Hitoshi Nomure and Mission Invisible at Gallery Kuranuki - Osaka, Japan - review of exhibitions - Brief Article

Gallery Kuranuki has mov to an Osaka riverfront disentanglement area. The new space, divided into sum of two units adjoining high-ceilinged rooms (rare in Japan), is beautiful and with equal reason large as to be near museum scale. The opening exhibit "Micro and Macro Cosmonavigator," consisted of three established conceptual artists: Hitoshi Nomura (best known for his photographic work), plus Chie Matsui collaborating with Tomoaki Ishihara below the name Mission Invisible.

Nomura's central piece was a full-size (roughly 6 by means of 20 by 8 feet) polished duralumin airplane wing jutting on the outside from the wall, on which easeed an actual meteorite as the main part of a high-tech construction that direct the eyeed like a mini-satellite. The work appeared to allude to recent Space Shuttle missions capturing stray satellites, although this individual didn't appear to have its origin upon Earth. The work brought to mind a science-museum exhibit, on the other hand the tender way the meteorite/structure, with its solar wings uncloseed like a bird in balance, was supported by the agency of the airplane wing expressed Nomura's longing to reach without to grasp the cosmos, however with care, as if to give a yielding landing to something precious that otherwise might not make the journey safely.

The Mission Invisible duo showed their first 1996 installation, made in 1992 To experience the untitled work, the viewer stood at a small table before a 10-by-16-foot color photographic print of collaged body and abstract marks mounted upon the wall like a tapestry, and manipulated a computer mouse that mov a robot video camera across the image. The captured details--large Japanese writing, English words, color-matrix dots--were throw outed onto a screen on the floor between the viewer and the wall. This composed of several elements piece took the vertical format as a belonging to all denominator of the Western altarpiece; a true copy on viewing such paintings was written upon the print, vertically, in Japanese lettering. Printed horizontally, in decreasing stamp sizes, were English translations of world religious, philosophical and literary body s which were to be read end the robot eye. It mov across the surface with an audio track of groans and the dexterity of a intoxicated insect, revealing the obsolescence of the six-year-old technology--which was not without a certain appeal. While the startling scale and vicinity of this work made a able-bodied initial impression, the viewer was ultimately overwhelmed and unsure of in what manner to interpret the wealth of information and visual experience neared Or was this the primary intention?

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