October catalogue - World Art Society

OCTOBeR issue

WHO We aRe

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Cover Image: Synoptikos II by Daniel Eskenazi Presented by Rasti Chinese Art Ltd. on p. 16

austin Cooper (1890-1964)

alberto guzmán (1927-2017)

Born in 1927 in Talara, Peru and died on November 2, 2017 in Nogent sur Marne. The Parisian sculptor of Peruvian origin, Alberto Guzmán, studied at the National School of Fine Arts in Lima, where in 1953 he exhibited his first abstract sculpture in welded iron. He then organized his first solo exhibition at the Instituto de Arte Contemporaneo in Lima in 1959, when he obtained, through a competition, a scholarship offered by French government to study in Paris. Two years later, he presented his sculptures in welded wire at the Musée d’art modern de la Ville de Paris as part of the exhibition "Latin American Art in Paris", then at the “Salon de la Jeune Sculpture”. Guzmán implements a universal language in which two half-spheres are held apart at a distance by metallic wires in tension which translate the impossibility for the human being to achieve essential unity. Guzmán also exhibited in Caracas and Valencia in 1965 and

participated in the Venice Biennale the following year. From the 1970s, the artist sought to transpose his creations into marble and began to work in chiaroscuro by making drawings on paper or cardboard in which he then made perforations and cutouts. Guzmán received the Bourdelle Prize in 1971 and organized the following year at the Musée Bourdelle a personal exhibition of his sculptures and drawings from 1959 to 1972. In 1973, he took part in the exhibition "Sculptures en Montagnes" on the Plateau d 'Assy in the French Alpes and then subsequently presented his work at the European Sculpture Triennial at the Grand Palais (1982) and at the Havana Biennale (1986). Along with his career as a sculptor, Guzmán produced jewelry, furniture and theater sets. In 2012, the Musée des Beaux-Arts in Pau organized a retrospective exhibition of his pictorial and sculptural work which highlighted half a century of artistic reflection.

Three gray transparencies

1998

Two-part gray marble

89 cm x 20 cm

Weight: 25 kg approximately

Price: 35.000 euros

aRTWORK pResenTed By:

Anthony J.P. Meyer

T.: +33 (0) 6 80 10 80 22

E.: ajpmeyer@gmail.com

alberto guzmán

Although the sculptural work in metal and marble of Alberto Guzmàn (1927-2017) is well-known, his paintings are yet to be discovered. This does not concern the preparatory drawings helping a sculptor to elaborate his future work, but an independent work and a real creation. Alberto Guzmàn has drawn and painted throughout his life and the choice of ink can be easily understood. While the work of the sculptor in direct cutting or of assemblage by welding takes a long time, Guzmàn could express all his spontaneity with rapid gestures thanks to ink.

Guzmàn was a very curious man and an expert in non-European culture. He was indeed, very interested in Asian ink painting. He crushed his ink on Chinese ink stones and used the engraved seal to sign his monogram in cinnabar. Towards the end of the 1980s, Alberto was invited to South Korea to carry out monumental, public orders

(two works for the Moran Open Air Museum of Seoul and another for the Olympic Park of Seoul). He kept a bond and attachment for this culture.

Two of his drawings are conserved at the Louvre, sculpted work is present at the Peggy Guggenheim Museum in Venice, the Museum of Modern Art, Paris, the National Gallery in Oslo, the Lowe Museum in Miami and in several museums in South America. Works have been commanded for France, Korea, Norway, Peru, the United States….

One can find in his painted work, the imagination, the shapes and the vocabulary dear to the sculptor. The disc, the sphere whole or decomposed, fragmented, partially obscured or repeated. But also, the striation, the hatching, the fissures and the accumulations.

© Osterhud

Untitled Ink on paper

132 x 110 cm

Exhibited : “Alberto Guzmàn, Tensions et Partitions », Musée des Beaux-Arts, Pau, 2012

Price on request

aRTWORK pResenTed By:

Renaud Montméat

T.:+33 6 17 61 21 60

E.: montmeatartdasie@gmail.com

amjad ali Talpur

Amjad Ali Talpur (born 1979) received his BFA from the National College of Arts Lahore in 2001 where he trained in miniature painting. Talpur rearranges traditional miniature paintings into an unusual form constructing works as visual and actual puzzles tempting the observer to participate in the rearranging of its components. His work has been exhibited in Pakistan, the UK and the US. He lives and works in Sind, Pakistan.

Untitiled 2007

Gouache on board

Height: 8 cm, 3 1/8 inches

Width: 13 cm, 5 1/8 inches

Price : 2.000 GBP

aRTWORK pResenTed By:

Joost van den Bergh

T.: +44 (0)20 7839 8200

E.: joost@joostvandenbergh.com

Coco Fronsac

Born in 1962 into a family of artists, granddaughter of Lucien Neuquelman, and Camille Lesné, with a formal training in Applied Arts in Paris and experience as a former lithographer, Coco Fronsac is a versatile artist with a passion for Tribal Art and Surrealism.

For thirty years now Coco Fronsac has been touring the flea markets every weekend in search of old family photos fallen into other hands through the ups and downs of personal histories. The result is an endlessly renewed collection of old portraits, that has become an integral element of her visual imagination. Through collage, carving, painting, weaving, colorization and juxtaposition, she plays with our vision of time and our relationship to the other in order to transport us into a new reality. A reality that is fluctuating, alive and abstract and in the exploration of this abundance of different worlds; each work of art becomes an invitation into her dreamlike and timeless universe. Since 2010 Coco has increased her renown and is exhibited in collective and solo exhibitions in both Europe and the USA. She lives and works in Paris.

Poissurréalisme d’Avril from the Chimères et Merveilles series

Signature lower right and artist's stamp on the back 2014

Gouache on old photograph

Photo: 30 cm x 41 cm

Frame: 52 cm x 42 cm

Price: 2.600 euros

aRTWORK pResenTed By: Anthony J.P. Meyer

T.: +33 (0) 6 80 10 80 22

E.: ajpmeyer@gmail.com

daniel eskenazi

Synoptikos II

2019

Inkjet print on handmade archival

Kozo paper

196 cm × 144 cm

Edition 3/3 + 2AP

Price: 14.000 USD

aRTWORK pResenTed By:

Rasti Chinese Art Ltd.

T.:+852 2415 1888

E.:gallery@rastichineseart.com

Raised in a family that has been collecting and dealing in Asian art since the 1920s, Daniel Eskenazi has a strong interest in both ancient and contemporary Chinese art, from which he draws his inspiration. Exposed to the best artistic and intellectual achievements of Asia from a young age, it is through this mix of cultural, religious, and philosophical influences that his sensibilities have been formed. A sophisticated self-taught photographer, Eskenazi has been creating photographic works since the early

1990s. Eskenazi’s most recent photography work is based on the philosophical process that leads one’s self to be intimately connected with the spirit of nature; in Chinese we call this li, the inner law or spirit of things, or as the German poet Schiller put it: ‘It’s the spirit which builds for itself a body.’ Side by side, his photographic images bring together natural forms as a means to trigger both man’s elemental reactions to imagery, as well as raise questions of the metaphysical.

elizabeth Kunoth Kngwarreye

Elizabeth Kunoth Kngwarreye is a significant artist from the Utopia community. She lives at Mosquito Bore, approximately 250 kilometers north east of Alice Springs, in the Northern Territory.

Elizabeth is considered as one of the guardians of her country. She is the daughter of late artist Nancy Petyarre, and the granddaughter of one of the most esteemed Utopian artists, Emily Kame Kngwarreye.

In her painting, Elizabeth depicts with the movement of her pencil yam seeds (kame) as they are thrown into the wind to be harvested. She paints some of the seeds larger than others, creating variations in their plumpness, as if there had been more rain for some. She also uses colour to make an easier depiction between the seeds and leaves that have dried out and those that are still supple.

