{"id":35,"date":"2024-03-13T11:29:33","date_gmt":"2024-03-13T11:29:33","guid":{"rendered":"http:\/\/keithwhittle.org\/?page_id=35"},"modified":"2026-10-25T05:16:22","modified_gmt":"2026-10-25T05:16:22","slug":"events","status":"publish","type":"page","link":"https:\/\/keithwhittle.org\/?page_id=35","title":{"rendered":"Events"},"content":{"rendered":"

\"Kyunchome\"<\/p>\n

Artist Talk: Kyunchome in conversation with Keith Whittle<\/h4>\n

ArtLink, Inishowen<\/strong><\/p>\n

Talk by Kyunchome accompanying All Living Things Are Breathing Now<\/em>, the Japanese artist duo\u2019s first solo exhibition in the British Isles. The exhibition explored the sea and intertidal zones as spaces where humans and other species coexist, examining the connections between ecological, cultural, and spiritual forms of life.<\/p>\n

\"\"<\/h3>\n

Curator Talk: The Biennialisation of Contemporary Art: Global Circuits, Local Contexts.<\/h4>\n

ArtLink, Inishowen<\/strong><\/p>\n

Keith Whittle opened a programme of five talks featuring Lewis Biggs, Shubigi Rao, Fram Kitagawa, and Leah Gordon. His keynote explored \u201cBiennalisation\u201d and the growing influence of international biennials on artistic production, curatorial practice, cultural policy, and audiences, with particular attention to contemporary art emerging beyond Western contexts.<\/p>\n

\"Leah<\/p>\n

Artist & Curator Talk: Leah Gordon<\/h4>\n

ArtLink, Inishowen<\/strong><\/p>\n

In a talk moderated by Keith Whittle, artist, curator, and Ghetto Biennale co-founder Leah Gordon discussed the origins of the Biennale as a response to social, racial, class, and geographic divisions. She reflected on encounters between different artistic and cultural contexts and the new relationships and practices that can emerge from them.<\/p>\n

\"\"<\/h3>\n

Artistic Director Talk: Fram Kitagawa<\/h4>\n

Void Art Centre, Derry, Republic of Ireland<\/strong><\/p>\n

Fram Kitagawa discussed the ideas behind the Echigo-Tsumari Art Triennale, which he has directed since its founding in 2000. The talk explored how contemporary art can respond to rural communities, ecological challenges, and social change, and how the Triennale\u2019s integration of art, local culture, and landscape has influenced contemporary art in Japan.<\/p>\n

\"Kochi-Muziris<\/p>\n

Artist & Curator Talk: Shubigi Rao<\/h4>\n

ArtLink, Inishowen<\/strong><\/p>\n

Shubigi Rao discussed her multidisciplinary artistic practice and her role as curator of the Kochi-Muziris Biennale. Her work brings together archaeology, neuroscience, libraries, archives, literature, violence, ecology, and natural history, using these diverse fields to explore memory, knowledge, loss, and contemporary social and cultural concerns.<\/p>\n

\"\"<\/p>\n

Artistic Director & Curator Talk: Lewis Biggs<\/h4>\n

ArtLink, Inishowen<\/strong><\/p>\n

Lewis Biggs discussed the development of the Liverpool Biennial and its position within the international biennial movement. He explored the challenges faced by earlier biennials and explained how Liverpool developed a distinctive model that became important to the city, its communities, its artists, and the wider international contemporary art scene.<\/p>\n

\"'Mari<\/p>\n

Artist Talk: Mari Katayama<\/h4>\n

Royal Society of Arts, London<\/strong><\/p>\n

The Royal Society of Arts, White Rainbow, and the Japan Foundation presented an artist talk with Mari Katayama accompanying her solo exhibition at White Rainbow. Katayama discussed the relationship between her physical challenges, artistic practice, and body image, followed by a conversation with Simon Baker, director of the Maison Europ\u00e9enne de la Photographie.<\/p>\n

\"Daisuke<\/p>\n

Artist Talk: Daisuke Ida in conversation with Keith Whittle<\/h4>\n

3331 Arts Chiyoda, Tokyo<\/strong><\/p>\n

Daisuke Ida and Keith Whittle discussed Ida\u2019s artistic process and his exploration of the aura and reproduction of artworks. Focusing on his reproduction of Auguste Rodin\u2019s The Gates of Hell<\/em>, the conversation examined how copying and multiplying an iconic sculpture can reactivate the original work and create new possibilities for interpretation.<\/p>\n

\"Meiro<\/p>\n

Artist Talk: Meiro Koizumi<\/h4>\n

Royal Society of Arts, London<\/strong><\/p>\n

White Rainbow and the Japan Foundation presented an artist talk with Meiro Koizumi accompanying his solo exhibition at White Rainbow. Koizumi introduced key works from his practice and discussed his approach to challenging subjects, followed by a conversation with Charlotte Knaup exploring the ideas and concerns underlying his work.<\/p>\n

