TEFAF MAASTRICHT 2021 TEFAF 2021 A LIGHTHOUSE A LIGHTHOUSE CALLED KANATA CALLED KANATA TEFAF Maastricht 2021 11th - 19th September Early Access (9th) VIP Preview (10th) Our Raison D'etre Yufuku Gallery ended its 27 years of existence in June 2020, and from its ashes was borne Indeed, a foreign audience has long supported Japanese aesthetics, and were often the first A Lighthouse called Kanata. to pick up on the beauty of things that the Japanese themselves could not see. Ukiyoe, Jakuchu, the Gutai School and the Mono-ha, Sugimoto, Kusama … these Japanese artists Kanata means “Beyond” or “Far Away” in Japanese, a romantic ideal imbued by the two and movements were virtually forgotten within Japan, yet had garnered global recognition CLAY GLASS characters that comprise it, literally meaning “Towards” and “You.” Towards you, I wish by its appreciation in Europe and America. Likewise, by highlighting Japanese aesthetics to be, but you are far away. This is a quintessentially Japanese ideal, filled with ambiguity outside of Japan, we hope for greater recognition of today’s artists by those who are willing Sueharu Fukami 8 Niyoko Ikuta 24 and nuance. to support them. And ultimately, it is our hope that such international recognition will go on to influence Japanese audiences, thereby reintroducing and reimporting our aesthetics Ken Mihara 10 Sachi Fujikake 26 Like much in our language, it gives the impression that you, of all persons, is far from me, within and throughout Japan. This will then lead to instil in future generations the beauty Keizo Sugitani 12 Masaaki Yonemoto 28 and yet, we long and yearn to be together. It is adoration, adulation, respect and reverence that is already lying in front of us, waiting to be discovered. yet from a distance, voyeuristic, metaphysical and ultimately indivisible. Shigekazu Nagae 14 Hidenori Tsumori 30 And lastly, these are challenging times, the future uncertain. The night is dark and full Yet perhaps more succinctly, I simply find beautiful the way it rolls off one’s tongue. of shadows. This is exactly why our artists need this gallery more than ever. And we will Eiko Kishi 16 Yoko Togashi 32 continue to shine a light at the dark and cold waters of the vast ocean we call life, hoping Kanjiro Moriyama 18 Kanata. KA. NA. TA. to steer these ships to safety, to the future, and to the beyond. My gallery will serve, and will continue to serve, as a beacon of hope for today’s artists and the artists of tomorrow. Yoshiro Kimura 20 And perhaps rather coincidentally, the word is also comprised of the initials of my family: my daughter Kii, my wife Namiko, and my son Towa. And I will be unable to shine this light without the support of you, our dear friends and clients, who have supported our mission with grace and generosity. This new gallery is not But, of course, this is merely coincidence. only for our artists. It is for you. PAINTING METAL & LACQUER And why a lighthouse? The lighthouse symbolises many ideals we hold dearly. And lastly, it is for us, the dear members of my team, the people who make us “us”. You Takafumi Asakura 36 Satoru Ozaki 50 are doing incredible things, and this new home is for you to dream anew. Firstly, there is a saying in Japanese called “Ichigu wo Terasu”, or to “Illuminate a Corner”, Kentaro Sato 38 Naoki Takeyama 52 words spoken by Saicho, the founder of the Tendai school of Japanese Buddhism. There At a Lighthouse called Kanata, a new dawn rises. Ayane Mikagi 40 Kosuke Kato 54 are many talented artists in Japan today who are unknown, forgotten. We will continue The light nears. to shine a light on these artists, regardless of accolades or name recognition, age or sex. Masanori Maeda 42 Nobuyuki Tanaka 56 The only judgement we will make is simply based on the beauty that they create. Indeed, All of us truly look forward to welcoming you to A Lighthouse called Kanata’s debut Kiyo Hasegawa 44 Mayu Nakata 58 all of our artists today have been found in this manner, and we will continue to do so. presentation at TEFAF Maastricht 2021 this September. The lighthouse serves to illuminate dark and forgotten corners where artists await to be Masaki Tanikawa 46 discovered. Wahei Aoyama Secondly, there is another old saying in Japanese that reads “Todai Moto Kurashi”, or “It Owner is dark underneath the lighthouse”. The closer you are to something, one will be unable A Lighthouse called Kanata OTHER MATERIALS ARTIST PROFILES to see what’s standing right before your very eyes. Sadly, I find that many Japanese are oblivious to the wonders of their own culture and aesthetics. Yet those who are far away Osamu Yokoyama 62 70 can see the light. Kazumi Nagano 64 Joseph Walsh 