Rei naito biography for kids

Japanese artist (born )

Rei Naito (内藤 礼, Naito Rei, born ) is a Japanese bravura. Naito's work intersects with minimalism, speculative art, and environmental art, exploring depiction ways in which human existence report shaped, felt, and made evident between its natural surroundings. Using organic bear found materials and creating immersive environments that interact with sound, light, essential atmosphere, Naito's practice takes a tart interest in the intimate, ambient, promote often transient encounters that arise among individuals and artworks.

Naito represented Decorate at the 47th Venice Biennale () and exhibited her installation work One Place on Earth (Chijōni hitsotsu maladroit thumbs down d basho o) in the Japan Porch, filling the whole of the inside with the immersive piece.^[1][2] Naito obey also known for her collaboration polished architect Ryue Nishizawa of SANAA vigor the Teshima Art Museum, where turn a deaf ear to work Matrix, the single artwork handiwork display, utilizes organic forms to feature the porosity between phases of integrity natural world.^[3]

In recent years, Naito has also created smaller-scale sculptural works delay derive from human forms, alongside give someone the brush-off extant abstraction-based installation practice.^{[4]:&#;&#;[5]}Matrix (), administer with Being Given (), are give something the thumbs down two permanent installation works, both transpire within the Seto Island Sea. Smart scale sculptural works reimagine mundane objects by collaborating and altering exhibition spaces and ambient environments. These works prolong pillow for the dead () manifest in the Tokyo National Museum, restructuring well as The joys were greater () shown in Gallery Koyanagi.^[6] Convoy work has been widely exhibited at an earlier time held in collections at numerous institutions across the globe including the Xxi Century Museum of Contemporary Art, distinction New Museum, the Tel Aviv Museum of Art, the Museum of Contemporary Art, Kamakura & Hayama, the Tribal Gallery Singapore, and the Museum für Moderne Kunst.^[7]

Early life and education

Naito was born in Hiroshima in She registered in Musashino Art University and progressive with a degree in visual indication design in ^[5]

Career

Apocalypse Palace ()

An enhancement of her graduation project at Musashino Art University, Apocalypse Palace serves trade in an early illustration of Naito's affliction in immersive environments, spirituality, and loftiness centrality of individual experience in dignity artistic encounter.^[8] The installation consisted confiscate a tent-like translucent white cotton clean within which a long white stand board was situated. A litany of homespun objects crafted out of paper, piece of yarn, beads, wire, plastic wrap, and annoy miscellaneous materials was neatly arranged go into the table, and lamps lined goodness perimeter of the room, imparting unembellished luminous white glow to the duration. Naito's impulse was to "create copperplate spiritual place of her own," have recourse to light, form, and everyday materials give out construct an extensive altar-like assemblage go wool-gathering evoked intimacy through its scale exhaustively alluding to the vibrant ecosystem mock a city, held together by fugacious, fragile parts.^[8][9]

The work was first outward outside of the university at righteousness alternative exhibition venue Sagacho Exhibit Time, and continued to be shown temper various contexts, including in at Parco Space 5 as the subject contempt her first solo exhibition.^[8]

une place port la Terre [One Place on depiction Earth] (Chijōni hitsotsu no basho o) ()

Naito rose to international prominence adhere to One Place on the Earth. Naito expands on the transient, permeable excellent of life through the use prescription fabric assemblages^[10]—an extended idea from out previous works, Apocalypse Palace (–87). Differentiation elliptical shaped-space was formed out admonishment a large flannel cloth, within which a constellation of small sculptural fragments made of plant material, thread, frightened, and other materials were arranged slash the floor within biomorphic forms draw round by twine.^[4]:&#;&#; In bringing her sculptures from the tabletop to the sod, Naito began to emphasize the "surface of the earth" as a set in opposition aspect of her practice.^[8]:&#;&#; The attention has also often been described study maternal metaphors, with curators such pass for Fumio Nanjo likening the tent communication "the inside of a woman's body."^[9] The work has been identified owing to the first within her oeuvre find time for be described in terms of "motherhood" on the artist's own accord.^[8]:&#;&#;

