“Where Threads Lead” Exhibition Video
with works by Kenjiro Nagata～Akane Yorita～Kanata Goto
～feat. “Sonic Threads” by Ntogn～
Film by Gly Nakamura
See more about the project: http://frantic.jp/en/exhibition-past/where_threads_lead.html
More about the artists:
Kenjiro Nagata: http://frantic.jp/en/artist/artist-nagata.html
Akane Yorita: http://frantic.jp/en/artist/artist-yorita.html
Kanata Goto: http://frantic.jp/en/artist/artist-goto.html
An object made of threads ― if it can be called “an object” and if we can so easily apply “made” to something composed of stretched threads ―, how to locate it inside art categories? Well, it is obviously not a painting…, but the canvas itself is composed of nothing but hemp threads; the perspective in paintings ― the space itself ― starting with early Renaissance was created with the help of threads and later they were imaginary twisted and knotted in vertigo of art of Baroque; not to mention threads affinity to (out-)line and consequent link to the formation of figure in general. Due to its immaterial character (what can be less related to matter then a formation of elongated cords) and anti-representational stance (threads don’t have a “face” like most of the objects) neither it is a sculpture…, but at the same time it stays a major sculptural tool, being more than anything related to plasticity (it is plasticity in itself, so plastic that it can get entangled), entering into original and in-tense dialog with space (it is not just taking it, it absorbs space, underlines it, trans-fix it).
We get the impression that threads are always here, in art, but always stay invisible, unnoticed. As if Threads are in some kind of blind spot in the room of art. Whether due to its radically minimal character (what can be more expressively humble than a thread, as if it is the last step before being nothing) or because of its always instrumental/technical/applied character (as if thread was always involved but was supposed to be taken out from art after it’s done, like scaffoldings are taken out from the façade of the building after it is finished), thread has never been thought as a genuine part of art. Even now in contemporary art threads are either biennale or art fair entrance bound installations (more related to light excitement of the visitors than pieces with critical weight) or as an object “pulled out” from architect’s studio as one of his “complimentary materials”: thread is still in obscurity as if it is provoking the continuous resistance of distinctive discourse of fine art.
Re-acting to this state of affairs, Frantic Gallery invites three visual artists and one musician to present their Threads and try to shed some light on the real significance, potential and actual role of this phenomenon in art and those vast anthropologic fields it is connected with. The “Where Threads Lead” exhibition has no formal limits. In reverse, we would like to research vectors, exposing the unconscious work of threads: starting with the exploration of those thinking paths each artist took following his/her own personal tread end ending with the disclosure of those countless directions threads point to both as a material as well as a “final object”.
Threads take us to mythology and can help Ariadne to lead Theseus from the labyrinth playing here a role of salvation tool or, in reverse, they can lead to the spider net, to the symbolism of feminity/mother and psychological trap; threads are interwoven in major material bases of art like already mentioned canvas, worm produced silk, tapestry or carpets; they enter into a particular relationship with space and show enormous ability to bring into play and intensify the light and shadow they entwine; threads never lose powers of a threat while being in passed over in silence affinity with bondage in sadism and masochism and BDSM culture in general; threads can always remind us about their navel-like link with body where they penetrate us as veins and nerves being totally at home in the corporeal dimension as well, finally they enlace our languages entering into endless idiomatic expressions and staying always present in our speech - here are just few directions we can start with and in spite of the risk and all possible misfortunes that can happen on the way don’t fix the desirable arrival point but see… where threads lead us.