Fröhliche Neugestaltung


Fröhliche Neugestaltung


Eine Ausstellung von Nolico TAKI

Vernissage Mittwoch 24. Mai - 20:00 Uhr
Datum: 24.05.2017 – 04.06.2017
Ausstellungsraum EULENGASSE
Aspekte, Rezensionen und Meinungen freier Autor*innen
24.05.2017 – 04.06.2017
Fröhliche Neugestaltung
Ausstellungsraum EULENGASSE
Seckbacher Landstraße 16, 60389 Frankfurt am Main
Ausstellungsraum EULENGASSE in Kooperation mit dem Nippon Connection Filmfestival 2017
Sabine Imhof, Veronica
Vernissage Mittwoch 24. Mai - 20:00 Uhr

Artist's biography:

Nolico Taki (*1987) is a young Japanese artist living and working in Frankfurt am Main. Her art works consist of works of fiction along the lines of subjective histories, as she is dreaming up her personal outlook upon history as a contemporary response towards historical facts. Noriko Takizawa (artistic name "Nolico Taki") was BA graduate (oil painting) from Tama Art University, Japan. She had furthered her study at Kunstakademie Düsseldorf under Prof. Rita MacBride and currently has been studying under Prof. Peter Fischli at Staatliche Hochschule für Bildende Künste Städelschule. Taki has been awarded for scholarships from DAAD as an exchange student in 2012 and Grant for Overseas Study by Young Artists from POLA art Foundation in 2015. She has been exhibited in Frankfurt am Main, Düsseldorf, Wuppertal and Köln.

Im Ausstellungsraum EULENGASSE steht dieses Jahr das skulpturale Werk einer jungen in Frankfurt lebenden japanischen Künstlerin zur Diskussion. In ihren Arbeiten beschäftigt sich Nolico Taki mit den Dimensionen von Architektur und Infrastruktur als zwei wesentliche Faktoren unter den klimatischen und Umweltbedingungen, unter denen wir leben. Ein weiterer sehr persönlicher Aspekt, den sie in ihren Arbeiten untersucht, ist das Interior Design, welches ihrer Auffassung nach die Menschheitsgeschichte komplex gemacht hat. Lassen Sie sich auf eine räumlich-sinnliche Erlebnisreise ein, der Ausstellungstitel ist Programm!


About Nolico Taki

That magician’s glove like creature, floating and tremble slightly, along with the movements of air surround it. It drags an orbit like trail at it’s back, suggesting metaphorically a gravitational centre, which from a second look, seems absurd. Certain attention is drawn to this idealised cartoon stylistic, albeit the situation makes obvious that it shall not take all the spotlight.

For some say a humorous structure works due to one’s insistence on maintaining no clear vision of a future, therefore no prophecy could be utter from such shortage of determination. Hence to float, to hover, to be tipsy… to blunt one’s sharp edges (especially the edge that point to a direction) seems apt under the circumstances. Nonetheless, if without one also tentatively seeking, or reinventing narratives of one’s present surrounding, with or without reasonable doses of aggression, no ‘blindfold’ to a clear future could be claimed. Therefore no sufficient of weight could be placed on the other side of the lever, to support such likeness of floating. The ‘magician’s glove’ would lie flat on the ground rather than reacting delicately to its surrounding air, but who knows, maybe that’s humorous also.

While greeting such humorous structure, one should, however, try to resist the desire to obtrusively divide and label its components. For what’s telling probably lies at activities in-between their codependence, at what had cracked and what had since placed within, the act of support and being supported, with all it’s balance, tension and shiver.

Nolico Taki is an artist who works with sculpture and installation. Her work often informed by rigorous historical research. Intrigued by the construction of historical narrative and also its functionality, she explores humorous approach in an attempt to access and unpack the spectre our collective memories.

Yongxiang Li