A varied assortment of artworks on the second floor, each creatively displayed within the enigmatic settings envisioned by Yutaka Inagawa.
Photo by Kensuke Hashimoto | Courtesy of Art Gallery Miyauchi
Featuring Ryo Uchida (‘carnite landowner', 2021) in the middle of the photo
Featuring Kara Chin (‘Awakening Ceremony', 2021) in the middle of the photo
Featuring Wang Ruobing (‘Three Planks', 2021) in the middle of the photo
Featuring Guanyu Xu (‘RK-08282018-01142022', 2022)
Featuring Daniel Silva (‘WE', 2024)
Kong Chun Hei's ('Flooding', 2019), originally presented with several enlarged water gauge sculptures forming a straight line, has been boldly reinterpreted by artist-curator Yutaka Inagawa into a cross-shaped arrangement for this curatorial framework and show.
Artist Daniel Silva visited the gallery space during the setup to engage directly with the curatorial framework, as his work often involves site-specific installations. "Wax Over Flesh" and "3 Fish" particularly embody this quality. "Wax Over Flesh" demonstrates mutable sculptural qualities, allowing for fragmentation and an open structure, which creates an interwoven, intimate relationship with the show’s structure. Silver's interventions aimed to add more layers to the complex structure of the show and its exploration of interconnectedness. His practice, which also emphasizes interconnectedness, found a resonant echo with the show's concept.
Daniel Silva’s "Wax Over Flesh” (2024) engages in a creative dialogue with the manipulated formation of Kong Chun Hei’s "Flooding" (2019).
Daniel Silva’s "3 Fish" (2024) engages lyrically with the reimagined arrangement of Kong Chun Hei’s "Flooding" (2019)
Featuring Sai (‘Adapt Adapter III’, 2020)
Featuring Ryo Uchida (‘circle’, 2024)
Featuring Anthony Chin ('The Incomplete Momotaro: Sacred Sailor (IV)', 2024), Ryo Uchida ('Sun #4', 2023), and Guanyu Xu ('LP-08292016-04112021', 2021) within bespoke environments created by Yutaka Inagawa, including various creative units and painting-like backgrounds by Yutaka Inagawa.
Featuring The Portland Inn Project (‘Portland Palissy Ware’, 2023)
The pink circles and their intervention reflect Yutaka Inagawa’s creative engagement within the curatorial framework.
Anthony Chin's The Incomplete Momotaro: Sacred Sailor (IV) (2024) is a site-specific response to a unique invitation. Under the supervision of Yutaka Inagawa, local gardener Masataka Namba of Suizyuen constructed a hybrid garden that combines elements of a Japanese Garden and Zen Garden, emphasizing a black-and-white aesthetic with black-inked water. The garden is surrounded by a series of pink circles, with a piece from the Portland Palissy Ware by the Portland Street Project placed on one of these circles. The backdrop of the garden features a wall space covered by a spray-painted background, resembling a sort of semi-abstract landscape painting with pseudo-Japanese elements. Ryo Uchida's painting, Sun #4 (2023), is hung over part of this spray-painted background.
Artist Anthony Chin added another layer by adjusting the shape of the garden's outer edge and aligned the formation of the pink circles.
Detail of Anthony Chin’s "The Incomplete Momotaro: Sacred Sailor (IV)" (2024)
Ryo Uchida ’s ’on the lotus’ (2022) is juxtaposed with Daniel Silva’s ‘Insects in Translation’ (2024), Sai’s ‘Tok......Tok……’(2021) and Bouie Choi’s ‘The portal’ (2022)
Detail of Anthony Chin’s "The Incomplete Momotaro: Sacred Sailor (IV)" (2024)
Bouie Choi’s "That Night the Bus Stalled" (2022), "My Sedimentary Rock" (2022), and "The Portal" (2022) are juxtaposed with Sai’s "Tok......Tok……" (2021), "当我们同在一起 (Together) No. 1" (2023), and "Erlang Shen_01" (2021)
Bouie Choi ’s ’That moment, we are homed’ (2023) is juxtaposed with Sai’s ‘Untitled Walk II’ (2021)
Bouie Choi’s "That night the bus stalled" (2022) (right), "My Sedimentary Rock" (2022) (left), and Sai’s "The Portal" (2022) (centre).
Featuring Tang Kwok Hin (‘Twisting Caps’, 2024) – an instruction-based artwork created in response to the curatorial framework.
Featuring Tang Kwok Hin (‘Twisting Caps’, 2024) and The Portland Inn Project (‘The Portland Pigeon’ 2024)
Featuring Tang Kwok Hin (‘Twisting Caps’, 2024)
Featuring Tang Kwok Hin (‘Twisting Caps’, 2024) and The Portland Inn Project (‘Posters for Portland Street’ 2024)
Gallery staff created soft objects using socks, gloves, and discarded plastic bottles and caps from a local hospital group, following the artist’s instructions.
Detail of Tang Kwok Hin (‘Twisting Caps’, 2024)
Featuring Tang Kwok Hin (‘Twisting Caps’, 2024) – an instruction paper showing various ideas to interact with materials and shapes.
Featuring Guanyu Xu (‘LP-08292016-04112021', 2021) and Ryo Uchida (‘court’ 2024) in conjunction with Yutaka Inagawa’s creative units.
The background of Guanyu Xu’s (‘LP-08292016-04112021', 2021) features four different rolls of wallpaper overlapping each other, creating a quasi-domestic feeling. The wallpaper is the same as that used in artist-curator Yutaka Inagawa’s house in Onomichi. The foreground includes a series of chairs belonging to Art Gallery Miyauchi, with part of the legs cut off and tilted at an angle, also stenciled with their own dimensions. This bespoke intervention was crafted by Yutaka Inagawa.
Featuring Ryo Uchida (‘court’ 2024) and Guanyu Xu (‘LP-08292016-04112021', 2021) in conjunction with Yutaka Inagawa’s creative units.