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YIA Brussels Art Fair
Cousteau Tazuke, Kanata Goto, Haruki Ogawa, Macoto Murayama, Ryo Kikuchi 
2017.4.19. (WED) - 4.23. (SUN)
SQUARE, Brussels, Belgium 

The second edition of YIA Brussels Art Fair moves deeper into the city and this time occupies SQUARE Brussels Meeting Centre next to this year fair partner BOZAR Museum to present 45 international galleries during the busiest art week in town. We are happy to bring in Brussels the latest works of five of the represented artists and invite you to take a walk through the labyrinth of Frantic booth.  
Cousteau Tazuke plays with the presence and absence showing his latest works which look as if colorful wooden or plastic sticks are inserted inside the acrylic plane, although these lines are nothing but painted emptiness. The artist carves into clear acrylic panels, pours acid-colored paint in the resulting space and then exhibits these works backwards, thus subverting the opposition of the front and the rear of the picture and transcending the borderline between the process of carving and the work of drawing.
Cousteau Tazuke, The work with acrilic resin surface 2017.01.31., acrylic resin, acrylic paint, alkyd paint, 91x91x4cm, 2017 (detail)
Haruki Ogawa combines canvases made of different media (hemp, linen, cotton), applying shadowing effects and depicting (by oil, acrylic, alkyd) dynamic elements that transfix the multiple planes. Thus the artist weaves a figure that can't be read through linear, diachronic structure. His image doesn't offer you one entrance. The painting is a knot-like organization which can be perceived only in the mode of synchronicity, while enveloping the totality of the visual semiotic organism and coming simultaneously from different directions to its ungraspable, "empty" centre. 
Haruki Ogawa, Fusion XI, oil, alkyd, acrylic on  hemp, cotton canvas, 97.4x108.3x6cm, 2017
Ryo Kikuchi shows the latest works from his "Void" series that presents vaguely visible landscapes or objects, which, while asking for closer observation, vanish in the rows of dots when actually viewed more closely, totally dismantling the possibility of a "proper distance" and breaking the constraining frame of the image. There is no place of comfort from which to take in this shape: it is either too close to you or too far, fluctuating between reappearing and vanishing; between the concept and the mechanical repetition of the similar dots. 
Ryo Kikuchi, Void #17, acrylic on panel, 175x80x3.5cm, 2017
Macoto Murayama creates computer generated botanical drawings, bringing an ancient tradition of flower illustration into the digital age. Pre-modern visuality meets here with cutting-edge technology; natural forms intertwine with scientific sharpness and descriptive precision. We will be presenting Botanical Diagrams of the artist along with Botech Art series.
Macoto Murayama, Lathyrus odoratus L - top view - ow, digital c-print, 100x100cm, 2012, Ed.8
The tribal vibe in works of Kanata Goto in a paradoxical but no less harmonic way meets with futuristic imaginary. Geometry and architectonics intertwine here with aggressive colors and tactile feeling. Neither installation nor sculptures, his works overcome genre and style restrictions and bring in contemporary art “totem and taboo” dimension of desire, while triggering unconscious work of “worship”. Connecting prehistoric past with sci-fi type of future Goto throws together the epochs as if playing with deep and unrecognized desires on one hand and law and order on another.
Kanata Goto, Nexus # 1(y), nylon threads, steel, 70x120x5cm, 2017 Ed.5
Frantic Gallery

1070 Belgium, Brussels
Anderlecht, Rue d'Aa 32 B

154-0001 Tokyo, Japan
Setagaya, Ikejiri 2-4-5, IID 309 C

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