TAKEUCHI Kouzo

TAKEUCHI Kouzo ceramics TAKEUCHI Kouzo ceramics TAKEUCHI Kouzo ceramics TAKEUCHI Kouzo ceramics

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Profile

2003 Diploma, Tajimi Municipal Ceramic Design Institute, Gifu
2001 B.F.A. Osaka University of Arts

Solo Exhibitions

2015 ReformationHPGRP Gallery, Tokyo
2014 Gallery Tachibana, Tokyo
2013 Art Front Gallery, Tokyo
Gallery So, Hokkaido
Saro-Homura, Hokkaido
2012 Gallery Utsuwakan. Kyoto
Mitsukoshi-Isetan, Osaka
2011 VESTIGES, Gaierie Helene Poree
2010 Tousai, Tokyo
Oogi, Osaka
Tokyo American Club Genkan Gallery, Tokyo
Toukyu, Tokyo (also in '07)
2009 TAO, Tokyo
Sophora, Kyoto
Yu:An, Osaka
2008 Tousai, Tokyo
Utuwa-KU, Hyogo
Gallery KAI, Tokyo
2007 Modern Remains, KEIKO Gallery, Boston
Vessels and Sculpture, Gallery KAI, Tokyo
2006 Inax Galleria Ceramica, Ginza Kyuman Museum, Kagawa
2005 HANARE, Hyogo
Café & Gallery Sora, Nara
Gallery Torin shunyo, Tajimi, Gifu

Group Exhibitions

2015 Nippon! Contemporary Arts and Crafts from Japan, ESH Gallery, Milan, Italy
Dialogue with Materials: Contemporary Japanese Arts an Crafts, Anadolu University, Eskisehir, Turkey
Capricci Contemporanei: Nicola Padova e Kouzo Takeuchi, ESH Gallery, Milan, Italy
2014 KISHINOTO Kouhei and Takeuchi Kouzo, Ginza Nichi Nichi, Tokyo ('12)
International Japanische Progressive Keramik Trifft auf Japanische Avantgardistische Malerei, Galerie IAC-Berlin-Koigswinter and Tenri Kultur Werkstatt, Cologne
Dialogue with Materials: Contemporary Japanese Arts an Crafts, Ahmed Adnen Saygun Sanat Merkezi, Izmir, Turkey
CONTEMPORARY CAPRICCI: Nicola Padovani and Kouzo Takeuchi, ESH Gallery, Milan, Italy
2013 Traditional and Contemporary, Historical Museum, Pavlikeni, Bulgaria
La céramique Japonaise, Association Culturelle Franco-Japonaise de TENRI, Paris, Luxembourg
TABUCHI Taro and TAKUCHI Kouzo, Toukyo, Tokyo (’11, ’12)
2012 Ceramics Now Exhibition, 3rd edition, Galateea Gallery, Bucharest, Romania
Ruth Gurvich and TAKEUCHI Kouzo, I’Atelier Terre Croix-Baragnon, France
TABUCHI Taro and TAKUCHI Kouzo, Isetan-Mitsukoshi, Osaka
2011 Group Exhibtiion, Ecole d’art du Beauvais
2010 iPRECIATION, Hong Kong
ESPASCE CULTUREL BERTIN POIREE, Paris
Kaiseki no Utuwa, Utuwa-kan, Kyoto
It's all about he cups '10 ( Also in'07 and '08) , KEIKO Gallery, Boston
2009 Sake cup exhibition Tajimi Artist, Sake no Utuwa Toyoda, Kyoto
CUBE exhibition, CAP STUDIO Y3, Kobe
CREATION JAPONAISES CONTEMPORAINES (from CAMERD & ASSOCIES), Richelieu Drouot,Paris
2008 Flower Vase exhibition, Oogi, Osaka
Wind from TAJIMI, Tachibana, Tokyo
CREATION JAPONAISES CONTEMPORAINES (from CAMERD & ASSOCIES), Richelieu Drouot,Paris
2007 Ceramic, Nowadays, Gallery Voice, Tajimi
SOFA New York
2006 Chicago SOFA2001
“Let’s 5 Artists,” Gallery Hunter-zaka, Kobe
2005 “Hikari” exhibition, Gallery Kitanozaka, Kobe
“Bowl” exhibition, Gallery Kitanozaka, Kobe
“Contact 4: Japan-Korea Ceramic Exhibition,” Museum of Contemporary Art, Shiga
2004 “ONE” exhibition, Torin shunyo, Tajimi, Gifu
“Form of Ceramics” exhibition, Gallery Kitanozaka, Kobe
Collaborative exhibition with Ikebana, OAP Tour, Osaka
2003 Graduate exhibition, Tajimi City Ceramic Design Institute, Gifu
Graduate works Award exhibition, Tajimi City Cultural Hall, Gifu
“Three Ceramicists exhibition”, Gallery Ginsa, Tokyo
“Unomi (Tea cups)” exhibition, Gallery Kitanozaka, Kobe
2002 “Utsuwa (Vessels)” exhibition, Gallery Hunter-zaka, Kobe