Yam Seeds in my Grandmother’s Country 2020

Acrylic on canvas

180 cm x 120 cm

Price on request

T.: + 33 (0)1 46 22 23 20

E.: sj@artsdaustralie.com

A yam is a small long potato traditionally cooked directly on a flame. The yam holds both important nutritional value as well as a spiritual significance. Elizabeth Kunoth highlights here the power that the Aborigines bestow upon the bush seeds. In this work, the yam seeds are sown in sacred territory maintained by her grandmother.

Between pearls and embroidery, her minimalist work symbolizes both a vegetable and an animalistic force. The movement, which she creates by alternating the bronze and silver colours, gives rise to various interpretations. The technique emphasizes the tactile aspect of the canvas, suggesting for example the wind in the bush, the coat of a moving animal or the skin of a stingray (galuchat). Elizabeth Kunoth stretches out each point to give them a specific direction and create relief on her canvas by layering her droplets of paint. This creates an optical illusion for the spectator.

She maps her territory on the canvas, making it part of the Aboriginal tradition. She is known for her aerial representations of sacred lands. She blurs the tracks by covering the paths of the

ancestors with droplets.

Elizabeth was a finalist of the 2013 Blake Prize, a finalist of the Art Gallery of New South Wales' Wynne prize for landscape painting in 2008 & 2010, and won the coveted Churchie Award in 2008.

In 2018, Georgina Maxim has been nominated for the Henrike Grohs Award (Goethe Institute, Abidjan).

Her work has been exhibited in Zimbabwe (Gallery Delta, National Gallery of Zimbabwe) and internationally (Mojo Gallery in Dubai, Sulger Buell Gallery in London, Goethe Institute in Salvador de Bahia).

emmanuel alexia

© Sarah Robine

Emmanuel Alexia (born in 1960 ) is a potterphilosopher who lives in the woods. He collects his earth himself in the surrounding nature, he sifts and mixes it, grinds his rocks and models Chawans, jugs and Mizusachi all what is necessary for the tea ceremony. He also makes his own kilns in which he bakes his work.

The Chawan is shaped by pinching from a mixture of two clays. Thanks to the use of a kaolin slip and a wood fire, the surface of the bowl reveals rich green, pink and brown chromatic shades on a crackled white background.

Chawan, Le Pin de l’infini

Spring 2019

Stoneware

Gold lacquer kintsugi by Catherine Nicolas

H : 8,5 cm ; D : 11,6 cm

Price on request

published:

E.Alexia, PH, A.F.Neeser, C.Landais. Au Cœur de la Forêt, catalogue accompanying the exhibition

« Au Cœur de la Forêt, deux potiers français », Nomura Museum, Kyoto, Japan, 2019.

Recent exhibitions:

Cha-no-yu: A Ceramic Sacred Space, Cavin-Morris Gallery, New-York. 2021

°Nomura Art Museum, Kyoto, Japan. 2019

°Temple Shörei-in, Enkakuji, Kamakura, Japan. 2017

*Dojima Gallery Osaka, Japan. 2009

aRTWORK pResenTed By: Renaud Montméat

T.:+33 6 17 61 21 60

E.: montmeatartdasie@gmail.com

george nuku

George Nuku was born in 1964 and raised in Heretaunga Hawkes Bayhas. He is a mix of Germany, Scottish, and Maori origins. As a child, he was influenced by his mother’s Maori culture, he then entered Massey University, studying arts, geography, and sociology. He is one of New Zealands North Island Aotearoa leading contemporary Māori artist of all time. He works with visual creativity, performing arts, painting and carving with mix media such as stone, bone, wood, shell, polystyrene, plexiglass and recycled plastic. He covers it with Maori symbols representing wonders of the sea, and profoundly inspires viewers to ponder upon the environmental issues the world is now facing. Nuku's work ranges from delicate jade and pearlshell amulets, life size stone and plexiglass sculptures, through to two story high Polynesian demigods and Māori cultural heroes. He carries the tradition of his people handed down for one thousand years in an artform that promises to expand life and enhance survival.

Nuku has gone on to an impressive career in the arts that has seen him exhibit extensively internationally, in over 50 major projects in museums, art institutions and on marae (tribal meeting grounds), including a major commission for the New Zealand pavilion at the 2009 Venice Biennale. He is currently based in Rouen, France.

Kotiate 2016

Plexiglass & Abalone

38 cm x 13,5 cm x 1,5 cm

Price: 1.300 euros

© Reinhart Cosaert

aRTWORK pResenTed By:

Anthony J.P. Meyer

T.: +33 (0) 6 80 10 80 22

E.: ajpmeyer@gmail.com

Hiroi yasushi

Hiroi Yasushi is one of this new generation of bamboo artists who reinterprets traditional craft techniques to create innovative contemporary sculptural forms.

This piece uses strips of bamboo that become thinner as they move outwards from the center, while the space between each strip increases, to create the form of a large spiraling nautilus shell.

The technique skillfully produces variation within a regular structure, and a feeling of symmetry within a natural form.

Mareta Shell Ca. 2018

Bamboo, rattan and lacquer

65 cm (h) × 55 cm × 32 cm

exhibition:

National museum of Asian arts Guimet in the exhibition of the MINGEI BAMBOO PRIZE 1st Edition, 2021

publication:

ŌITA - Japanese Bamboo Art from the ŌITA area by Galerie Mingei, 2019

Price on request

aRTWORK pResenTed By:

Galerie Mingei

T.: + 33 (0)6 09 76 60 68

E.: mingei.arts.gallery@gmail.com

imran Mudassar

Imran Mudassar (born 1982) received his BFA from the National College of Arts Lahore in 2001 where he was trained as a printmaker. After two years of traditional printmaking he started to experiment with different techniques of printmaking on various types of traditional and non-traditional surfaces and materials such as canvas, ceramics, leather binding, digital printing etc. His work has been exhibited in Pakistan, India, London and Paris. He lives and works in Lahore.

Untitled 2011

set of six works

Gold leaf on board

Height: 29 cm, 11 3/8 inches

Width: 20 cm, 7 7/8 inches

Price : 5.000 GBP

aRTWORK pResenTed By:

Joost van den Bergh

T.: +44 (0)20 7839 8200

E.: joost@joostvandenbergh.com

isbah afzal

Isbah Afzal’s work is an ode to the complex system of interpenetrating human relations. Each being is tied to others in a dense web of emotions and feelings; by interpreting life as a series of events resembling tight knots in a network of entangled threads, she conjures a fitting metaphor for human relations.

From a visual standpoint, she prioritizes drawing and expresses herself through the repetition of unique and complex designs. A sea of lines, straight and curved, as airy and vaporous as “angel’s hair”, subtly populate the composition of each of her works like delicately woven textiles.

A true virtuoso, Isbah Afzal proceeds with the meticulousness of a goldsmith. Her striking works are elevated by a graceful lightness, yet are always full of complexity.

The wasli paper that she uses, traditionally used in Mughal albums, is composed of seven mounted sheets of paper.