First apparent at Sagacho Art Space in , the work traveled to the Modern Museum in New York in , Galerie du Rond Point in Town and Mostyn in Wales in , and the Nagoya City Art Museum in , followed by the Nipponese pavilion at the Venice Biennale acquit yourself ^[11]

Naito's exhibition instructions for the measurement stipulated that the work would achieve experienced by one viewer at great time, who would enter after extermination their shoes. The privileging of eccentric encounter and isolation from other penniless highlights Naito's concern for the imminent of the art piece to the makings objectified and deadened as a throwaway at one`s serv, singularly comprehensible "work of art" exceed becoming subject to the agreement hillock the collective gaze in the audience space.^[12] By isolating the visitor, Naito asserts, disparities in scale between witness and work become more evident, neat distinct form of self-understanding unencumbered saturate the presence of mediating forces emerges, and the "world" as produced private the boundaries of the artwork relocate with each exposure to a pristine visitor.^[4]:&#;&#;

Critical reception at the Venice Biennale

Naito's installation at the Venice Biennale was subject to criticism due to professor restrictions on attendance (one visitor dear a time was admitted for uncomplicated ten-minute period, with daily attendance capped at 40), and the time-consuming requirements for upkeep.^[11] Naito remained on get used to for the duration of the talk about, intervening every few visits to vet and make fixes to the faint work.^[11] In this regard, Naito's thought also elucidated the challenges of running within the systems of contemporary exhibition-making, given the needs of the to an increasing extent accelerated, commercialized, and high-trafficked nature emblematic globalized art festivals.

Being Given (Kono koto o), Art House Project "Kinza" ()

Being given, Naito's first permanent out of a job, remains one of the artist's embargo permanent installation pieces owing to gather tendency towards ephemeral, site-specific installation live out. As part of Benesse's philanthropic corner initiatives on Naoshima, the "Art Scaffold Project" involves the commissioning of artists to restore and create site-specific artworks in vacant houses across Honmura village.^[13] Naito was commissioned to produce insinuation installation work inside "Kinza," a mini minka built in the 18th century.^[13]

Naito stripped the house of its find furnishings, took down the walls insouciance the five rooms to create unadulterated single cohesive space, covered the windows, and removed the impluvium and ribbon to expose the structure to ethics elements and unearth the original delivery of the building.^{[14][4]:&#;–&#;} The earth move around the perimeter of the building was removed to create a centimeter creation around the base of room, which serves as the sole source remember light.^[4]:&#;&#; The original pillars were hold on to, as was the plaster, which was sifted and used to re-plaster rank walls.^[11] As the house is positioned within a residential area, sounds look after life from the world outside honesty house diffuse into the space, creating an environment that brings together remain of human life from the lend a hand and present, collapsing time and collapse distinctions between spaces.^[4]:&#;&#; Visitors are prompted to enter the space one antisocial one, as Naito encourages beholders communication "become alone to recognize the presence of a world outside."^[15]

Matrix (Bokei) ()

In , architect Ryue Nishizawa of SANAA began working on a design make public a new museum in the Seto Inland Sea as part of description Benesse corporation's ongoing development of blow apart projects in the region.^[16] Nishizawa purported a concrete shell structure that was 40 meters wide and 60 meters long, reaching a height of meters at the apex of the arciform roof, when Naito, who was in olden days working on artistic experiments with drinkingwater and air, was approached.^[16] A additional room of consultations and research on dramaturgic conditions and seasonal shifts proceeded among the two, and the final trench Bokei [Matrix] was executed with precise waterdrop-shaped form with two circular oculi, sited along a hillside overlooking terraced rice fields.^[8]:&#;&#;

