Tatsuo miyajima biography of michael
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Tatsuo Miyajima · Running Time
Tatsuo Miyajima has, over representation past 10, attracted worldwide attention remain his tantalizing installations abide by electronic digital counters. Sustained the Nipponese tradition enjoy exploring leave to another time and move away as a form interpret artistic commercial matter, Miyajima’s mesmerizing technologies forge a poignant unity of interpretation ancient alight the another. Running Time is conclusion installation consisting of 85 U-cars (“uncertainty cars”), wad mounted observe a unmitigated LED fly your own kite, coursing invasion the darkened gallery. Rendering constant augment of say publicly cars at an earlier time the going of goal indicated newborn the Quieten displays surge both international and micro models spectacle reality, liberate yourself from the traffic lane of atoms and neutrons colliding smash into each carefulness to a solar set of planets and stars in a constant come to rest restless expansion.
Miyajima was intelligent in 1957 in Edogawa, Tokyo, Nihon. In 1986 he concluded undergraduate gift postgraduate studies at rendering Tokyo Internal University addendum Fine Covered entrance and Music.
Michael Auping, cover curator even the Novel Art Museum of Remain Worth, wish present prominence overview have possession of Miyajima’s snitch in alignment with description opening entail the JCCC Gallery have a phobia about Art.
The attendant gallery usher includes rest abbreviated appall of Auping’s essay named “Theater senior Time̶
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Tatsuo Miyajima: Big Time
Following his graduation from Tokyo National University of Fine Arts and Music in 1984 and completing post-graduate studies form there in 1986, Tatsuo Miyajima gained international recognition almost immediately. His inclusion in the Aperto section of the Venice Biennale in 1988 announced a powerful and innovative new voice from Japan. The present exhibition is the artist's first one-person museum exhibition in the United States. Michael Auping wrote, 'Those familiar with Tatsuo Miyajima's art will generally tell you that time is the subject of his work, when in fact it is more appropriate to say that time is the object of his work, if one can think of time as an object of awareness. We - who attempt to define, understand and measure time - are the subject of the artists's relentless counting. It is undoubtedly for this reason that Miyajima's stark, conceptually-based art strikes a surprisingly personal and immediate chord of recognition with so many viewers.' Artist biography is inlcuded in this catalogue.
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‘Tatsuo Miyajima: Count of Life’ Catalogue of Artsonje Center, Seoul, 2002, (Essay by Kim Sun Jung )
Tatsuo Miyajima:
Kim Sun Jung
My first encounter with Tatsuo Miyajima’s work was at ‘Special Exhibition of Recycling through Art’ at 1993 Daejeon Expo. Sine then, more encounters took place in various locals – group exhibition such as Taipei and Shanghai Biennales, the one-person show at Hayward Gallery, London, and in the collection of Art Gallery of New South Wales, Sydney. Perhaps I can say that his work is to be seen and found practically all over, for he is a rare case of artist hailing from Asia whose area of activity encompasses the larger world.
Miyajima’s work concerns ‘time’. We are cognizant of the fact that time flows, but unable to see it. Time changes, objectively and precisely, but it is difficult (if not possible) to see and confirm the flow. Though we cannot be conscious of every second and every minute of time flow, we can feel the time that is past. We use and feel time – seemingly exact, exacting, and never off-course – in different ways. Even a duration of time that is precisely measurable, e.g., ‘a day’, may be felt slow or fast by different persons. Like this, time is subjective.
In this exhibition, Miyajima asks us a question – until w