Olivier Foulon et Suchan Kinoshita sont les invités de la galerie Keijiban à Kanazawa. Exposition du 15 mars au 15 avril 2022, date à laquelle sera révélée en ligne l’édition produite pour cette exposition.
Le communiqué :
Keijiban is a limited-edition publisher and art showcase based in Kanazawa, Japan. It was launched by Olivier Mignon, founding member of the Belgian (SIC) platform and editorial manager of A/Rjournal. Keijiban works with significant artists living abroad to produce prints, multiples, and original works, which are launched through monthly exhibitions in a keijiban (掲示板), an outdoor community noticeboard. The editions are then sold online and shipped worldwide.
Olivier Foulon was born in 1976. He currently lives in Berlin (Germany). Suchan Kinoshita was born in 1960. She currently lives in Brussels (Belgium).
While both artists have been developing their own practices for many years, they have also worked together on several projects.
These include Tokonoma, a collaborative work begun at Suchan Kinoshita’s instigation. Started in 2012, it consists of a structure made of a diagonal line connecting and supporting vertical and parallel planes that allows guest artists to intervene—Olivier Foulon being one of them. This complex installation sought to create interconnected exhibition layers, a sequence of constant interruptions and transitions that explore the various physical and conceptual spaces of an artwork.
Two years later, while the artists were both in New York to present a new version of Tokonoma, they used their residency at the Goethe-Institut to initiate joint painting sessions. Working side by side, they took a specific work by Belgian painter Walter Swennen as a “starting point”: his painting Cigarette (2014) which had just been sold and therefore could not become part of Tokonoma NY. A selection of this series would later be exhibited in the Biennial of Painting (2020) at Museum Dhondt-Dhaenens in Deurle, Belgium, and was then named Karaoke Paintings.
These two examples reflect the intersections of Foulon’s and Kinoshita’s distinctive practices with regard to several crucial issues, such as artistic collaboration and transmission, the passages from one medium to another, and the questioning of the artist’s role.
