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DTSTART;VALUE=DATE:20180110
DTEND;VALUE=DATE:20180330
DTSTAMP:20191223T214742Z
CREATED:20171214T224446Z
LAST-MODIFIED:20191223T214742Z
UID:21962-1515542400-1522367999@tr.jpf.go.jp
SUMMARY:Variation and Autonomy: The Prints by Contemporary Japanese Painters
DESCRIPTION:Print Exhibition\nJapan Foundation Touring Exhibition\nVariation and Autonomy:\nThe Prints by Contemporary Japanese Painters\n\nJanuary 10 – March 29\, 2018\nSensing the diverse potential of the print medium\, in the 1970s\, young Japanese artists began making prints\, and in so doing\, expanded the expressive range of contemporary art as a whole.Though certain aspects of this development have certainly been acknowledged\, it was mainly artists who did specialized in or concentrated on prints that served as pivotal figures in post – World War II\, contemporary Japanese print-making. Or at the very least\, that is the way it looks from this vantage point. In Europe and America\, artists who were responsible for trends in contemporary art made printmaking history. But the evolution Japanese printmaking seems to be a singular development in the world. \nHowever\, this does not mean that oil painters were not ambitiously engaged in printmaking from the prewar era onward. Some Japanese painters\, who had visited printmaking workshops in France\, Italy\, and Germany\, produced copperplate prints and lithographs at technical training sessions or in the workshops of acquaintances\, although the number of works was quite small. After World War II\, in the 1950s\, a growing number of painters worked in lithography and the emergence of the peintre-graveur (painter who is also a printmaker) in Japan was a noted phenomenon. Later\, in the 1960s\, printmaking rose to greater prominence and printing workshops were opened here and there\, creating an environment in which it was normal for artists who were not printmaking specialists\, from established painters and sculptors to emerging artists of the avant-garde\, to work with printers on production of their own prints. From the 1970s onward\, as the market value of prints rose\, an even greater number of artists turned their hands to prints in a wide range of styles and media\, strongly propelling the world of printmaking forward. This wide-open environment was correlated with a similarly broad range of printmaking expression among painters who were not specialists in printmaking. \nThis exhibition is not made up of works by artists who are considered to have created a unique or specific development in contemporary Japanese printmaking history\, but rather on those by artists who tend to be seen as support players in this process. There are two reasons for this focus. First\, the exhibition is designed to shed light on the fact that a new field was developed through contemporary Japanese prints. This field\, prints made by painters\, is notable both as a variation on painting and an autonomous form. Thus\, the works helped establish the genre of contemporary Japanese prints while imbuing it with a suitable breadth. Second\, the exhibition is intended to encourage viewers to reconsider the existing history of contemporary Japanese prints. Today\, 70 years after World War II\, at a point when prints are on the verge of being forgotten as a trend in contemporary art\, there is a need\, both in Japan and abroad\, to reconsider history from a variety of critical perspectives without overlooking the subject of dissolution. \nWithout a doubt\, the prints of the artists featured in this exhibition constitute variations on the medium of painting\, yet at the same time they stand alone as works of art that could only be realized through printmaking. Viewing the works of these peintre-graveurs leads us to a genuine understanding of contemporary printmaking in Japan. \n  \n42 works by 10 artists \nHitoshi Nakazato\, Kosai Hori\, Masanari Murai\, Naoyoshi Hikosaka\, \nNatsuyuki Nakanishi\, Toeko Tatsuno\, Tomoharu Murakami\, Toshinobu Onosato \nYasukazu Tabuchi\, Yayoi Kusama \n  \nShow GALLERY HOURS \nMon 11:30 am – 6:30 pm EXTENDED HOURS \nTues 11:30 am – 4:30 pm \nWed 11:30 am – 4:30 pm \nThurs 11:30 am – 6:30 pm EXTENDED HOURS \nFri 11:30 am – 4:30 pm \n \nShow The Japan Foundation\, Toronto \n2 Bloor Street East \nHudson’s Bay Centre\, 3rd floor \nAbove Royal Bank of Canada \nwww.jftor.org 416.966.1600 x229 \n \n  \nADMISSION: FREE \nSaturday openings: \n11:00 am – 4:00 pm \nJanuary 13\, 27\, February 10\, 24\, March 3\, 24 \nClosed: Other Saturdays and Sundays \nFebruary 19 (Family Day)
URL:https://tr.jpf.go.jp/event/variation-and-autonomy/
LOCATION:The Japan Foundation\, Toronto\, 2 Bloor St. East\, 3rd Floor\, Toronto\, ON\, M4W 1A8\, Canada
CATEGORIES:Exhibition
ORGANIZER;CN="The Japan Foundation%2C Toronto":MAILTO:info_jftoronto@jpf.go.jp
GEO:43.6710659;-79.3857432
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BEGIN:VEVENT
DTSTART;TZID=America/Toronto:20180327T183000
DTEND;TZID=America/Toronto:20180327T203000
DTSTAMP:20180305T215149Z
CREATED:20180305T213836Z
LAST-MODIFIED:20180305T215149Z
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SUMMARY:Artist's Talk by Takahiro Kondo
