{"id":35353,"date":"2023-05-14T19:33:03","date_gmt":"2023-05-14T17:33:03","guid":{"rendered":"https:\/\/museumdkm.de\/katsuhito-nishikawa-werke\/"},"modified":"2024-03-11T21:51:22","modified_gmt":"2024-03-11T20:51:22","slug":"katsuhito-nishikawa-works","status":"publish","type":"post","link":"https:\/\/museumdkm.de\/en\/katsuhito-nishikawa-works\/","title":{"rendered":"Works"},"content":{"rendered":"

Works<\/h2>
<\/div>
KATSUHITO NISHIKAWA<\/h5>\n<\/div><\/div>

25.05.2023 \u2013 28.02.2024<\/p>\n<\/div><\/div><\/div><\/div><\/div>

\"An<\/div>
An den Auen (At the floodplains), 2010, \nOil on canvas<\/div>
\u00a9 Katsuhito Nishkawa<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/section>
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The exhibition shows sculptures, drawings, paintings and furniture by Katsuhito Nishikawa (JP, <\/span>born 1949) from the 1980s until today. For the first time, a special exhibition at Museum DKM<\/em> is <\/span>not limited to the temporary exhibition wing of the museum but occupies other rooms in dialogue <\/span>with the permanent collection.<\/span><\/p>\n

The former master student of the sculptor Erwin Heerich erects buildings, art in architecture <\/span>projects and walk-in sculptures on a large scale in public spaces. In parallel, he creates <\/span>sculptures, drawings and paintings in his studio that often respond to their natural surroundings. <\/span>His landscape paintings <\/span>Am Teich<\/span><\/em> (2010) and <\/span>An den Auen<\/span><\/em> (2010) take us to the marshes of <\/span>Hombroich Island<\/span>1<\/span><\/strong>, where Katsuhito Nishikawa has been working since 1994. Shades of grey that <\/span>lie like dense veils of mist over a subtly suggested meadow landscape allow us to immerse <\/span>ourselves in the special aura of Nishikawa’s \u0153uvre, a harmoniously self-contained body of work <\/span>that unites nature and culture.<\/span><\/div>\n

A 10-part sculpture ensemble made of plaster, wood and bronze illustrates the artist’s abiding <\/span>interest in architecture: <\/span>Arena<\/span><\/em> (2016), <\/span>Mauer<\/span><\/em> (2012), <\/span>Turm<\/span><\/em> (2020), <\/span>Terrasse<\/span><\/em> (2013), <\/span>Cathedral <\/span><\/em>(2015) are reminiscent of classical architectural elements; the format and white surface of the <\/span>sculptures bear resemblance to architectural models. With their uneven, imperfect structure, <\/span>however, the sculptures seem enraptured, like ruins of a <\/span>pittura metafisica<\/span>. In the next room, <\/span>Nishikawa presents <\/span>Color as Shadow<\/span>. <\/span>Piero<\/span><\/em> (2005), a study consisting of 24 panels that conceals <\/span>Piero della Francesca’s cool colour scale behind several layers of acrylic glass. The evoked veil <\/span>that covers the colours like a semi permeable membrane of transience makes the special <\/span>luminosity for which the Italian painter of the early Renaissance is universally known disappear <\/span>behind patina. A traditional Japanese screen is also stripped of its original pictorial theme and its <\/span>function as a room divider: Painted in delicate blue with oil pastels and acrylic paint and covered <\/span>with fine lines of silver wire, <\/span>Primavera \/ Paravent f\u00fcr eine Teezeremonie<\/span><\/em> (2020) undergoes a <\/span>metamorphosis. The theme of transience, the concept of impermanence is not only a constant in <\/span>Nishikawa’s work, but also in Japanese aesthetics and one of the essential teachings of <\/span>Buddhism.<\/span><\/div>\n

Painterly-poetic drawings from the 1980s focus on the morphology of plants and emphasise the <\/span>importance of nature as a source of inspiration: Harmony, order and proportion not only serve as <\/span>models for the organic form-finding of many of his sculptural works (<\/span>Aqua<\/span><\/em>, 1991-1994, <\/span>Physalis<\/span><\/em>, <\/span>2004, <\/span>Ohne Titel<\/span><\/em>, 2014), which suspend the opposition of art versus nature and transform it into a <\/span>coexistence. The exhibition design, created by the artist himself, is also captivating with its <\/span>harmonious, rhythmic hanging and positioning, which always incorporates the void. Ultimately, <\/span>Nishikawa remains true to his function as a sculptor and succeeds in creating new spaces out of <\/span>existing spaces, walk-in sculptures, so to speak, into which he invites the viewer to explore his <\/span>own cosmos.<\/span><\/div>\n

