Artist:
Ushio 'Gyu-chan' Shinohara
Title:
Centaurus Motorcycle
Year:
1994
Adress:
Akebono-cho, Tachikawa-shi
No analytical speech
In this artwork I recognize nothing with certainty. The rough circle and the chain makes me think of carnival. I see a ferocious mouth and monstrous eyes, but also an arm in the shape of a flower. What would that funny wheel mean above the head? This wonderful figure is both dangerous, solid, funny, creative, chaotic.
And therefore, it is not appropriate to a write a serious and analytical speech about Gyu Chan by Ohio Shinohara. I cannot do much otherwise, but let me give it a shot.
Haha, what do I see with you? I see you wear a worthy costum and write notes about me. Act like I do: wear something to make people laugh. Grab something so you can roll, bounce, seduce. Do it with conviction. Life is far too short to work, to do like others do, to be serious. Don’t make any concessions: live, live, live!
Gyu Chan by Ohio Shinohara is a clear artwork: it says exactly what we can do best with ourselves, in our relationships, our family, our work.
By Theo, www.artatsite.com
Translation
Geen analytische betoog
Bij dit kunstwerk herken ik niets met zekerheid. De ruige cirkel en de ketting hebben iets carnavalesks. Ik zie een woeste mond en monsterlijke ogen, maar ook een arm in de vorm van een bloem. Wat zou dat grappige wieltje voorstellen boven het hoofd? Deze wonderlijke figuur is zowel gevaarlijk, stevig, vrolijk, creatief, chaotisch.
En daarom klopt het niet dat over Gyu Chan van Ohio Shinohara een serieus en analytisch betoog geschreven wordt. Ik kan niet veel anders, maar laat ik tóch een poging wagen.
Haha, wat zie ik bij jou? Ik zie dat je een braaf pakje draagt en aantekeningen schrijft over mij. Doe zoals ik: trek iets aan waardoor mensen gaan lachen. Grijp iets waarmee je kan rollen, stuiteren, verleiden. Doe het vooral met overtuiging. Het leven is veel te kort om te werken, te doen wat anderen van je willen, ernstig te doen. Doe geen concessies: leef, leef, leef!
Gyu Chan van Ohio Shinohara is juist een duidelijk kunstwerk: het zegt precies wat wij het beste kunnen doen met onszelf, in onze relaties, onze familie, ons werk.
By Theo, www.artatsite.com
www.at-art.jp:
Although the shapes of the wheels, chains and spokes can be seen, the whole is the continuation of the agglomeration of the viscosity which the author's hand grasped.
It may be the starting point of sculpture, the experience when grasping and forming shape.
This is a ghost of a motorcycle that a frog got on, a ghost of a motorcycle.
Shihara Yuji Men is a writer who lived in the fight and worked with the spirit, and its face is full of this work as well.
www.wikipedia.org:
Ushio Shinohara (born 1932, Tokyo), nicknamed 'Gyu-chan', is a Japanese Neo-Dadaist artist. His bright, large work has been exhibited internationally at institutions including the Hara Museum of Contemporary Art, Centre Georges Pompidou, the Guggenheim Museum SoHo, National Museum of Modern Art, Tokyo, Leo Castelli Gallery, New York, Museum of Contemporary Art, Los Angeles and The Metropolitan Museum of Art, Seoul, and others. Shinohara and his wife, Noriko, are the subjects of a documentary film by Zachary Heinzerling called Cutie and the Boxer (2013).
From around 1970 he started the motorcycles done. In his mind, motorcycles represented America. The motorcycles were reminiscent of what America meant to him, but many times these sculptures had geishas riding on the back seat.
He created these works out of discarded objects — primarily scraps of cardboard he washed and soaked in water to make them pliant, shaping them almost like papier-mâché. They were rough, vigorous sculptures.
The sculptures were painted in shades of green, pink and red which paralleled the colors of street fairs in Tokyo. They were full of detail, very carefully composed, and extremely large. Shinohara wanted these pieces to have a great effect on the viewer and sought to accomplish that with the composition, vivid colors and the scale of the work.
Around 1990, he turned to boxing-painting once more using a huge piece of paper and boxing gloves dipped into neon paint. This art was soon turned into a performance. He turned these performances into "battles" where he battles against other artists before a crowd, usually in New York.