66 2 3 “That which they call abstract is, in fact, the most real. For what is real is not the exterior of things, but the essence of things.” Constantin Brancusi CLAY SUEHARU FUKAMI 深見陶治 Ao (Blue) 2020 Porcelain with celadon glaze H133.3 × W6.3 × D7.3 cm Details on page 70 8 9 KEN MIHARA 三原研 Sei (Awakening) XXI 2021 Unglazed stoneware H63.5 × W52 × D20 cm Details on page 71 10 11 KEIZO SUGITANI 杉谷恵造 umbra vitae 2021 Stoneware with glaze H68 × W48 × D19.5 cm Details on page 72 13 SHIGEKAZU NAGAE 長江重和 Forms that Resonate 2020 Porcelain with glaze H63 × W44 × D39 cm Details on page 73 14 15 EIKO KISHI 岸映子 Shinsho Wo Tsumu (Forms Within) 2021 Stoneware with coloured chamotte H89 × W88 × D29 cm Details on page 74 17 KANJIRO MORIYAMA 森山寛二郎 Kai (Turn) VII 2020 Stoneware with glaze H92 × W53 × D56 cm Details on page 75 18 19 YOSHIRO KIMURA 木村芳郎 Charger with Blue Glaze 2021 Half-porcelain, cobalt blue glaze H5.5 × Φ58 cm Details on page 76 20 21 GLASS NIYOKO IKUTA 生田丹代子 Ku-150 (Free Essence-150) 2021 Cut, laminated sheet glass H41 × W37 × D46 cm Details on page 77 24 25 SACHI FUJIKAKE 藤掛幸智 Vestige 2021 Blown, sandblasted sheet glass H37 × W34 × D29 cm 26 Details on page 78 27 MASAAKI YONEMOTO 米元優曜 Skyscraper XLIV 2021 Polished, laminated sheet glass H85 × W21 × D17 cm Details on page 79 28 29 HIDENORI TSUMORI 津守秀憲 Remnants Of 2021 Glass mixed with stoneware H56 × W37 × D37 cm Details on page 80 30 YOKO TOGASHI 冨樫葉子 Spiral 2021 Blown, cut glass left: H27 × W26.5 × D12.5 cm right: H22.5 × W22 × D13 cm Details on page 81 32 33 PAINTING TAKAFUMI ASAKURA 朝倉隆文 The Transcendence of the Primordial Heavens 2021 Black ink on aluminum leaf, mounted on 3 panels H184.2 × W280.5 cm Details on page 82 36 37 2021 KENTARO SATO Japanese pigments on Japanese paper, mounted on 4 panels Serenity VIII 佐藤健太郎 H182 × W364 cm Details on page 83 AYANE MIKAGI 三鑰彩音 Flowers in the Mist 2020 Japanese pigments on Japanese paper, mounted on 4 panels H190 × W344 cm Details on page 84 40 41 MASANORI MAEDA 前田正憲 both forgotten / light 2021 Japanese pigments on aluminum leaf, mounted on canvas H99.5 × W116.7 cm Details on page 85 42 43 2021 KIYO HASEGAWA Japanese pigments on gold leaf, mounted on 6 panels l’effervescence 長谷川幾与 H145.5 × W273 (in total) / W45.5 (individual) cm Details on page 86 44 45 MASAKI TANIKAWA 谷川将樹 le silence de l'espoir 2021 Japanese pigments on Japanese paper, mounted on canvas H100 × W100 cm Details on page 73 46 47 METAL & LACQUER SATORU OZAKI 尾崎悟 Now and Here VIII 2021 Hammered, polished stainless steel H125 × W82 × D65 cm 50 Details on page 88 51 NAOKI TAKEYAMA 武山直樹 Hakutai (A Thousand Years) 2021 Enamelled copper, gold leaf H36 × W40 × D33 cm Details on page 89 53 KOSUKE KATO 加藤貢介 Crescendo I 2021 Damascus steel, lacquered iron base H115 × W26 × D28 cm Details on page 90 54 55 NOBUYUKI TANAKA 田中信行 Tactile Memory 2019 2019 Dry lacquer on hemp H101 × W58 × D30 cm Details on page 91 56 57 MAYU NAKATA 中田真裕 Bloom 2021 Lacquer, linen, pigments, tin powder H35.5 × Φ35.7 cm Details on page 92 58 59 OTHER MATERIALS OSAMU YOKOYAMA 横山修 scribble 2021 Bamboo, rattan H115 × W60 × D52 cm Details on page 93 62 63 KAZUMI NAGANO 永野和美 Necklace 2021 Yellow gold 18ct, nylon thread, yellow gold 14ct plate Clasp: yellow gold 14ct magnet H2.6 × W13 × D12 cm Details on page 94 64 65 JOSEPH WALSH ジョセフ ウォルシュ Enignum Locus – Tsubaki III 2017 Ash, bleach and oil H80 × W55.5 × D73 cm each Details on page 95 66 67 ARTIST PROFILES SUEHARU FUKAMI “To create a sense of noble simplicity and great silence, I search for a world of fundamental depth.” “The sounds of the soul, I embrace in clay. It is this moment, to capture the flowing of life itself, I hope.” KEN MIHARA 深見陶治 三原研 About the Artist About the Work About the Artist About the Work One of the most distinguished Japanese ceramists of his generation, Kyoto’s Sueharu The artist is known for his genre-defining high-pressure slip-casting techniques. Fukami’s Pristine forests, rugged ravines, gentle rivers and quiet mountains. Such are the landscapes The aesthetic qualities of serenity and the sublime coalesce within Mihara’s work. In Fukami (b. 1947 –) wishes to express the ‘infinite space’ that lies beyond the supple curves works are first realised by creating a 3-tiered plaster mould of considerable size and weight. that artist Ken Mihara (b. 1958 –) witnessed as a child, growing up in the majestic scenery essence, these qualities are the scents of Japan, a culture that has traditionally searched for and sharp silhouettes of his abstract porcelain sculptures, lusciously drenched in the delicate Porcelain slip is poured into this mould using a pressurised air compressor to ensure that of Izumo in Western Japan.