROM JAPAN, MOCA, Los Angeles, USA NEUE HEIMAT: INTERNATIONALE KUNST IM NEUEN BERLIN, Berlinische Galerie, Berlin, Germany
THE COLLECTORS’ CHOICE: Collection 2, Daelim Contemporary Art Museum, Seoul, Korea
KLANG IM BILD, Stiftung Opelvillen, Rüsselsheim, Germany

2006
ECHIGO-TSUMARI ART TRIENNIAL, Fukutake House, Echigo-Tsumari, Japan
DON JUAN ALIAS DON GIOVANNI, Magazin 4,Bregenzer Kunstverein, Bregenz, Austria
SABOTAGE OF REALITY, Batagianni Gallery, Athens, Greece
ANSTOSS BERLIN, Haus am Waldsee, Berlin *
BERLIN TOKYO TOKYO BERLIN, Neue Nationalgalerei, Berlin *
ARS VIVA 05/06 – IDENTITY, Kunst Werke Berlin, Berlin, Germany
IMAGES, 19th Images Festival, Toronto, Canada *
CONVERSATION WITH ART, ON AR19th Images Festival, Toronto, CanadaT, DaimlerChrysler Art Collection, Tokyo Opera City Art Gallery, Tokyo, Japan
UNE OEUVRE: UNE VIDÈO, Grasse, France
DON JUAN ALIAS DON GIOVANNI, KUNSTHALLE wien, Halle 1 *
MIMA: OFFSITE- Animated Drawing, Middlesbrough Insitute of Modern Art, Middlesbrough, UK *

2005
ARS VIVA 05/06 – IDENTITY, Kunsthalle Rostock, Rostock, Germany
KOGANEZAWA/KALTWASSER, Kunstbank, Berlin, Germany
TEMPORARY IMPORT, Art Forum, Berlin, Germany
INTERNATIONAL TRIENNALE OF CONTEMPORARY ART, Yokohama, Japan
WENN KEIN BLATT SICH REGT, Palais für aktuelle Kunst Glückstadt, Glückstadt, Germany
VIEWS FROM ABROAD (ZEITGENÖSSISCHE KUNST AUS JAPAN), Stadtgalerie Kiel, Germany

2004
DIARIES AND DREAMS, Ursula Blickle Stiftung, Kraichtal-Unterröwisheim, Germany *
SKULPTUR, PREKÄRER REALISMUS ZWISCHEN MELANCHOLIE UND KOMIK, Kunsthalle Wien, Wien

2004
JUNGE KUNST AUS JAPAN, Kunstallianz, Berlin *
MA, two-person show mit Yoshihiro Suda, Douglas Hyde Gallery, Dublin, Irland *
CREMERS HAUFEN. Alltag Prozesse handlungen: Kunst der 60er Jahre und Heute, Westfälisches Landesmuseum für Kunst und Kulturgeschichte Münster, Münster *
WHY NOT LIVE FOR ART, Tokyo Opera City Art Gallery in Tokyo
DON´T CALL IT PERFORMANCE, Centro Andaluz de Arte Contemporanéo, Sevilla, Spanien
MINIMALISM AND AFTER III, DaimlerChrysler, Berlin
INTERFACIES, Multimedia Asteria, Trento, Italy
PERFORMANCE, Berlinische Galerie, Landesmuseum für Moderne Kunst, Photographie und Architektur, Berlin

2003
SHARJAH BIENNAL, Sharjah, United Arabic Emirates
VIDEOFESTIVAL, Kasseler Kunstverein, Kassel
BERLIN-LONDON, ICA, London
SECRECIONES, Jacob Karpio Gallery, San José, Costa Rica
TRANSLATED ACTS, Haus der Kulturen der Welt, Berlin
CITY VISION: CITY CLIPS, Internationales Filmfest, Rotterdam

2002
TRANSLATED ACTS, Museo de Arte Carillo Gil, Mexico City
LA BIENNALE DE MONTRÉAL, Montréal
MANIFESTA 4, Frankfurt am Main
DRAWING ON SPACE, FA Projects, London *
CONTAMINADOS, Museo des Artes & Disenao Contemporaneo, Costa Rica
LINES / MOVING, Wohnmaschine, Berlin

2001
1Site2Places, Galerie der Stadt Sindelfingen, Sindelfingen
ODALISQUE, Mafuji Gallery, London
AUDIBLE IMAGERY, Museum of Contemporary Photography, Chicago
TRANSLATED ACTS, Queens Museum, New York *
BERLIN-LONDON, ICA, London
SECRECIONES, Jacob Karpio Gallery, San José, Costa Rica
TRANSLATED ACTS, Haus der Kulturen der Welt, Berlin
CITY VISION: CITY CLIPS, International Filmfestival, Rotterdam

2000
KIBOU NO HIKARI, Sagacho Exhibit Space, Tokyo
ELECTRIC DREAMS, billbord Leicester Square, London
media_city seoul 2000, Seoul
ART PONTON 02, Hamburg
JAPAN MEDIUM LIGHT, Montevideo, Amsterdam
INTERIM 2000 - Art, Time and the Discovery of Slowness, Schloss Plüschow, Germany
CONTINENTAL SHIFT, Ludwig Forum für Internationale Kunst, Aachen
Wohnmaschine, with Eric Hattan and Beatrice Wrobel, Wohnmaschine, Berlin

1999
TOKYO SHOCK, Filmhaus, Cologne
AKIHABARA TV, Akihabara, Tokyo

1998
ART IS FUN 9, Hara museeum ARC, Gunma, Japan
ÜBER BAU, Wohnmaschine, Berlin

1997
European Media Art Festival Osnabrück
The 33rd ARTISTS TODAY, Yokohama Civic Art Gallery, Yokohama

Takehito Koganezawa

Loock Galerie
Potsdamer Strasse 63
D-10785 Berlin

+49-30- 39 40 96 85 0
+49-30- 39 40 96 85 9
info@loock.info
www.loock.info