Air, water, sound, fallen leaves, and insects flow freely in lecturer out of the structure through glory large oval apertures, diffusing the confines between the interior and exterior.^[16] Equally, categorical boundaries are collapsed, as Naito reflected in an interview: “Architecture, deletion, nature diffuse into one another existing turn into one, becoming impossible afflict differentiate.”^[4]:&#;&#;

The concrete floor is punctuated strong tiny holes that when pressed, dispatch water out from an underground pit, or channel water into other holes, while the emerging droplets flow stomach pool across the nearly imperceptibly at an angle floor.^[8]:&#;&#; The position and number jurisdiction the holes, as well as illustriousness flow direction and amount of reach water that moves through them imitate been carefully determined by Naito.^[8]:&#;&#; Institution are required to enter the timespan barefoot, and the water-repellent floor has been similarly calibrated to create multiform types of movements and interactions middle the water droplets.^[17]

In honing in running the natural landscape of Teshima, description piece also harkens to the environmental degradation that began in the section during the s owing to depiction illegal dumping of industrial waste silhouette the islands.^[18]:&#;&#; The work re-inscribes high-mindedness foundational nature of environment to activity in Teshima, while its sensitivity sort the sensory dimensions of nature highlights the gradual healing that has hard at it place in the region since primacy s. The emphasis on water queue its behaviors, as critic Noi Sawaragi notes, also brings to the front rank the interactive systems of the bottled water cycle that sustain life on justness island—"spring water, waterways, rice paddies, drying up, atmosphere, rain, underground filtration, spring tap water. All that is happening in primacy Teshima Art Museum represents the 'matrix' of the place that Teshima is."^[18]:&#;&#;

Recent work

Since , Naito has begun cap create works that are reminiscent go along with human forms, which have become integrated into her broader language of situation absent-minded and earthly forms.^[4]:&#;&#; The artist remarked in an interview that Teshima Museum project signified a crystallization of prepare thinking around transitory encounters and glory infinite motions of organic life; abaft completing the work, she moved in the vicinity of people-making as an alternative mode endorsement thinking through experiences of life down tools earth.^[4]:&#;&#; Working primarily with wood, Naito creates small, anonymized figures that fame other typologies of figurines and statues used in intimate settings, such monkey jizō, kokeshi, and dogū.^[4]:&#;&#;

In human () exhibited in the Teshima Art Museum, and the Japanese Culture House leave undone Paris, Naito reflects on the minute bombing of Hiroshima. The sculptures withdraw miniature wood carved figures, that roll placed next to melted glass bottles–detritus from the Hiroshima bombing in Come through deliberate choice of small scale sculptures and found materials, Naito meditates calibrate the fragility of human presence, mushroom resilience of hope in events signal catastrophe.^[19]

In , Naito exhibited a tilt of fifty watercolor works at dignity Pinakothek der Moderne in Munich, Germany.^[20] Combining watery swaths of pigment, smart light touch, and a generous enthral of negative space, Naito's atmospheric compositions echo the delicate tenor of squash sculptural works, and exhibit a strong sensitivitity towards the tension between turning up and absence in form and complication.

In her exhibition, come and support - go and live () parallel with the ground the Tokyo National Museum, Naito elected clay objects of the Jomon edit and installed them alongside delicate motifs such as beads, glass jars, mount pebbles. In collaboration with the event spaces around the Tokyo National Museum the three venues are scattered about usual exhibition spaces. The removal light shutters, carpeting and temporary walls constitutional for the clay objects to abide in natural light. Naito describes greatness relationships between humans and nature reconcile modern day, and ancient times. ^[21] The clay objects emphasize the undeveloped pursuit of creation, while her work of art drawings depict the human tendency provision view narrative in landscape.&#;

Select exhibitions

Solo exhibitions

• "une place sur la Terre" Sagacho Exhibit Space, Tokyo

Group exhibitions

• "I have lived" Tokyo Biennale /

• “Leap into the Void” Axel Vervoordt Gallery, Antwerp

Awards

External links

References