DESCRIPTION:  \nTakahiro KONDŌ\nCeramic Artist \n \nThroughout his career\, Takahiro KONDŌ has striven to determine his own independent artistic identity through extensive experimentation. Born in Kyoto into a family celebrated for its traditional sometsuke (cobalt blue-and-white porcelain)\, he first began working with the challenging medium of porcelain and it has remained his principal material. As a young man he was a competitive sportsman\, becoming a champion in table tennis and traveling abroad for competitions. Despite his exposure to clay at an early age\, he did not seriously consider pursuing a career related to his family’s art until he was in his twenties. \n  \nKONDŌ’s early work followed the sometsuke tradition mastered by his grandfather and father and\, like them\, he was highly influenced by the work and writings of Tomimoto Kenkichi (1886-1963)\, who stressed the importance of balancing technique with originality. He quickly developed his own style and began to incorporate other media into his work\, starting with metal then adding cast glass. This early experimentation resulted in his unique and highly distinctive “silver mist” (gintekisai) glaze\, which is an amalgam of platinum\, gold\, silver and glass frit that ranges in appearance from a subtle shimmer to a stream of molten drops that cling and pool over the porcelain surfaces. \n  \nWater has been his principal theme for many years and he has explored not only its physical forms such as rain\, ice\, steam\, and mist\, but also its conceptual aspects as a source of life\, purifier\, natural resource\, and\, most currently\, as a critical environmental issue in regards to the nuclear disaster in Fukushima. KONDŌ was deeply affected by the natural disasters that befell Japan in 2011 and has incorporated his thoughts and feelings on the subject into most of his work since then. He continues to spend substantial time fund-raising and working with those residing in the areas most devastated by those cataclysmic events. \nIn conjunction with Year of Japan of the Gardiner Museum\nFree admission\, Reservation Required: \nIn Japanese with English interpretation \n416.966.1600 x.229\, or scroll below \n \n 
URL:https://tr.jpf.go.jp/event/takahiro-kondo/
LOCATION:The Japan Foundation\, Toronto\, 2 Bloor St. East\, 3rd Floor\, Toronto\, ON\, M4W 1A8\, Canada
CATEGORIES:Lecture
ORGANIZER;CN="The Japan Foundation%2C Toronto":MAILTO:info_jftoronto@jpf.go.jp
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DTSTART;TZID=America/Toronto:20180327T193000
DTEND;TZID=America/Toronto:20180327T220000
DTSTAMP:20180323T204444Z
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SUMMARY:Lady Snowblood
DESCRIPTION:LADIES OF BURLESQUE + THE JAPAN FOUNDATION PRESENTS:\n \nLADIES OF BURLESQUE PRESENTS – LADY SNOWBLOOD – TRAILER from Nathan Boone on Vimeo. \n\nLADY SNOWBLOOD 修羅雪姫\n\n\n\n\n1973 / 97 min. / 18A\nDIRECTOR: Toshiya Fujita\nCAST: Meiko Kaji\, Toshio Kurosawa\, Masaaki Daimon\n\n\n7:30 PM – Pre-show  \n8:00 PM – Film start\n\nPurchase Tickets here >\n\n  \nBlood will flow\, spurt\, and stain your beautiful kimono as Ladies of Burlesque and our amazing co-presenter Japan Foundation Toronto transport you to the Meiji period of 19th century Japan with LADY SNOWBLOOD—that film Quentin Tarantino paid homage to (read: egregiously ripped off) for his KILL BILL diptych. With a traditional kata sword demonstration from the Japanese Canadian Cultural Centre’s Mu Mon Kai Iaido Club performed before the film\, this screening promises to mesmerize on screen and off. \nBadass babe Meiko Kaji is Yuki\, a trained assassin out to avenge the rape of her mother. Born in a prison and with her mother dying in childbirth\, Yuki is trained by a priest in the art of vengeance by way of impressive sword skills. Setting out to assassinate the three men who violated her mother (any one of them being her father) and murdered her mother’s husband\, Yuki hunts them down one-by-one\, utilizing her expert training. Amidst the red spotted-snow of Japan\, LADY SNOWBLOOD is a stunning work of film artistry. Even when hyperbolic bloodshed reigns\, it never loses its nuanced sophistication. \nKaji\, as Yuki—in a role adapted specially for her from Kazuo Koike’s popular manga—is astounding. Un-sexualized\, and completely in control\, her performance is legendary and set the gold standard for determined\, demagogue manslayers. A popular songstress in Japan\, she also sang several of the songs featured in the film\, including “Shura no Hana” (aka “Flowers of Carnage”)\, which Tarantino used to great effect in KILL BILL: VOL. ONE\, with its O-Ren Ishii/The Bride snowy showdown. Don’t miss your chance to see the original female assassin on the big screen! \nThis Ladies of Burlesque screening is co-presented by Japan Foundation\, Toronto \nLive blade Tameshigiri demonstration by senior members of the Japanese Canadian Cultural Centre’s Iaido Club\, Mu Mon Kai.
URL:https://tr.jpf.go.jp/event/lady-snowblood/
LOCATION:The Royal Cinema\, 608 College Street\, Toronto\, ON\, M6G 1B4\, Canada
CATEGORIES:Film Screening
ORGANIZER;CN="The Japan Foundation%2C Toronto":MAILTO:info_jftoronto@jpf.go.jp
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