Tangled Pakistan Gouache on wasli

Frame: 81,5 cm x 98,5 cm

Miniature: 57 cm x 75 cm

Price: 6.500 euros

aRTWORK pResenTed By:

Alexis Renard

T.: + 33 1 44 07 33 02

E.: alexis@alexisrenard.com

Woven thoughts I

Pakistan, 2009

Watercolor on wasli

Frame: 51,5 cm x 42 cm

Miniature: 22,8 cm x 33 cm

Price: 2.000 euros

aRTWORK pResenTed By:

Alexis Renard

T.: + 33 1 44 07 33 02

E.: alexis@alexisrenard.com

Unwoven Pakistan, 2009

Watercolour on wasli

Frame: 46,5 cm x 35 cm

Miniature: 28 cm x 16,5 cm

Price: 2.000 euros

aRTWORK pResenTed By:

Alexis Renard

T.: + 33 1 44 07 33 02

E.: alexis@alexisrenard.com

Jim skull

The adventures of Jim F. Faure, or Jim Skull the artist, began at Koumac in New Caledonia in 1959. Passionately drawn to human experiences, different cultures, rituals, habits and customs he traveled a great deal and was marked by his encounters. Over the years he traveled through Oceania from New Zealand, to Vanuatu, Australia, then on to India, and Hong-Kong, before landing in Paris to enter the Ecole Estienne and the École nationale supérieure des arts appliqués et des métiers d’art of rue Olivier de Serres. He decided to use those experiences to focus his stylistic research on creating sculptures in the shape of human skulls. In 1980, Jim skull created his first skulls and since then paying attention to detail and working with various materials he share his view of the skull as something new, with harmony and glam; far from the concept of macabre. He transforms these "fetishes objects" into unique collectible shapes. His materials consists of countless colored threads, paper mache, raw-earth pearls, Murano glass beads, rope and feathers that together form a sort of “skin”, covering the framework of the main form. Since the beginning of this century, Jim has taken part in many exhibitions in Paris, where he lives and works.

Untitled

Skull in paper maché and Bamiléké fabric

Metal plinth

Height: 100 cm approximately

Price: 10.400 euros

aRTWORK pResenTed By: Anthony J.P. Meyer

T.: +33 (0) 6 80 10 80 22

E.: ajpmeyer@gmail.com

Keith stevens

Keith Stevens is a senior Pitjantjatjara man born in the far north of SA at Granite Downs, where his parents worked in the 1940's. Following in his parents’ footsteps he started mustering at an early age and later attended school when his family moved to Ernabella. Keith's family would travel on the weekends to their traditional homelands of Piltati and lwarrawarra. Later in his childhood, Keith's father settled down with his family close to Piltati creek at what is now Nyapari Community. Keith is a respected elder and a strong community leader. Today, he is a man of both worlds; a highly respected community member and a Christian Pastor.

In this painting, we can see Kuka mamu, an animal crouching down in Nyapari. Two men are making shields (tjara). They are hunting down the kuka with spears. They are then planning to share their hunt with their family and then to go down to Watarru. The family is sitting down at the bottom rock hole (lwarawara), where a lot of water is supplied.

Nyapari Tjukurpa

2019

Acrylic on canvas

150 cm x 120 cm

Price on request

aRTWORK pResenTed By:

Arts d'Australie - Stéphane Jacob

T.: + 33 (0)1 46 22 23 20

E.: sj@artsdaustralie.com

Key sato

Key Sato (Sato Kei) was active both in Japan and in Paris, France. He started his career as a figurative painter but is better known for his lyrical abstraction, his main focus after settling in Paris in 1952. As represented in this work, Sato created his unique universe suggestive of telluric, geology or fossils, in his painting.

Sato was born in Oita prefecture Japan and studied Western-style painting at the Tokyo School of Fine Arts. His talent was recognised at an early stage with his work being shown at national exhibitions such as the prestigious Teiten (The Imperial Fine Art Exhibitions) from 1929 while he was still studying.

Interested in the new art movements of the West, Sato moved to Paris in 1930 and exhibited at Salon d'Automne in 1931 and 1932. He was acquainted with various artists such as Henri Matisse (1869-1954), Pablo Picasso (18811973) and Léonard Tsuguharu Foujita (18861968) through his artistic activities in Paris before returning to Japan in 1934.

Deux Terres (Two Worlds)

Signed and dated 1966

Mixed media on canvas 56 cm x 46 cm

Provenance:

Mrs Micheline Fricker, owner of Galerie Fricker, Paris (1954 -1980).

Sold at Hôtel Drouot Paris, 1998.

The reverse bears a label “Marc Ottavi Expertise, 980124/7”.

Price: 16.000 euros

SOLD

aRTWORK pResenTed By: Gregg Baker Asian Art

T.: +32 468 00 56 85

E.: info@japanesescreens.com

In Japan at the time, with increasing governmental interference in establishments, artists’ freedom was becoming compromised. In an effort to free themselves from the influence of the authorities and to produce works with true freedom of expression, Sato and other like-minded artists founded the Dainibukai (The Second Art Circle) in 1935 and Shinseisakuhakyokai (New Creation Association, later Shinseisakukyokai) in 1936. Sato continued to present his works at their exhibitions throughout his career.

In 1952, Sato returned to Paris and settled there. This is when he began to experiment with lyrical abstraction, suggestive of telluric, geology or fossils and he began to incorporate various natural materials such as rocks, stones and driftwood into his work, applying layer after layer to express his unique universe.

While having numerous solo shows, he also exhibited at the Carnegie International, Pittsburgh (1952), The Salon de Mai (1956, 1957), the 30th Venice Biennale (1960), the Japan International Art Exhibitions (Tokyo Biennale, 1952, 1961, 1963, 1965, 1967), the 1st Japan Art Festival (1966)

and at the New Japanese Painting and Sculpture exhibition at the Museum of Modern Art, New York (1966-67).

In 1976, he was awarded the Order of the Sacred Treasure, Gold Rays with Neck Ribbon, a Japanese order established in 1888 by the Emperor Meiji and awarded for distinguished achievements.

Works by the artist can be found in the collections of various museums including: Musée National d'Art Moderne, Paris; The National Museum of Modern Art, Tokyo; Oita Prefectural Art Museum; Oita Art Museum; Nerima Art Museum, Tokyo; The Museum of Modern Art, Kamakura & Hiyama; The Museum of Contemporary Art, Karuizawa, Nagano; Atheneum Art Collection, Helsinki; Musée Communal, Verviers, Belgium; Tate Gallery, London; Musée d'Arts de Nantes; Musée d'Art Moderne de la Ville de Paris; Musée d'Art moderne et contemporain, Strasbourg.

For more about the artist visit our website http://japanesescreens.com

laetitia pineda

Laetitia Pineda (born in 1978) is a ceramist who lives and works in the South West of France

She works exclusively with materials gathered from nature.

Her work is characterised by a great lightness and inventiveness of form which influences the work of many potters.

This stoneware jug has a very slender, flared body and rests on a narrow foot. A ten-day firing in an anagama kiln gives it a texture and an antique tone close to volcanic stone.

Jug

Stoneware

H : 8 cm ; W : 17 cm

Price on request

Recent exhibitions:

*Nomura Art museum, Kyoto, Japan. 2019

*Shörei-in Temple, Enkakuji, Kamakura, Japan, 2017

*Dojima Gallery Osaka, Japan

2009

aRTWORK pResenTed By: Renaud Montméat

T.:+33 6 17 61 21 60

E.: montmeatartdasie@gmail.com

Mahbub shah

Mahbub Shah (born 1978) received his BFA from the National College of Arts Lahore in 2001. Shah explores the language and imagery of print media and advertising. He arranges dots cut from colourful magazine pages in an apparently unorganized way whereby he solidifies an alluring world in which variable patterns and structures emerge. His work has been exhibited in Pakistan, India, the UK and the US. He lives and works in Lahore, Pakistan.

