MC2GALLERY PRESENTS MOONLIGHT YOSHINORI MIZUTANI (Japan, 1987)

MC2GALLERY PRESENTA   I   MC2GALLERY PRESENTS MOONLIGHT YOSHINORI MIZUTANI (Japan, 1987)

Moonlight 18, 2014, Archival pigment print (on Hahnemuhle Fine Art Baryta paper), 63 x 84 cm, edition of 4+2 AP Il termine giapponese per natura è “Shizen" che letteralmente significa “essere così come si è da se stessi”: la natura si produce da sé (non da Dio come in Occidente) in un processo completamente autoctono. Nessuna forza esterna, né l’uomo né altre entità, la creano e ne permettono lo sviluppo. Shizen compare per la prima volta in un dizionario olandese- giapponese del 1796 per tradurre la parola olandese “natuur”. Prima di allora, la concezione di natura come si trova in Occidente era significativamente assente in Giappone, o al più si usava il termine tenchi (“cielo e terra”) o sansui (“monti e fiumi”). Lo Shizen è uno dei temi con cui si confronta Mizutani, mostrandoci una visione della Natura di città, che sa comunque stupire, ritagliandosi una sua realtà, a maggior ragione in una megalopoli come Tokyo di oltre 13 milioni di persone. Moonlight 02, 2014, Archival pigment print (on Hahnemuhle Fine Art Baryta paper), 63 x 84 cm, edition of 4+2 AP The Japanese term for nature is “Shizen", which literally means “to be as one is by oneself”: nature is produced by itself (not by God as in the West) in a completely indigenous process. No external force, neither man nor any other entity, creates it and allows it to develop. Shizen first appears in a 1796 Dutch-Japanese dictionary to translate the Dutch word “natuur.” Before then, the concept of nature as found in the West was significantly absent in Japan, or at most the term tenchi (“heaven and earth”) or sansui (“mountains and rivers”) was used. Shizen is one of the themes that Mizutani deals with, showing us a vision of the Nature of the city, which still knows how to amaze, carving out its own reality, even more so in a megalopolis like Tokyo with over 13 million people. Moonlight 17, 2014, Archival pigment print (on Hahnemuhle Fine Art Baryta paper), 63 x 84 cm, edition of 4+2 AP Utilizzando la luce stroboscopica e una lunga esposizione, Yoshinori Mizutani ha fotografato i pini del suo quartiere a mezzanotte, alberi appena visibili nell'oscurità. In questa composizione, lo spazio è condiviso equamente dal ricco cielo dorato e dai pini, che ricordano i dipinti a inchiostro e oro della scuola Kano, che hanno dominato l'arte giapponese dalla fine del XV secolo alla metà del XIX secolo. Rifacendosi all'arte tradizionale giapponese, Mizutani esplora la relazione tra spazi negativi e positivi. Moonlight 07, 2014, Archival pigment print (on Hahnemuhle Fine Art Baryta paper), 63 x 84 cm, edition of 4+2 AP Using strobe light and a long exposure, Yoshinori Mizutani photographed the pine trees in his neighborhood at midnight, trees barely visible in the darkness. In this composition, the space is shared equally by the rich golden sky and the pine trees, reminiscent of the ink-and-gold paintings of the Kano school, which dominated Japanese art from the late 15th century to the mid-19th century. Drawing on traditional Japanese art, Mizutani explores the relationship between negative and positive spaces. Moonlight 01, 2014, Archival pigment print (on Hahnemuhle Fine Art Baryta paper), 63 x 84 cm, edition of 4+2 AP Nato nel 1987 a Fukui, Mizutani ha frequentato il Tokyo College of Photography dopo essersi laureato al Nihon University College of Economics. Nel 2014 è stato selezionato per i LensCulture Emerging Talents Awards 2014 Top 50 e il Foam Magazine Talent Call 2014. Mizutani ha rapidamente ottenuto un riconoscimento mondiale e ha accumulato un elenco impressionante di mostre personali in numerosi paesi, tra cui Tokyo (IMA), Pechino (aura gallery), Belgio (ibasho gallery), Svizzera (Christophe Guye Galerie), Londra (Webber gallery) e Milano (mc2gallery). Ha finora pubblicato molti libri; "Tokyo Parrots" (2014), "Colors" (2015), "YUSURIKA" (2015), "HANON" (2016), "HDR" (2018), "Sakura" (2021). Le sue opere sono in numerose collezioni pubbliche e private, tra le piu' importanti il Kiyosato Museum of  Photographic Arts (KMoPA), Yamanashi, Japan, Amana collection, Tokyo, Collection de Heus-Zomer, Amsterdam, Baltimore Museum of Art, Baltimore, ecc. Vive e lavora a Tokyo. Moonlight 09, 2014, Archival pigment print (on Hahnemuhle Fine Art Baryta paper), 63 x 84 cm, edition of 4+2 AP Born in 1987 in Fukui, Mizutani attended Tokyo College of Photography after graduating from Nihon University College of Economics. In 2014, he was selected for the LensCulture Emerging Talents Awards 2014 Top 50 and Foam Magazine Talent Call 2014. Mizutani has quickly gained worldwide recognition and has amassed an impressive list of solo exhibitions in numerous countries, including Tokyo (IMA), Beijing (aura gallery), Belgium (ibasho gallery), Switzerland (Christophe Guye Galerie), London (Webber gallery), and Milan (mc2gallery). He has published many books to date; "Tokyo Parrots" (2014), "Colors" (2015), "YUSURIKA" (2015), "HANON" (2016), "HDR" (2018), "Sakura" (2021). His works are in numerous public and private collections, including the Kiyosato Museum of Photographic Arts (KMoPA), Yamanashi, Japan, Amana collection, Tokyo, Collection de Heus-Zomer, Amsterdam, Baltimore Museum of Art, Baltimore, etc. He lives and works in Tokyo. Moonlight 06, 2014, Archival pigment print (on Hahnemuhle Fine Art Baryta paper), 63 x 84 cm, edition of 4+2 AP ONGOING EXHIBITION VITTORIA GERARDI - MEMORIA EMOTIVA Group show Colla super gallery, Via Pietro Crespi, 13 - Milan Until September 11 _________ DUNE VARELA - GALATEIA Hotel Plaza e de Russie, Piazza D’Azelio 1- Viareggio (LU) ArtVerona fair - 11/13 October 2024 Presented Artists: CASPER FAASSEN and RENATO D’AGOSTIN MAIN SECTION - BOOTH M8-N9 - Pav. 12

