Project 131: Masato Nakamura

Masato Nakamura, best known for his Shining every-one-knows-McDonalds-sign(s) in the Japanese Pavilion of the 2001 Venice Biennial, has his first Solo show in five years. Of recent works, Nakamura has spent his time planning and building his house and studio in Chiba prefecture. Back in 2001, along with the bright Mecca consumer sign of economic Success and western Taste (?), which Nakamura boisterously, as well as duplicatingly, performed shifts, exhibited, also, in the Japanese pavilion, 'e-studio'. The latter hallmarks a shift in focus from the gross convenience of signs, to the less conspicuous, though none-the-less rigorous in communication --traffic lights; street barriers; bits and pieces of the metropolitan landscape.

At SCAI THE BATHHOUSE Masato Nakamura builds in Meta-units. A Meta-unit, for Nakamura, is a unit that speaks beyond the limit of measurement--as physical elements loose their outside practical appliance in the gallery. It’s nothing new! Installation in it’s hey-day was typically about this. Here, though, it is architecture within architecture, a home within housing--objects forming a likely structure--a dwelling, a recluse from the outside codes and signs, of protective and directive, and suggestive objects that render a city safe and sensible, profitable, as well--inside, relabeled, with meta-phorical weight

This exhibition at SCAI displays from tacks up--drawings, plans, and graphics, which, step by set, finally reveal an offering--a somewhat revised three dimension topsy-turvy schema posing as the domestic--somehow repurchased from the metropolis surreal.

At SCAI THE BATHHOUSE

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	Masato Nakamura builds in meta-units
	Masato Nakamura, best known for his Shining every-one-knows-McDonalds-sign(s) in the Japanese Pavilion of the 2001 Venice Biennial, has his first Solo show in five years. Of recent works, Nakamura has spent his time planning and building his house and studio in Chiba prefecture. Back in 2001, along with the bright Mecca consumer sign of economic Success and western Taste (?), which Nakamura boisterously, as well as duplicatingly, performed shifts, exhibited, also, in the Japanese pavilion, 'e-studio'. The latter hallmarks a shift in focus from the gross convenience of signs, to the less conspicuous, though none-the-less rigorous in communication --traffic lights; street barriers; bits and pieces of the metropolitan landscape. At SCAI THE BATHHOUSE Masato Nakamura builds in Meta-units. A Meta-unit, for Nakamura, is a unit that speaks beyond the limit of measurement--as physical elements loose their outside practical appliance in the gallery. It’s nothing new! Installation in it’s hey-day was typically about this. Here, though, it is architecture within architecture, a home within housing--objects forming a likely structure--a dwelling, a recluse from the outside codes and signs, of protective and directive, and suggestive objects that render a city safe and sensible, profitable, as well--inside, relabeled, with meta-phorical weight This exhibition at SCAI displays from tacks up--drawings, plans, and graphics, which, step by set, finally reveal an offering--a somewhat revised three dimension topsy-turvy schema posing as the domestic--somehow repurchased from the metropolis surreal. At SCAI THE BATHHOUSE
text credits brent hallard 2003	contact: info@brenthallard.com back to Tokyo Note front page