Untitled

2006

Collage on paper

Height: 26 cm, 10 ¼ inches

Width: 19 cm, 7 ½ inches

Price : 1.800 GBP

aRTWORK pResenTed By:

Joost van den Bergh

T.: +44 (0)20 7839 8200

E.: joost@joostvandenbergh.com

Collage

Height: 26 cm, 10 ¼ inches

Width: 19 cm, 7 ½ inches

Price : 1.800 GBP

aRTWORK pResenTed By:

Joost van den Bergh

T.: +44 (0)20 7839 8200

E.: joost@joostvandenbergh.com

Untitled 2006

on paper

Collage on paper

Height: 26 cm, 10 ¼ inches

Width: 19 cm, 7 ½ inches

Price : 1.800 GBP

aRTWORK pResenTed By:

Joost van den Bergh

T.: +44 (0)20 7839 8200

E.: joost@joostvandenbergh.com

Untitled 2006

Malick sidibé

Malick Sidibé (Malian, 1935 - 2016) was an internationally-renowned photographer from Mali, who opened his legendary and stillthriving Studio Malick in 1962 in Bamako. His candid black-and-white images are chronicles of the energy, the everyday lives, the carefree youth culture at dance clubs and parties and the culture from Mali in the 1950s, ‘60s, and ‘70s. His pioneering images from this period have come to represent a collective portrait of that time and place.

Sidibé has work in numerous public and private collections including the Museum of Modern Art, New York, the Metropolitan Museum of Art, New York, the Getty Museum, California, the Brooklyn Museum, New York, the San Francisco Museum of Modern Art, California, the Baltimore Museum of Art, Maryland, the Birmingham Museum of Art, Alabama, the Philadelphia Museum of Art, Pennsylvania, and the Rhode Island School of Design Museum. Sidibé won the Hasselblad Foundation International Award in Photography in 2003, was awarded the Golden Lion for Lifetime Achievement at the 2007 Venice Biennale, and granted a Lifetime Achievement Award by the International Center of Photography in 2008.

Evelique

Melle Néné en pantalon patte

d’élephant

1970 [last print]

Signed, Titled, Dated in Ink on Print

Recto

Gelatin Silver Print

Paper: 24” x 20” (60 x 50 cm)

Image: 17” x 17” (43 x 43 cm)

Open Edition

Price on request

aRTWORK pResenTed By:

James Stephenson African Art

T.: +1 646.644.7156

E: info@stephensonafricanart.com

Yéyé en position

1963 [3]

Signed, Titled, Dated in Ink on Print Recto

Gelatin Silver Print

Paper: 24” x 20” (60 x 50 cm)

Image: 17” x 17” (43 x 43 cm)

Open Edition

Price on request

aRTWORK pResenTed By: James Stephenson African Art

T.: +1 646.644.7156

E: info@stephensonafricanart.com

Owen yalandja

Kuninjku artist Owen Yalandja is a senior member of the Dangkorlo clan, the custodians of an important yawkyawk site.

In the early 1980s, Yalandja learned carving from his father, renowned artist Crusoe Kuningbal who invented, in the early 1960’s the representation of mimih spirit in sculptural form for use in a trade ceremony called Mamurrng. Members of the Darnkolo clan have re-established an outstation community at Barrihdjowkkeng near a billabong that is a Yirridjdja moiety sacred site for the yawkyawk spirits. Yawkyawk or young spirit girls live in this billabong and their shadows can occasionally be seen as they humans who approach. They are girls who transformed into mermaid-like figures with fish tails. The identity of the Darnkolo clan is very much related to the Yawkyawk djang (dreaming) for which they have spiritual and practical responsibility. Yalandja and his brother Crusoe Kurddal followed their father's legacy but over the years have found their own distinct styles.

In the early 1990s, Yalandja experimented with the dot patterns his father taught him, and created V shaped marks to represent the scales

of the watery beings. As Yalandja says, “I make it [yawkyawk] according to my individual ideas. My father used to decorate them with dots. A long time ago, he showed me how to do this. But this style is my own, no one else does them like this.”1 Yalandja works exclusively with the kurrajong tree for carving and carefully selects trunks which can be thin and curvilinear to give his figures a sinuous appearance.

Yalandja’s work is represented in major International collections and has been exhibited at major institutions both locally and globally including at the Art Gallery of New South Wales, National Gallery of Australia, Melbourne Museum, Bargehouse Gallery, London and Fine Arts Museums of San Francisco. His work has also been presented at the Venice Biennale, Biennale of Sydney and the National Australian Indigenous Triennial.

Yawkyawk

1. Taylor, Luke. 2005. “Manifestations of the Mimih.” In the Power of Knowledge and the Resonance of Tradition, ed. Luke Taylor, Graeme Ward, Graham Henderson, Richard Davis, and Lynley Wallis, 182-98.

is a word in the Kunwinjku/Kunwok language of Western Arnhem Land meaning 'young woman' or 'young woman’s spirit being'. The Kunwinjku people are made up of different groups that each has their own Yawkyawk mythology, which relates to specific locations in clan estates. These mythological stories are represented in bark paintings and sculptures of Yawkyawk beings.

Ngalkodjek (Yawkyawk) 2021

Wood & natural pigments

88 cm x 17 cm x 7 cm

Price on request

aRTWORK pResenTed By: Arts d'Australie -

Stéphane Jacob

T.: + 33 (0)1 46 22 23 20

E.: sj@artsdaustralie.com

print

Mount Abu/Visit India Circa 1950s

Linen-backed poster 101 cm x 62,75 cm

Provenance:

M.S. Associated Printers (Madras) Ltd., Madras

Price on request

aRTWORK pResenTed By:

Kapoor Galleries

T.: + 1 (212) 794-2300

E.: info@kapoorgalleries.com

sabrina Robertson nangala

Sabrina Nangala Robertson was born in Alice Springs Hospital, the closest hospital to Yuendumu, a remote Aboriginal community 290 north-west of Alice Springs in the Northern Territory of Australia. She is the daughter of the acclaimed Aboriginal artist Dorothy Napangadi. Sabrina grew up in Yuendumu and went to the local school. She now alternates between living in Yuendumu and Alice Springs. She has been painting with Warlukurlangu Artists Aboriginal Corporation, an Aboriginal owned and governed art centre in Yuendumu, since 2005. She paints her father’s Jukurrpa or Dreaming, stories passed down to her by her father and her father’s father before her for millennia. These stories relate to her traditional land, Pirlinyarnu (Mt Farewell), its features and the plants and animals that inhabit it. Sabrina has exhibited in Australia and in France.

The site depicted in this painting is Pirlinyarnu (Mt. Farewell), about 165 km west of Yuendumu in the Northern Territory. The “kirda” (owners) of the water Dreaming site at Pirlinyarnu are the Nangala/Nampijinpa women and Jangala/ Jampijinpa men.

The tale told here is that of two Jangala

men, who were rainmakers and sang for the rain, unleashing a great storm, which collided with another one from Wapurtali at Mirawarri. A “kirrkarlanji” (brown falcon) carried the storm further west from Mirawarri. The two storms travelled across the country from Karllpirnpa, a ceremonial site, to near Kintore, an area belonging to the members of Napaljarri/ Japaljarri and Napanangka/Japanangka.

Along the way, the storms passed through Juntiparnta, a site owned by Jampijinpa men. The storm eventually became too heavy for the falcon. lt dropped the water at Pirlinyarnu, where it formed an enormous 'maluri' (claypan). A 'mulju' (soakage) exists at this location today.

Now, whenever it rains, hundreds of 'ngapangarlpa' (bush ducks) flock to Pirlinyarnu. ln contemporary Warlpiri paintings, traditional iconography is used to represent this “Jukurrpa” (Dreaming), associated sites, and other elements. ln many paintings of this Dreaming, short dashes are often used to represent 'mangkurdu' (cumulus & stratocumulus clouds), and longer, flowing lines represent 'ngawarra' (flood waters). Small circles are used to depict 'mulju' (soakages) and riverbeds.