mc2gallery Italy - Montenegro info@mc2.gallery www.mc2.gallery www.artsy.net/mc2gallery tel: +382 69100110 mobile MNE: +382 69100104 mobile ITA: +39 3396632187 #mc2galleryitaly#fineartmagazine#fineartfun

Louis Stern Gallery presents: Throughout a career spanning six decades, Los Angeles-based artist Helen Lundeberg (1908-1999) held an enduring fascination with the patterns and cycles which underpin the natural world and the universe beyond it.

Helen Lundeberg: Inner/Outer Space September 14–November 2, 2024 Opening Reception: September 14, 5-7pm Throughout a career spanning six decades, Los Angeles-based artist Helen Lundeberg (1908-1999) held an enduring fascination with the patterns and cycles which underpin the natural world and the universe beyond it. From her early botanical and zoological illustrations to the hard-edged abstract landscapes and planets she painted in her later career, Lundeberg traced shared conceptual and structural concerns across terrestrial and cosmic orders of magnitude. Relying as much on calculated formal composition as on the subjective engagement of the viewer, her work straddles the permeable borders between observation and memory, perception and imagination, and physical and psychological space.  Lundeberg began to explore the possibility of a career in the arts against a backdrop of significant and rapid scientific development centered around her hometown of Pasadena, CA. Research performed at the California Institute of Technology, Jet Propulsion Laboratory, and Mount Wilson Observatory would fundamentally and irrevocably shift humanity’s understanding of the nature of physical matter and the Earth’s relative scale within the cosmos. Lundeberg imagined at first that she might become a scientific illustrator, after courses she took in astronomy and zoology initiated a lifelong interest in recording the appearance and behavior of living things and cosmic phenomena. This academic preoccupation found its creative counterpart when she began studying fine art under Lorser Feitelson in 1930. Feitelson instructed Lundeberg in the principles of formal pictorial composition in drawing and painting, mirroring her fascination with the organization of patterns in nature. Armed with this knowledge, Lundeberg found that she had the means to apply her technical skills and analytical mind to the creation of artworks with meaningful subjective content. Feitelson and Lundeberg co-founded the Post-Surrealist movement in 1934. Rejecting the European Surrealists’ focus on automatism and the unconscious, they promoted the imposition of deliberate formal structure onto symbolic imagery to induce a conscious introspective experience in the viewer. This artistic approach encouraged Lundeberg to explore intellectual and metaphysical themes that had long engaged her. Juxtaposed studies of seed pods and human embryos provoke contemplation of analogous form and function amongst seemingly unrelated organisms. An interior scene of a spherical object on a table dissolves into a vast night sky illuminated by a glowing moon, suggesting adjacent views of the same object expressed at telescoping levels of magnification. These vignettes visually mirror the murky boundaries between the physical world and psychological experience, focusing the role of human perception in constructing meaning from observed reality.  In 1950, Lundeberg began to shift toward the geometric abstract style that would characterize the rest of her career. She pursued the subjective content of these works through dreamlike references to landscape, architecture, and planetary bodies expressed in calculated arrangements of hard-edged color. Lundeberg’s 1960s Planet paintings conjure fantastical alien worlds, swirling with brilliant colors and dissected to reveal their labyrinthine cores. Her cosmic inventions, created at the height of the Space Race, represent figments of humanity’s imagined future amongst the stars. Lundeberg’s abstractions of terrestrial environments condense mountains, dunes, and shorelines to their most essential forms, enhanced or modified by considered color choices to generate a particular sensory atmosphere or mood. These constructions, not painted directly from life but fabricated from Lundeberg’s accumulated observations of natural patterns, are resolved through the synthesis of perception, memory, and an instinctive visual understanding shared by artist and viewer.                                                                                                       Louis Stern Fine Arts is the exclusive representative of the Estate of Helen Lundeberg.   Louis Stern Fine Arts is part of PST ART as a Gallery Program Participant. Returning in September 2024 with its latest edition, PST ART: Art & Science Collide, this landmark regional event explores the intersections of art and science, both past and present. PST ART is presented by Getty. For more information about PST ART: Art & Science Collide, please visit pst.art View Press Release Louis Stern Fine Arts 9002 Melrose Avenue West Hollywood, CA  90069 Contact 310-276-0147 info@louissternfinearts.com  www.louissternfinearts.com #louissternfinearts#fineartmagazine#fineartfun