Awards

2015 Encouragement Award, Contemporary Ceramic Exhibition - KOBE Biennale, 2015
2005 Incentive Award, Avant-garde section, the 27th Contemporary Ceramic Exhibition
2004 Entry to the 22nd Asahi Contemporary Craft Exhibition
Entry to the 45th Japan Craft Exhibition

Collections

Museum of Fine Arts, Boston MA
The Riz-Carlton Hotel, Kyoto
The Peninsula Tokyo, Tokyo
Palace Hotel, Tokyo
Louis Vuitton, Ginza Namiki St. Tokyo
Anadole University Museum, Eskisehir, Turkey

Press

Ceramics Now No.1, Ceramic Now Magazine
Katei Gaho International
Vol.58, Vol.61 Shoten-Kenchiku, Shotenkenchiku-sha publisihing
Misses Magazine, No.691, Bunka-shuppan

Artist Statement

I don’t know why, but since I was a child I have been attracted to geometric shapes, especially aggregated geometric shapes. When I first saw the photos of ancient ruins in South America, my creativity was inspired, and I seriously wanted to express the distinctive ambience of the decayed buildings in my work. That is when I began creating ceramic sculptures composed of square tubes.

In a stage of trial-and-error, one day I dropped a piece by accident. Shocked, I regretted my terrible mistake seriously. However, next came another shock because this broken piece looked to me more beautiful than the unbroken pieces, and it appealed to me very much. Then, with a hammer, I broke all of the other finished tubes in my studio and exhibited them in a solo exhibition in2006. This is how my Modern Remains Series was born.

When they see the ruins of decayed buildings, many people have similar nostalgic and sentimental feelings, but if those ruins possess an exquisite balance between the contemporary existence and the deterioration from the past, I believe it is possible to enhance the ephemeral and create dynamic beauty. So, when I break my pieces to create a sculpture I try to be meticulous in my effort to find the perfect balance between the original forms and the deterioration.

The Modern Remains series is created with two major concepts in mind. First, I realize that our civilization has been built on a history of creating and breaking. The countless amazing things created by human beings throughout history have also been destroyed by human beings. Although I know this is a part of human existence, to me there is a sadness about this. And this dichotomy is what I want to express in my work.

The other concept is my desire to challenge the stereotypes of in the world of contemporary ceramics where broken piece are useless, and a broken piece denotes failure. I am raising a question about this: Can works that are broken intentionally be recognized and appreciated for a new aesthetic value in ceramics? If so it will be a groundbreaking step in the ceramic world, especially in the strong, rich, diverse world of Japanese ceramics.

My works are based on these concepts, but I don’t want to forget the feeling that the first broken piece looked beautiful to me. Whatsoever were the concepts of the works, I don’t want to create the pieces that I don’t feel beautiful. This might be one of the most important philosophies for me.