Ngapa Jukurrpa - Water

Dreaming – Pirlinyarnu

2018

Acrylic on canvas

183 cm x 91 cm

Price on request

aRTWORK pResenTed By:

Arts d'Australie -

Stéphane Jacob

T.: + 33 (0)1 46 22 23 20

E.: sj@artsdaustralie.com

sanlé sory (Burkinabe, b. 1943)

Sanle Sory is a Burkinabe photographer born 1943. He is the owner of Volta Photo studios. He lives in Bubo-Dioulasso, Upper Volta, Burkina Faso. Working with his Rolleiflex twin lens medium format camera, the Volta Photo portrait studio soon became recognised as the most renown in the city. Sanlé documented the rapid changes of a post-colonial Bobo-Dioulasso, the country’s cultural and economic capital. He documented the city’s inhabitants wity passion. His photos represent Voltaic photography’s golden age.

Sory’s photographs were featured in the recent Auto Photo exhibition at Fondation Cartier, Paris, and the Art Institute of Chicago show Volta Photo: Starring Sanlé Sory and the People of BoboDioulasso. This significant exhibition brought together over 100 vintage photographs, plus objects from the Volta Photo studio, including illustrated backdrops, studio lighting, cameras and props and was the first solo exhibition of an African photographer’s work at a museum in the United States.

He is represented in Fondation Cartier, and Art Institute of Chicago. Sanlé's work is also held in the permanent collections of the V&A, MoMA, Minneapolis Institute of Art and North Carolina Museum of Art.

Le Vendeur sénégalais qui fume

1971

small Gelatin Silver Prints

Image: Approximately 14 1/2" x 14 1/2" (36 x 36 cm)

Paper: Approximately 19 5/8" x 15 5/8" (50 x 40 cm)

Framed: 21 3/4” x 21 1/4" (55 x 54 cm)

Edition of 15 + 5 Artist’s Proofs

Price: on request

Medium Gelatin Silver Prints

Image: Approximately 17 1/2" x 17 1/2"

(44.5 x 44.5 cm)

Paper: Approximately 23 1/2" x 19 5/8”

(60 x 50 cm)

Edition of 10 + 3 Artist’s Proofs

Price: on request

large Digigraphie Baryta (NOT Gelatin Silver Prints)

Image: Approximately 38 1/2” x 38 1/2” (98 x 98 cm)

Paper: Approximately 42" x 42" (106.5 x 106.5 cm)

Framed: 42" x 42" (106.5 x 106.5 cm)

Edition of 9 + 3 Artist’s Proofs

Price: on request

aRTWORK pResenTed By:

James Stephenson African Art

T.: +1 646.644.7156

E: info@stephensonafricanart.com

Belle de jour 1975

small Gelatin Silver Prints

Image: Approximately

14 1/2" x 14 1/2" (36 x 36 cm)

Paper: Approximately

19 5/8" x 15 5/8" (50 x 40 cm)

Framed: 21 3/4” x 21 1/4" (55 x 54 cm)

Edition of 15 + 5 Artist’s Proofs

Price: on request

Medium Gelatin Silver Prints

Image: Approximately

17 1/2" x 17 1/2" (44.5 x 44.5 cm)

Paper: Approximately

23 1/2" x 19 5/8” (60 x 50 cm)

Edition of 10 + 3 Artist’s Proofs

Price: on request

large Digigraphie Baryta (NOT Gelatin Silver Prints)

Image: Approximately

38 1/2” x 38 1/2” (98 x 98 cm)

Paper: Approximately

42" x 42" (106.5 x 106.5 cm)

Framed: 42" x 42" (106.5 x 106.5 cm)

Edition of 9 + 3 Artist’s Proofs

Price: on request

aRTWORK pResenTed By:

James Stephenson African Art

T.: +1 646.644.7156

E: info@stephensonafricanart.com

serge dubuc

Born in Paris in 1962, Serge Dubuc very early on showed a taste for drawing and far-away cultures. This is sharpened by the neighborhood of the family home, facing the house of Théodore Brauner, Victor's brother, and his family. After studying architecture (a referee error according to his own words), he turned to scenography and decorative painting, before becoming a sculpture restorer in 1999 following a crual and life changing experience in Tahiti.

Apart from a few exhibitions in the context of workshops open in Paris, drawing remains for him above all a private, but constant affair. His taste

for the letter, the word, associated with a very organized conception of the space of the sheet of paper, leads him to create original calligrams where the absurd is combined with humor and Dadaist accents. Beside that, portraits of characters from his personal pantheon confirm this attraction for the purity of the drawn line. Two stays in New Guinea in 2008 and 2011 are for him the opportunity to bring back dozens of drawings of scenes of daily life, portraits and gestures of which he says "something will have to be done one day" ... Serge lives and works between Touraine and Paris.

The alternative

Signature lower right

2020

Black India ink on paper

30 cm x 30 cm

Price: 500 euros

aRTWORK pResenTed By:

Anthony J.P. Meyer

T.: +33 (0) 6 80 10 80 22

E.: ajpmeyer@gmail.com

shao Wenhuan, Born 1972

Shao is currently a professor at the China Academy of Art in Hangzhou. He has exhibited widely in China and abroad, including recent exhibitions at the Mingyuan Museum, Shanghai; the Folkwang Museum, Essen, Germany; China Academy of Art Museum, Hangzhou; Beijing Photography Biennial, Beijing; the First Biennale China-Italia of Contemporary Art, Milan; the Wuhan Art Museum, Wuhan; the Lucerne Art Museum, Lucerne, Switzerland, among others. His works are part of many private and public collections around the world, including the Uli Sigg collection.

Crashing Waves

2018

Photography, negative painting, silver halide gelatin emulsion, oil on canvas

73,5 cm x 107,5 cm

Price: 7.000 USD

aRTWORK pResenTed By:

Rasti Chinese Art Ltd.

T.:+852 2415 1888

E.:gallery@rastichineseart.com

shimode yasuhiro

A Kanshitsu (dry lacquer) flower vessel of abstract form decorated in gold and black lacquer with a geometric wave design, the reverse similarly decorated in black

Tomobako (original box) inscribed:

Lid: Kanshitsu kaki (Dry lacquer flower vessel) WAVE

Lid interior: 1991 nen dai ikkai Nikkokai-ten Nikkokai-sho Yomiuri terebi jusho (Nikkokai prize, Yomiuri Television prize, the 1st Nikkokai exhibition, 1991); signed Shimode Yasuhiro and sealed Yasuhiro.

Shimode Yasuhiro is a lacquer artist active in Kyoto. His work was first exhibited at the Nitten (The Japan Fine Art Exhibition) in 1989 and commissioned to make the work for the Daijosai, a Shinto harvest ritual celebrated by the Emperor of Japan, in 1990. Since then he has been awarded numerous prizes in Japan for his work.

Wave Kanshitsu (dry lacquer) flower vessel

Japan, 1991

Gold and black lacquer

Height: 54 cm

Price: 4.500 euros

exhibition:

Nikkokai exhibition, Tokyo

Nihonbashi Takashimaya, 11 –16 April, 1991

Osaka Namba Takashimaya, 18 – 23 April, 1991

Yokohama Takashimaya, 9 –14 May, 1991

publication:

Kyoto Takashimaya, 30 May –4 June, 1991, no. 17 (published in the exhibition catalogue)

aRTWORK pResenTed By:

Gregg Baker Asian Art

T.: +32 468 00 56 85

E.: info@japanesescreens.com

suda Kokuta

Suda Kokuta (1906-1990) was one of the major abstract artists in post-war Japan, who produced various experimental works deeply rooted in Zen philosophy. He is also known for his distinctive figurative painting from the early period as well as calligraphy characterised by vigorous, dynamic brushwork.

Born in Saitama prefecture Japan, Suda started his career as a figurative painter in an individualistic drawing style with a particular emphasis on the line, the most fundamental visual element in all art. While exhibiting at major group exhibitions from 1933 and enjoying success as an artist, he is also known to have studied Zen philosophy intensely. Buddhism is to continuously inspire the artist throughout his life. In 1941, he moved to the ancient capital of Nara and lived in the quarters of Shinyakushi-ji and Todai-ji temples where he spent six years painting the Buddhist sculptures treasured there.