The Glass House 75th Anniversary tour season is open through December 15, 2024. All tours include access to the newly restored Brick House (1949

The Glass House 75th Anniversary tour season is open through December 15, 2024.  All tours include access to the newly restored Brick House (1949).

Upcoming Events + Programs

Glass House Presents: New Canaan Modern Monday, September 9, 2024 New Canaan Library 151 Main Street, New Canaan, CT 6:30 p.m. INFO + REGISTER Join writer and Glass House educator Gwen North Reiss at New Canaan Library for a free talk about her recent book, New Canaan Modern: A Preservation History.  In the 1990s and early 2000s, when New Canaan’s historic modern houses were quietly being demolished, preservationists, architects, and other residents who understood their significance, worked together to try to save them. Historic listings, educational programs, a change to the zoning regulations, and several other initiatives helped these houses survive. New Canaan Modern: A Preservation History is a record both for and about the New Canaan community, focusing on its efforts to rescue modern houses and reset the course of their history. 

Glass House Presents: Glass Etudes at a Modernist Landmark Sunday, October 20, 2024 First Presbyterian Church 1101 Bedford Street, Stamford, CT 4:00 p.m. INFO + TICKETS On the occasion of The Glass House’s 75th Anniversary, join three renowned pianists — Timo Andres, Aaron Diehl, and Jenny Lin — for an hour-long concert of a selection of Philip Glass’ Etudes in Stamford’s extraordinary modernist First Presbyterian Church designed by Wallace K. Harrison, a grantee of the National Fund for Sacred Places, and a National Historic Landmark. One of the most influential artists of our time, Philip Glass has transformed how we listen to music. His most personal work is a series of 20 piano etudes. Majestic and intimate at the same time, these compositions for solo piano have been performed and recorded by dozens of artists and streamed over 100 million times. Longtime interpreters of The Glass Etudes, this program’s three featured pianists each bring a unique approach to their instrument and to Glass’s work. 

Through Your Looking Glass Student Art Showcase November 16 - 24, 2024 Carriage Barn Arts Center 681 South Ave, New Canaan, CT INFO + REGISTER Stand Together Against Racism (S.T.A.R), in partnership with The Glass House and the Carriage Barn Arts Center, will present its third annual Through Your Looking Glass student art showcase that seeks to recognize the role of art, design and/or architecture in advancing social justice related to inclusion, equity and diversity. Fairfield County, CT students of all ages, including college, are invited to create and submit art that reflects how social justice impacts their lives. S.T.A.R seeks art submissions that inspire the viewer to think about social justice explored using art of any medium for expression. Submissions can include paintings, drawings, photography, mixed media, sculpture, videos/film (including TikTok style) or architectural renderings. This is a true showcase, not a competition, and all student art will be exhibited at the Carriage Barn Arts Center in New Canaan with an opening reception to be held on November 16th.

Glass House Presents: Modern Origins Monday, November 18, 2024 New Canaan Library 151 Main Street, New Canaan, CT 6:30 p.m. INFO + REGISTER Join architects William Earls, Alan Goldberg, and Fred Noyes for a free conversation at New Canaan Library about the origins of modern architecture in New Canaan, CT. 

Image Credits: Photo by Robin Hill Breuer House I (1947-48). Photo: Estate of Pedro E. Guerrero Photo by Bob Gregson Poster courtesy of S.T.A.R. Photo by Michael Biondo

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