Katsuhito Nishikawa (JP, 1949) has been working at the Hombroich rocket station near Neuss since 1994. <\/span>He studied at Keio University in Tokyo until 1972, at the Academy of Fine Arts in Munich from 1974 to 1976 <\/span>and sculpture with Erwin Heerich at the D\u00fcsseldorf Art Academy from 1976 to 1980. The artistic guidelines <\/span>of his professor and later colleague still influence him today. Katsuhito Nishikawa has realised numerous <\/span>buildings, art on building projects and sculptures in public spaces. He is also active as a painter, <\/span>photographer and designer.<\/span><\/div>\n
<\/div>\n
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1<\/span><\/strong> In 1987, the collector Karl-Heinrich M\u00fcller (D, 1936 – 2007) founded the Museum Insel Hombroich, an <\/span>ensemble of landscape, architecture and art. It is a landscape conservation area and habitat for numerous <\/span>animal and plant species. In 1994 he acquired the nearby former Nato missile station Hombroich. Together with <\/span>Erwin Heerich and Oliver Kruse, Katsuhito Nishikawa was instrumental in the conversion and redesign of the <\/span>site. The area serves as a living and working space for artists and scientists as well as a venue for cultural events.<\/span><\/p>\n

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<\/div>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/section>

Works in the exhibition<\/span><\/h4><\/div><\/div>
<\/div>

EG Altbau<\/strong><\/p>\n

1. Am Teic<\/em>h, 2010 Oil on Canvas H. 100 x 140 cm<\/p>\n

2. Aqua,<\/em> 1991-94 Wood, plaster, painted H. 35 x 92 x 92 cm<\/p>\n

3. Aqua,<\/em> 1991-94 Wood, plaster, painted H. 35 x 92 x 92 cm<\/p>\n

4. An den Auen,<\/em> 2010 Oil on Canvas H. 100 x 138 cm<\/p>\n

5. Am Teich,<\/em> 2007 Oil on Canvas H. 51,5 x 100 cm<\/p>\n

6. Am Teich,<\/em> 2007 Oil on Canvas H. 51,5 x 100 cm<\/p>\n

7. Mauer,<\/em> 2012 Plaster, painted H. 38 x 16,5 x 15,5 cm<\/p>\n

8. Torso,<\/em> 2008\/13 Bronze, painted H. 56 x 12,5 x 10 cm<\/p>\n

9. Architektur,<\/em> 2012 Bronze, painted H. 10,5 x 39 x 39 cm<\/p>\n

10. Cathedral,<\/em> 2015 Wood, plaster, painted H. 60,5 x 17,5 x 17 cm<\/p>\n

11. Ohne Titel,<\/em> 2009 Wood, plaster, painted H. 41 x 37 x 37 cm<\/p>\n

12. Arena,<\/em> 2016 Plaster, painted H. 11,5 x 30 x 30 cm<\/p>\n

13. Traces,<\/em> 2011 Wood, plaster, painted H. 30 x 19,5 x 19 cm<\/p>\n

14. Ohne Titel,<\/em> 2011 Wood, plaster, painted H. 27 x 19 x 19 cm<\/p>\n

15. Turm,<\/em> 2020 Wood, plaster, painted H. 68 x 9 x 9 cm<\/p>\n

16. Terrasse,<\/em> 2013 Wood, plaster, painted H. 17 x 25,5 x 25,5 cm<\/p>\n

17. Fl\u00fcgel,<\/em> 2022-23 Lead, plaster, paper, Paint on Wood. H. 120 x 240 cm<\/p>\n

18. Ohne Titel,<\/em> 2012 Wood, plaster, acrylic glass, painted H. 57 x 36 x 36 cm<\/p>\n

19. Ohne Titel,<\/em> 2012 Wood, plaster, acrylic glass, painted H. 57 x 36 x 36 cm<\/p>\n

20. Tete-a-Tete Stuhl,<\/em> 1997, Laminated wood, H. 70 x 120 x 60 cm<\/p>\n

21. Color as shadow\/Piero,<\/em> 2005 24 Colour chart, acrylic glass, silver wire je. H. 30 x 42,3 x 3,4 cm<\/p>\n