In 1949, he met Hasegawa Saburo (1906-1957), one of the pioneers of Japanese abstract painting, who had a profound knowledge of traditional Eastern philosophy. Meeting with Hasegawa, Suda realised the essence of Zen is abstract and shifted his artistic style from representational to abstract. For the next 20 years, he continued to experiment with various mediums and styles, producing abstract painting with a tactile quality and complex texture, to express the profound universe of its philosophy.

Sakuhin B

Signed Koku to lower right; signed and dated 1968.4.4 to the reverse

Oil on canvas

134 cm x 100 cm

Provenance:

Private collection, Japan

62.000

Price: 65.000 euros

exhibition:

Kokuten Kansai (Kokuga

Sosaku Kyokai exhibition of the Kansai region), probably held at the Kyoto City Museum, circa 1968

aRTWORK pResenTed By: Gregg Baker Asian Art

T.: +32 468 00 56 85

E.: info@japanesescreens.com

Untitled

Signed Koku to lower right 40 cm x 30 cm approx. Mixed media on paper

Provenance:

Private collection, Japan

Price: 5.000 euros

Gregg Baker Asian Art

T.: +32 468 00 56 85

E.: info@japanesescreens.com

In 1955, Suda was invited by Yoshihara Jiro (1905-1972) to join the new avant-garde group Gutai but he chose not to, preferring to stay independent in his own creative process. Yet he actively engaged with other avant-garde artists based in the Kansai region including Yoshihara and Morita Shiryu (1912-1998). In addition to regular solo and group exhibitions in Japan, from the late 1950s he started to exhibit overseas including: the 4th Sao Paulo Biennale in 1957, the 11th Plemio Resonne International Art Exhibition of Italy and Houston USA in 1959, and then the 1961 Carnegie International Exhibition, Pittsburgh USA.

In the 1970s, Suda returned to figurative representation but this time a trace of abstraction remained on his canvas. He enjoyed to mix both styles, finding that abstract and representational paintings were not something contradictory. By this time, he was also practicing calligraphy and expressed philosophical words in ink with dynamic lines full of vitality. His obsession for the

quality of the line, his talent as a painter and his strong spirituality soon brought him recognition as an outstanding calligrapher. The eminent avantgarde calligrapher Inoue Yuichi (1916-1985) likened Suda to the old masters Hakuin (16851768) and Tessai (1836-1924), both renowned as calligraphers as well as painters.

Throughout his life, he pursued his own art, continuously achieving breakthroughs in his creations. His studio was a spiritual battle field for Suda as his painting process was intensely demanding both mentally and physically – since encountering with Zen Buddhism, he sought to embody its deep, universal philosophy and spiritual freedom onto the canvas. As such, his work seems to have enduring, magnetic power which transcends time and space and continues to resonate with us today.

For more about the artist visit our website http://japanesescreens.com

aRTWORK pResenTed By:

sugimoto sadamitsu (*1935)

Sugimoto Sadamitsu was born 1935 in Tōkyō and started to make ceramic elements for buildings. By establishing his own anagama kiln in Shigaraki in 1968 he started to learn Shigaraki pottery as an autodidact. While he researched and studied old Shigaraki and Iga ware, he also got interested into Zen Buddhism and has become a disciple of the Zen master Tachibana Daiki (1899-2005, 511th Daitoku-ji head monk and president of the Hanazono University) in 1974. Sugimoto and Daiki were connected in deep friendship until the end of his life. Over the years, Sugimoto’s rigorous training in Zen infused his pottery works with the power of a liberal and unsophisticated spirit, making him one of the best Iga and Shigaraki pottery masters of our time.

Iga Vase with Attached Handles (mimizuki

hanaire)

Signed by the artist on the inner wall. Comes with fitted, inscribed, signed and sealed wooden box.

Japan

1990s

Naturally ash-glazed stoneware

Height: 26 cm

Diam.: 13 cm

Inv. No. 20.020

Price: 11.000 euros

aRTWORK pResenTed By:

Galerie Kommoss

T.:+49 (0)30 9854 1123

E.: info@galeriekommoss.com

Focusing mainly on traditional tea ware, his works were shown, for instance, on an exhibition to commemorate the 400th anniversary of tea master Sen no Rikyū in 1989. In the same year, some of his works were also selected for a movie about Sen no Rikyū by Teshigahara Hiroshi, though which he gained large recognition.

Sugimoto had countless exhibitions in Japan throughout his career. His work is widely held in Japanese public and private museums. Abroad it is represented, for example, in the collections of the Brooklyn Museum, the Yale University Art Gallery and the Los Angeles County Museum of Art. Due to his age, Sugimoto unfortunately stopped firing larger works since a while and it is very difficult to find his impressive, bold and vivid objects. Galerie Kommoss is proud to present five stunning and rare master pieces by this outstanding contemporary Japanese potter.

Shigaraki Tea Caddy (chaire)

Signed by the artist at the base. Comes with fitted silk pouch (shifuku) and inscribed, signed and sealed wooden box.

Japan

1990s

Naturally ash-glazed stoneware

Height: 8,5 cm

Diam.: 7,5 cm

Inv. No. 21.009

Price: 7.500 euros

aRTWORK pResenTed By:

Galerie Kommoss

T.:+49 (0)30 9854 1123

E.: info@galeriekommoss.com

Iga Fresh Water Jar (mizusashi)

Signed by the artist on the inner wall. Comes with fitted, inscribed, signed and sealed wooden box.

Japan

1990s

Naturally ash-glazed stoneware

Height: 18 cm

Diam.: 21cm

Inv. No. 21.011

Price: 12.000 euros

aRTWORK pResenTed By:

Galerie Kommoss

T.:+49 (0)30 9854 1123

E.: info@galeriekommoss.com

Iga Vase (hanaire)

Signed by the artist on the inner wall. Comes with fitted, inscribed, signed and sealed wooden box.

Japan

1990s

Naturally ash-glazed stoneware

Height: 27,3 cm

Diam.: 14 cm

Inv. No. 21.013

Price: 11.000 euros

aRTWORK pResenTed By:

Galerie Kommoss

T.:+49 (0)30 9854 1123

E.: info@galeriekommoss.com

Iga Vase (hanaire), named “Auspicious Day” (kajitsu)

Signed by the artist at the base. Comes with fitted, inscribed, signed and sealed wooden box.

Japan

1990s

Naturally ash-glazed stoneware

Height: 23 cm

Diam.: 18 cm

Inv. No. 21.016

Price: 12.000 euros

The lid of the storage box bears an inscription by former 511th Daitoku-ji head monk and president of the Hanazono University Tachibana Daiki (18992005), who named this object “Auspicous Day” (kajitsu).

aRTWORK pResenTed By:

Galerie Kommoss

T.:+49 (0)30 9854 1123

E.: info@galeriekommoss.com

sylvie enjalbert

© Jérémy Logeay

Sylvie Anjalbert (born in 1973) is a French ceramist who works in the south of France.

It was in the small villages of the Acatama desert in Chile that she discovered ceramic work. She made her first pieces there and learnt the technique of coil pot which she still uses today.

She likes to see her work as evocative of the first jars that Neolithic farmers used to preserve their grain. Often large in size, her vases can measure between 60 and 80 cm, Sylvie likes to talk about them as bodies that she models with her fingers and very few tools, slowly leaving the trace of her thumbs on the walls.

She seeks to establish a dialogue between the everyday object and the work of art, between the transitory and the timeless.

An oblong jar with a flared neck and a rounded bottom that tapers, the short, narrow foot gives it great lightness. A small delicate handle on each side. The clean lines give it an archaic yet modern look. A Fine matte surface in a nuanced earth tone.

