Patching (and Darning)
Tomoko Atsuchi ,Daisuke Ida ,Kohei Yamashita
2019.01.26(Saturday) - 2019.02.23(Saturday) OPENING PARTY : 1.26 SAT | 18:00 - OPEN : TUE - SAT | 12:00 - 19:00
Organizing: Kohei Yamashita
Cooperation: taïmatz

TEZUKAYAMA GALLERY is pleased to announce the group show ‘Patching and Darning.’ For this exhibition with ‘collage’ as the keyword, we introduce works by the trio of artists Tomoko Atsuchi (b.1984), Daisuke Ida (b.1987), and Kohei Yamashita (b.1983). Please do not miss this opportunity.


This is a collage exhibition. It’s perhaps correct that collage was ‘discovered’ at the beginning of the 20th century by Braque and Picasso, as one view of art history. The reason I purposely write ‘discovered’ here is because I think at that time collage wasn’t a newly-created technique and had already been around. It is cutting paper, and then sticking it together. In short, this plain and simple way of making is primitive. However, whether to regard it as artistic or not is different. But for now let’s shelve the problem of whether it is art or not, and continue to talk about it as a way of making.

Collage is juxtaposition and combination. To go back, can we not perceive the piles of stones made by primitive humanity as an expression of a technique like collage? In other words making with stones, things like the traces of prayers and burials, likely came first, rather than artistic acts such as the painting and forming of animal images inside Lascaux cave. Assuming this, does the playing with building-blocks in early childhood also begin to appear as a synonymous act? Then what about if you replace it with contemporary art? The area covered by collage is actually wide, and surveying it you can understand how the works of these artists participating are also spread within that field.

Let’s return to the basis of the talk here. I explained collage as the art of combination, but it’s possible to rephrase it as disconnection and connection. Focusing on the close-up of the connection, the join is terribly ugly and fragile, you can clearly see the marks of overlap. To sum up, the joins persistently stay disconnected.

This modern society is used to connection. Due to network upgrades the massive flow of images and information is increasing in intensity. We who are alive now live while accepting that day to day, but we mustn’t forget that the disconnect is concealed there. Through calm observation can we not see that the modern image appears to be a patched and darned body? Through this exhibition, I hope that the modern body will be recognised again by observing the disconnected and connected parts again.

Kohei Yamashita