22. Tanit,<\/em> 2006 Wood, plaster, painted H. 291 x 11 x 11 cm<\/p>\n

23. Color as shadow\/Ultimate Blue,<\/em> 2005-06 Acrylic glass, silver wire H. 59,7 x 59,7 x 3,4 cm<\/p>\n

24. Color as shadow\/Ultimate Blue,<\/em> 2005-06 Acrylic glass, silver wire H. 59,7 x 59,7 x 3,4 cm<\/p>\n

25. Color as shadow\/Ultimate Blue,<\/em> 2005-06 Acrylic glass, silver wire H. 59,7 x 59,7 x 3.4 cm<\/p>\n

26. An den Auen,<\/em> 2018-20 \u00d6l, Encaustic, acrylic paint, silver wire on cardboard H. 75 x 100 cm<\/p>\n

27. Primavera\/Paravent,<\/em> 2020 Oil crayon, acrylic paint, silver wire on paper H. 151 x 327 cm<\/p>\n

28. Barcelona,<\/em> 1997 Wood, plaster, painted H. 55 x 32 x 32 cm<\/p>\n

29. Tisch f\u00fcr Teezeremonie,<\/em> 2023 Laminated wood H. 60 x 99 x 99 cm<\/p>\n

30. Ohne Titel,<\/em> 1986-88 Drawings, pigment ink, pencil, oil paint on paper, je H. 29,7 x 42 cm<\/p>\n

2. OG<\/strong><\/p>\n

31. Ohne Titel\/Ei,<\/em> 1995-96 Wood, painted H. 164 x 108 x 108 cm<\/p>\n

32. Ohne Titel,<\/em> 2014 Wood, plaster, painted H. 83 x 39 x 39 cm<\/p>\n

33. Ohne Titel,<\/em> 2014 Wood, plaster, painted H. 83 x 39 x 39 cm<\/p>\n

Neubau<\/strong><\/p>\n

34. Physalis,<\/em> 2004 Concrete. H. 84 x 100 x 100 cm<\/p>\n

35. Physalis,<\/em> 1994\/2019 Wood, paper, organza, LED per physalis ca. 60 x 30 x 30 cm<\/p>\n

36. Am Teich\/Due Torri,<\/em> 2009 Oil, encaustic on wood H. 42,5 x 63 cm<\/p>\n

37. Am Teich\/Due Torri,<\/em> 2009 Oil, encaustic on wood . H. 42,5 x 63 cm<\/p>\n

38. Chaise Longue,<\/em> 1990 Laminated wood H. 71 x 60 x 145 cm<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/section>\n","protected":false},"excerpt":{"rendered":"

KATSUHITO NISHIKAWA (JP, DE)
\n25.05.2023 \u2013 28.02.2024<\/p>\n","protected":false},"author":5,"featured_media":35330,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[20,31,508],"tags":[125,334,656],"class_list":["post-35353","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-exh-archive-mdkm","category-exhibition","category-pk-kn-en","tag-japan-en","tag-moderne-kunst-en","tag-skulptur-en"],"_links":{"self":[{"href":"https:\/\/museumdkm.de\/en\/wp-json\/wp\/v2\/posts\/35353","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/museumdkm.de\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/museumdkm.de\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/museumdkm.de\/en\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/museumdkm.de\/en\/wp-json\/wp\/v2\/comments?post=35353"}],"version-history":[{"count":13,"href":"https:\/\/museumdkm.de\/en\/wp-json\/wp\/v2\/posts\/35353\/revisions"}],"predecessor-version":[{"id":36985,"href":"https:\/\/museumdkm.de\/en\/wp-json\/wp\/v2\/posts\/35353\/revisions\/36985"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/museumdkm.de\/en\/wp-json\/wp\/v2\/media\/35330"}],"wp:attachment":[{"href":"https:\/\/museumdkm.de\/en\/wp-json\/wp\/v2\/media?parent=35353"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/museumdkm.de\/en\/wp-json\/wp\/v2\/categories?post=35353"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/museumdkm.de\/en\/wp-json\/wp\/v2\/tags?post=35353"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}