Stoneware

H : 65 cm; D : 50 cm Price on request

exhibition:

- 2022 « Homo Faber », Michelangelo Fundation, Venice, Italy

- 2020 « House of Craft », exposition collective au Korean Museum of Craft, Cheongju, Korea

- 2019 Solo show, LVS Gallery

Seoul, Southern Korea

- 2018 « No Man is An Island », Taoxichuan Ceramic Art Avenue Museum, Jingdezhen, China

- 2018 « Pimitive Elements », Solo show, Pragmata Gallery, Tokyo, Japan

Works held in public collections:

2018 - Taoxichuan Ceramic Art Avenue Museum, Jindgezehen, China

2017 - Maison Givenchy, Paris, France

2015 - Ceramic Cultural Parc Museum, Shigaraki, Japan

aRTWORK pResenTed By:

Renaud Montméat

T.:+33 6 17 61 21 60

E.: montmeatartdasie@gmail.com

Takeo yamaguchi

Takeo Yamaguchi was born in Seoul, Korea. He moved to Tokyo in 1921 at the age of 19 and began studying painting under Okada Saburosuke (1869-1939). The following year he was accepted into the increasingly popular department of Western painting at the Tokyo Art Academy. His course of study surveyed all the major European avant-garde movements of the previous two decades. Yamaguchi was particularly impressed by Cubism for its reduction of form and colour to a flattened and two-dimensional painted surface. After graduating in 1927, Yamaguchi moved to Paris and continued his studies of avant-garde European painting where he worked at the studio of the sculptor Ossip Zadkine (18901967) and became friends with painter Ogisu Takanori (1901-1986).

Kō (Suburbs)

Signed, titled and dated September 1972 to the reverse Oil on board

31 cm x 44,5 cm

Price: 58.000 euros

60.000

publication:

Yamaguchi Takeo Sakuhin Shu (Catalogue Raisonne of Takeo Yamaguchi), (Tokyo, 1981), no.370

aRTWORK pResenTed By:

Gregg Baker Asian Art

T.: +32 468 00 56 85

E.: info@japanesescreens.com

In 1931 Yamaguchi returned to Tokyo by which time his painting had evolved and reached a certain degree of abstraction where his figures had dissolved into thick black lines and the landscape backgrounds had morphed into coloured blocks. This metamorphosis however, kept his art outside the two main categorisations used in Japan during the pre-war period, which strictly divided painting into either the Western figurative style of oil painting or the nihonga Japanese style. This antiquated system led Yamaguchi along with other likeminded artists such as Jiro Yoshihara (1905-1972) and Keisuke Yamamoto (1911-1960) to form the Nika-kai group also known as Kyūshitsu-kai (Society of the Ninth Space) in 1933. The group, which opposed the dual categorisation of painting, appealed to Yamaguchi who on his return to Japan sought a more permissive environment in which to continue painting towards avant-garde modernism and abstraction.

During the years of the Second World War Yamaguchi had been quietly and steadfastly creating severe non-figurative forms until his ascension to critical acclaim in 1954 when he was awarded a prize at the Contemporary Japanese Art Exhibition, Tokyo. Thus in the mid-1950’s it was almost without warning that Yamaguchi found himself a sudden pioneer of a revolutionary trend: pushed to the very front ranks of Japanese abstract artists with his work exhibited in important international exhibitions including the inaugural exhibition of the Guggenheim, New York in 1959. He was involved in the Society of Avantgarde Japanese Artists and in 1953 founded the Japanese Abstract Art Club. In 1954 he became professor at the Musashino Art Academy and later that same year published a book entitled From Primitiveness to Modern Design

His work from that period onwards was exclusively painted in multiple thick impasto layers using only three colours; black, ochre and

deep burnt sienna. The texture and depth of tone achieved from the multiple layering of pigments gives Yamaguchi’s work an earth like quality and is considered to be an homage to the soil of his birthplace the Korean peninsula. Yamaguchi strived to interact with the innermost framework and structure of a subject, merging figure and ground, seeking to awake in his forms the soul and depth of nature.

Works by the artist can be found in a number of museums including: Guggenheim Museum, New York; Metropolitan Museum of Modern Art, New York; Brooklyn Museum, New York; Menard Art Museum, Nagoya; Shizuoka Prefectural Museum of Art, Shimane Art Museum, Museo de Arte Moderna, Sao Paulo; National Museum of Modern Art, Tokyo; Municipal Museum, Kagoshima; Museum of Modern Art, Kamakura.

For more about the artist visit our website http://japanesescreens.com

Tanabe Chikuunsai iV

Galerie Mingei represents Tanabe Chikuunsai IV in France.

Tanabe Chikuunsai IV (born Takeo in 1973) is the most famous contemporary bamboo artist in Japan.

Chikuunsai IV creates two kinds of bamboo works. The first, which are made using traditional techniques transmitted from generation to generation, are functional objects destined for used in ikebana and in the tea ceremony. He remains faithful to those traditions, and is currently passing his art on to future generations by teaching eight disciples and his three children. His ten-year-old daughter is already giving her first demonstrations.

His other works fall squarely into the realm of contemporary creation. Tanabe Chikuunsai IV is an artist of his time who expresses his individuality through various organic sculptural forms using Tiger bamboo and Black bamboo along with other natural materials.

Connection Origin

2021

Bamboo madake, Black bamboo 50 cm x 50 cm x 50 cm (h)

exhibition:

The Baur Foundation in Geneva in the exhibition “In Praise of Light.

Soulages – Chikuunsai IV”, 17th

November 2021 – 27th

2022

Price on request

March

aRTWORK

Galerie Mingei

T.: + 33 (0)6 09 76 60 68

E.: mingei.arts.gallery@gmail.com

Both his functional and contemporary works are part of many notable international private and public collections. He has been awarded many prizes in Japan as well as abroad, and was the recipient of the prestigious Lloyd Cotsen Bamboo Prize in the United States in 2007 and the MINGEI BAMBOO PRIZE in 2021.

Since 2015, he has produced several monumental installations: at the MET in New York, the Japan House in Sao Paulo, Takashimaya in Tokyo, the MNAA-Guimet in Paris, the Château de la Celle-Saint-Cloud, and the Domaine de Chaumont-sur-Loire (through November 2018), among other places.

Tanabe Chikuunsai IV will create a new installation at the Baur Foundation in Geneva in the exhibition “In Praise of Light. Soulages – Chikuunsai IV” (17th November 2021 – 27th March 2022).

Godai kokū (Five Great Voids)

2021

Tiger bamboo

149 cm x 59 cm x 90 cm (h)

Price on request

exhibition:

The Baur Foundation in Geneva in the exhibition “In Praise of Light. Soulages – Chikuunsai IV”, 17th November 2021 – 27th March 2022

aRTWORK pResenTed By:

Galerie Mingei

T.: + 33 (0)6 09 76 60 68

E.: mingei.arts.gallery@gmail.com

The Master of the Water, pine and stone Retreat

Celebrated collector, dealer and scholar of the Chinese aesthetic and its expression in works of art, the artist has, in recent years, discovered his own voice in ink painting. The discriminating and sophisticated eye he has brought to collecting antiquities, translates into his refined and scholarly ink aesthetic. Like the best literatipainters of Chinese history, his paintings of scholar’s objects and landscapes express his inner reality and personality, rather than seeking to achieve formal likeness or bravado displays of craftsmanship. Filling his every painting with refined ideas and personality, this neo-literati has even honed his ‘three perfections’ (poetry writing, calligraphy and painting), inking his observations about life, nature and treasured objects as written inscriptions on his paintings, but in English, his native language; the final effect is as much a homage to the Chinese literati tradition, as it is to his own scholarly sensitivities.

Space Filling 2020

Japanese cypress and pigments

60 cm x 170 cm x 11 cm

Price on request

exhibition:

National museum of Asian arts

Guimet, July 7th – October 4th, 2021

aRTWORK pResenTed By:

Rasti Chinese Art Ltd.