In this artwork I recognize nothing with certainty. The rough circle and the chain makes me think of carnival. I see a ferocious mouth and monstrous eyes, but also an arm in the shape of a flower. What would that funny wheel mean above the head? This wonderful figure is both dangerous, solid, funny, creative, chaotic.
And therefore, it is not appropriate to a write a serious and analytical speech about Gyu Chan by Ohio Shinohara. I cannot do much otherwise, but let me give it a shot.
Haha, what do I see with you? I see you wear a worthy costum and write notes about me. Act like I do: wear something to make people laugh. Grab something so you can roll, bounce, seduce. Do it with conviction. Life is far too short to work, to do like others do, to be serious. Don’t make any concessions: live, live, live!
Gyu Chan by Ohio Shinohara is a clear artwork: it says exactly what we can do best with ourselves, in our relationships, our family, our work.
By Theo, www.artatsite.com
Translation
Geen analytische betoog
Bij dit kunstwerk herken ik niets met zekerheid. De ruige cirkel en de ketting hebben iets carnavalesks. Ik zie een woeste mond en monsterlijke ogen, maar ook een arm in de vorm van een bloem. Wat zou dat grappige wieltje voorstellen boven het hoofd? Deze wonderlijke figuur is zowel gevaarlijk, stevig, vrolijk, creatief, chaotisch.
En daarom klopt het niet dat over Gyu Chan van Ohio Shinohara een serieus en analytisch betoog geschreven wordt. Ik kan niet veel anders, maar laat ik tóch een poging wagen.
Haha, wat zie ik bij jou? Ik zie dat je een braaf pakje draagt en aantekeningen schrijft over mij. Doe zoals ik: trek iets aan waardoor mensen gaan lachen. Grijp iets waarmee je kan rollen, stuiteren, verleiden. Doe het vooral met overtuiging. Het leven is veel te kort om te werken, te doen wat anderen van je willen, ernstig te doen. Doe geen concessies: leef, leef, leef!
Gyu Chan van Ohio Shinohara is juist een duidelijk kunstwerk: het zegt precies wat wij het beste kunnen doen met onszelf, in onze relaties, onze familie, ons werk.
By Theo, www.artatsite.com
www.at-art.jp:
Although the shapes of the wheels, chains and spokes can be seen, the whole is the continuation of the agglomeration of the viscosity which the author's hand grasped.
It may be the starting point of sculpture, the experience when grasping and forming shape.
This is a ghost of a motorcycle that a frog got on, a ghost of a motorcycle.
Shihara Yuji Men is a writer who lived in the fight and worked with the spirit, and its face is full of this work as well.
www.wikipedia.org:
Ushio Shinohara (born 1932, Tokyo), nicknamed 'Gyu-chan', is a Japanese Neo-Dadaist artist. His bright, large work has been exhibited internationally at institutions including the Hara Museum of Contemporary Art, Centre Georges Pompidou, the Guggenheim Museum SoHo, National Museum of Modern Art, Tokyo, Leo Castelli Gallery, New York, Museum of Contemporary Art, Los Angeles and The Metropolitan Museum of Art, Seoul, and others. Shinohara and his wife, Noriko, are the subjects of a documentary film by Zachary Heinzerling called Cutie and the Boxer (2013).
From around 1970 he started the motorcycles done. In his mind, motorcycles represented America. The motorcycles were reminiscent of what America meant to him, but many times these sculptures had geishas riding on the back seat.
He created these works out of discarded objects — primarily scraps of cardboard he washed and soaked in water to make them pliant, shaping them almost like papier-mâché. They were rough, vigorous sculptures.
The sculptures were painted in shades of green, pink and red which paralleled the colors of street fairs in Tokyo. They were full of detail, very carefully composed, and extremely large. Shinohara wanted these pieces to have a great effect on the viewer and sought to accomplish that with the composition, vivid colors and the scale of the work.
Around 1990, he turned to boxing-painting once more using a huge piece of paper and boxing gloves dipped into neon paint. This art was soon turned into a performance. He turned these performances into "battles" where he battles against other artists before a crowd, usually in New York.