“Making” Exhibition


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Ends in 13 days

Curated by Masa Hosojima, Organized by Kyoko Sato

Participating artists: Kenichi Kanazawa, Ken Ikeda, Rie Nakajima, Takahiro Kawaguchi, Masa Hosojima

Collaborative artists:
Elliott Sharp, Matt Sullivan, Maho Ogawa, Beatrice Antonie Martino, Juan Puntes

Contributing scholars: Tom Cohen, Reiko Tomii

April 7-24 Exhibition
Kenichi Kanazawa, Ken Ikeda, Rie Nakajima, Takahiro Kawaguchi, Masa Hosojima, Tom Cohen

April 10, 4-7pm Opening Reception and Interview “What is Making?” by Masa Hosojima (Facebook live)
Reiko Tomii, Elliott Sharp, Matt Sullivan, Juan Puntes

April 17, 6-7pm Performance by Kenichi Kanazawa (Facebook live)
April 24, 5pm Closing Performance (Facebook live)
Elliott Sharp, Matt Sullivan, Maho Ogawa, Beatrice Antonie Martino

I consider that an act of “Making” art is as invaluable as appreciating artworks. In contrast to artworks, this act of “Making” is a condition that has no structure, no polarity, no sense of mission. It is a process that can accommodate multiple directions. It is a multitude of voices. Artworks, produced as a result of the act of “Making”, have initiated appreciable value, such as beauty. In like manner, the act of “Making” art itself has its own meaning and value even if it may not ‘obviously’ appear in the actual works.

The proposal of this exhibition is to reevaluate the overtones of an act of “Making” via five artists who practice sound in an art context: similar to Action Painting and Happenings in the 50s and 60s. Especially relevant is how they negotiate with sound itself, a distinctive resort.

Ken Ikeda (Tokyo) makes an instrument onstage and then performs with it. His instruments, made from a wooden board, nails, and rubber strings, are constructed so that color is spread on the board when the rubber is plucked. Whence it creates a color score on that instrument. Kenichi Kanazawa (Kawagoe City) manipulates a metal plate on which magnesium powder is placed and rubs the plate to create sound waves which shape the powder into various patterns. This is called the Chladni effect. However, in this video presentation, he expands on the phenomenon with a variety of objects on the plate, as if demonstrating a virtuosity in his ‘Making’ zone.

Rie Nakajima(London):Her works are most often composed in direct response to unique architectural spaces, using a combination of kinetic devices and found objects. Fusing sculpture and sound, her artistic practice is open to chance and the influence of others, raising important questions about the definition of art. She attunes with space and sound itself. Takahiro Kawaguchi (Tokyo) performs with his handmade audio devices and also uses everyday materials to exhaustively and sincerely demonstrate a process of Making. He dares to assemble uncontrollable mechanisms and atmospheres. Masa Hosojima (NYC): For the last 10 years, he has executed a project called “Gazing Sound.” It involves listening to his own music composition. In order to document his private listening experience, he videotapes a fluctuating scene at which he gazes while listening.

Reiko Tomii(art historian) and Tom Cohen(cultural theorist) will analyze and respond to the video presentations and the artists’ statements on “What is Making?

Elliott Sharp and Matt Sullivan are two (NYC) Downtown Soundscape icons from the ’80s and ’90s who will join us and demonstrate what it means to collaborate (co-Making) with emerging talents, Beatrice Antonie Martino, and Maho Ogawa.

Also there will be an on-site interview by Masa Hosojima with Juan Puntes(WhiteBox Artistic Director) Elliott Sharp, and Matt Sullivan on the subject of Making.

Among artists that I have been interviewing on the subject of Making since 2015, there are some who claimed to invoke social issues in their artworks. Actually, in the course of the interview it became evident that they create to heal themselves. Others said they were Making art to discover unknown parts of themselves. And still others said they made art to actualize their wish to know. These are very appealing statements and voices.

For an artist, the act of “Making” has an apparent magnitude of connotations that are different from the viewers’ perspectives while focusing on the artwork proper. So the audience could also be amplified allowing for the discovering of a given, other ‘something’ from an exploration of the act of “Making” art.

– Masa Hosojima, April 2021



from April 07, 2021 to April 24, 2021


http://www.whiteboxny.org (venue's website)



Venue Hours

From 11:00 To 18:00
saturdays opening at 12:00, sundays opening at 12:00
Closed on Mondays, Tuesdays


Address: 213 E 121st St., New York, NY 10035
Phone: 212-714-2347 Fax: 212-714-2354

Between 2nd and 3rd Aves. Subway: 4/5/6 to 125th Street.

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