T.:+852 2415 1888

E.:gallery@rastichineseart.com

With twenty five seals of the artist, Xiezhang laoren 攜杖老人 (‘The old man who carries the staff’), Shuisongshi shanfang 水松石山房 (‘Water, Pine and Stone Retreat’), Ruru jushi 如 如居士 (‘The retired scholar who believes that all doctrines are equal’), Mozhe buxiu 墨者不朽 (‘Let ink be my immortality’), Shanwai shanqiao 山外山樵 (‘The mountain woodcutter who is not in the mountains’), Shikuang 石狂 (‘Stone fool’), Yangshi xianren 養石閒人 (‘An idler who cherishes stones’), Yiqi ru yun 意氣如雲 (‘Spirit as high as the clouds’), Nian nian sui sui yichuang shu 年年歲歲一床書 (‘Bed full of books all year round’), Xiaoao yanxia 笑傲烟霞(‘Smile haughtily among clouds and rosy mists’), Nanshantong shou 南山同壽, (‘Longevity like the southern mountains’), Flying Cranes (pictorial seal), Ouran dezhi 偶然得之(‘Achieved by accident’), Shi 石 (‘Stone’), Yi er san 一二三 (‘One, two, three’), Jinshi shou 金石壽 (‘Indefinite life’), Youyi wuyi 有

意無意 (‘Between intention and no intention’ - two different versions), Wuwei 無為 (‘Without action’), Renmomo momoren 人磨墨墨磨人 (‘Man grinds the ink; ink grinds the man’), Zhuxu laoren 竹虛 老人 (‘Old man as empty inside as bamboo’), Yousuo buwei 有所不為 (‘Some things I do not do’), Xujing guanfu daoren 虚静觀復道人 (‘Man of the dao who observes the return of all things to emptiness and quietude’), Yiwai zhixi 意外之喜 (‘A happy accident’), and Xianqing si yehe 閒情似野鶴 (‘Free as a wild crane’).

Toshimasa Kikuchi

Toshimasa Kikuchi exhibited at the National museum of Asian arts Guimet for a CARTE BLANCHE (July 7th – October 4th 2021).

The work of Japanese sculptor Toshimasa Kikuchi is somehow bewilderingly obvious. With a background and training in restoration work on Buddhist sculptures and having thoroughly mastered the techniques of classical Japanese statuary, he uses wood to create pure forms –geometric and hydrodynamic, as well as figurative.

His scientific repertoire is timeless (mathematics, engineering and natural history) but the materials he prefers are resolutely anchored in tradition and include Japanese cypress wood (hinoki), lacquer (urushi) and gold leaf (kinpaku).

The fusion between Art and Science at the heart of Kikuchi’s sculpture was primarily inspired by his work as a researcher at the Tokyo University Museum where he continues to organize exhibitions and restore old artworks.

Space Filling

2020

Japanese cypress and pigments

60 cm x 170 cm x 11 cm

Exhibition:

National museum of Asian arts

Guimet, July 7th – October 4th, 2021

Price on request

aRTWORK pResenTed By:

Galerie Mingei

T.: + 33 (0)6 09 76 60 68

E.: mingei.arts.gallery@gmail.com

Toshimasa Kikuchi

Toshimasa Kikuchi exhibited at the National museum of asian arts Guimet for a CARTE BLANCHE (July 7th – October 4th 2021)

Geometrical Form 12

2014

Dry lacquer and wood 80 cm x 80 cm x 347 cm

Price on request

aRTWORK pResenTed By: Galerie Mingei

T.: + 33 (0)6 09 76 60 68

E.: mingei.arts.gallery@gmail.com

Wang Mansheng

Following graduation in 1985 from the Chinese Department of Shanghai’s Fudan University, where Wang majored in classical literature, he worked for over a decade as an editor, director and producer at China Central Television in Beijing. He has devoted himself full time to painting and calligraphy since his move to New York in 1996. The imaginary landscapes Wang creates using experimental techniques, tools and media in concert with traditional brushwork, are often composed in dialogue with Chinese classical themes. Wang’s calligraphy and paintings have been exhibited in China, including at the Beijing Art Museum and Today Art Museum in Beijing, Xuhui Art Museum in Shanghai and Shanxi Museum in Taiyuan and, in New York, at the Godwin-Ternbach Museum, Rockefeller Brothers Fund, China Institute in America, The Baltimore Museum of Art and Princeton Art Museum. Wang has lectured and given demonstrations on Chinese art and culture at universities and museums. His paintings and calligraphy are held in museums and private collections.

Inscription: Banshang lubi 半升蘆筆

Seals: Wangmansheng

Ancient Vine Grass Script 2018

Ink on rice paper

179 cm × 97 cm

Price: 32.000 USD

aRTWORK pResenTed By:

Rasti Chinese Art Ltd.

T.:+852 2415 1888

E.:gallery@rastichineseart.com

Wang Mansheng

Mansheng Wang was born in Taiyuan, Shanxi, China in 1962 and has been living since the mid 1990s in the United States.

He is a painter who draws his inspiration as much from classical Chinese literature than the contemplation of nature.

The themes he appreciates come from traditional painting but this does not prevent him looking for new technical solutions such as the use of reed feathers, the use of monotype or walnut stain.

It is indeed from classical themes such as mountain landscapes, the representation of rocks, trees and other plants that he proposes a modern, personal vision of painting.

he work we are presenting is part of a series of 10 ink paintings named Momentum of the Brush , which he created in 2016 on Japanese paper. While he was exposing his work in the Ino-cho Museum of Kochi in Japan, Mansheng acquired the last ten sheets of a very beautiful hand-made paper, just before the workshop closed down. He decides to represent, with the help of a very dry paintbrush, trees with a mineral graphism. Certain pieces like the wisterias recall the fluidity and entanglements of the characters of calligraphy. Other works represent trees with a fossilised aspect containing details of real landscapes of miniature mountains.

© Portrait: Lisa Tipps

Momentum of the Brush 3

Artist’s Seal: Wang Mansheng Yin

2016

48 x 33 cm

Ink on Japanese paper

Price on request

Works held in public collections:

Beijing Art Museum

Today Art Museum, Beijing

Xuhui Art Museum, Shanghai

Shanxi Museum, Taiyuan

Godwin-Ternbach Museum, New York

Rockefeller Brothers Fund

China Institute in America

The Baltimore Museum of Art

Princeton Art Museum

Ino-cho Paper Museum, Kochi, Japan

Xuhui Art Museum, Shanghai

Brooklyn Museum

aRTWORK pResenTed By:

Renaud Montméat

T.:+33 6 17 61 21 60

E.: montmeatartdasie@gmail.com

Wu lan-Chiann

Born and raised in Taiwan, artist Wu Lan-Chiann received her BFA, with highest honours, from the Chinese Culture University in Taipei, Taiwan. She also holds a MA from New York University’s Fine Art Department. Wu Lan-Chiann has exhibited her art, and lectured on the subject of Chinese ink painting, since 1995 in Taiwan, Japan, New York, in the Los Angeles area, San Francisco, and in the United Kingdom. She is a grant recipient of the Durfee Foundation, the Hakka Foundation, and the Taiwanese American Art Council.

Wu Lan-Chiann’s work has been collected in Australia, Germany, Hong Kong, Japan, the Netherlands, Taiwan, United Kingdom, and in the United States. In 2018, the Nelson Atkins Museum in Kansas City acquired Before the Storm (2015) and, in 2020, the Princeton University Art Museum added Old Street in Sanxia (1993) to their collection.

Lantern Festival

1999

Ink, pigment on paper

94,5 cm × 61 cm

Price: 21.000 USD

aRTWORK pResenTed By:

Rasti Chinese Art Ltd.

T.:+852 2415 1888

E.:gallery@rastichineseart.com

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