\"Taro<\/p>\n

Artist Talk:\u00a0Taro Izumi<\/h4>\n

Jerwood Space, London<\/strong><\/p>\n

White Rainbow and the Japan Foundation presented an artist talk by Taro Izumi accompanying his solo exhibition at White Rainbow. Izumi discussed the themes and ideas behind his exhibition and earlier works in conversation with Mark Rappolt, Editor-in-Chief of ArtReview<\/em>, exploring his distinctive approach to contemporary art and performance.<\/p>\n

\"Aki<\/p>\n

\u2018Clothes Line\u2019 performance and catalogue launch: Aki Sasamoto<\/h4>\n

White Rainbow, London<\/strong><\/p>\n

Artist Aki Sasamoto presented a performance lecture at White Rainbow to coincide with her exhibition Clothes Line<\/em>. The event also marked the launch of a new catalogue accompanying the exhibition, bringing together Sasamoto\u2019s performance, installation, and sculptural practice with the themes explored in the exhibition.<\/p>\n

\"\"<\/p>\n

Artist Talk: Yuko Mohri<\/h4>\n

Camden Arts Centre, London<\/strong><\/p>\n

Following Yuko Mohri\u2019s first UK solo exhibition in 2017, White Rainbow hosted a conversation between Mohri and independent curator Jason Waite to coincide with her Voluta<\/em> exhibition at Camden Arts Centre. They discussed socially engaged and participatory art practices in contemporary Japan, with particular attention to the impact of the 2011 Fukushima disaster.<\/p>\n

\"Chim<\/p>\n

Artist Talk:\u00a0Chim\u2191Pom<\/h4>\n

ArtReview Bar, London<\/strong><\/p>\n

White Rainbow and ArtReview Asia<\/em> presented a screening programme and conversation with members of Tokyo-based artist collective Chim\u2191Pom. The group discussed their socially engaged practice, including projects addressing contested territories, public space, and the Fukushima Nuclear Zone, alongside a selection of performance works related to their solo exhibition at White Rainbow.<\/p>\n

\"Chikako<\/p>\n

Artist Talk:\u00a0Chikako Yamashiro<\/h4>\n

White Rainbow, London<\/strong><\/p>\n

White Rainbow hosted the launch of a new monograph on Chikako Yamashiro, coinciding with her solo exhibition Shapeshifter<\/em>. The publication featured a newly commissioned essay by Isabella Maidment and an artist response by Claire Potter, providing further perspectives on Yamashiro\u2019s practice and the themes explored through the exhibition.<\/p>\n

\"\"<\/p>\n

Publication Launch: Yuko Mohri<\/h4>\n

White Rainbow, London<\/strong><\/p>\n

White Rainbow launched the first catalogue dedicated to Yuko Mohri with a drinks reception and conversation between Mohri and Richard Wentworth. The publication focused on Mor\u00e9 Mor\u00e9 [Leaky]<\/em>, Mohri\u2019s exhibition at White Rainbow, alongside related texts and documentation of earlier works, providing context for her wider artistic practice.<\/p>\n

\"Installation<\/p>\n

Publication Launch: Overlay<\/h4>\n

White Rainbow, London<\/strong><\/p>\n

The closing event for Overlay<\/em> marked the launch of a publication accompanying the exhibition, which brought together four young artists with a historic work by Nancy Holt in response to the 10th Tokyo Biennale, 1970. The programme included a conversation with curator Jeremy Millar and a performance by Claire Potter.<\/p>\n

\"Shigeo<\/p>\n

Performance: Patrick Coyle and Jenny Moore<\/h4>\n

White Rainbow, London<\/strong><\/p>\n

For Fitzrovia Lates, Patrick Coyle and Jenny Moore presented a collaborative performance responding to White Rainbow\u2019s exhibition Index II<\/em> by Shigeo Anza\u00ef. Their improvised performance revisited a 1984 collaboration between Joseph Beuys and Nam June Paik, documented by Anza\u00ef. The event also marked the launch of a new monograph on Anza\u00ef.<\/p>\n

\"Satoru<\/p>\n

Artist Talk: Satoru Aoyama<\/h4>\n

ICA, The Mall, London<\/strong><\/p>\n

To accompany his exhibition Division of Labour<\/em> at White Rainbow, Satoru Aoyama presented an illustrated talk, Common Thread<\/em>, exploring his use of embroidery and the relationship between technology, gender, and labour. He later joined Dr Caterina Albano, Reader in Visual Culture and Science at Central Saint Martins, for a conversation about his practice.<\/p>\n

\"\"<\/p>\n

Performance: Ken Ikeda<\/h4>\n

White Rainbow, London<\/strong><\/p>\n

Ken Ikeda presented a 30-minute performance for Fitzrovia Lates in connection with Satoru Aoyama\u2019s exhibition Division of Labour<\/em>. The performance featured Ikeda\u2019s experimental approach to sound and visual art and accompanied Aoyama\u2019s embroidered Map of the World<\/em> series, which reflects on the relationship between contemporary art, technology, and global culture.<\/p>\n

\"One<\/p>\n

Curator Talk: Keith Whittle<\/h4>\n

The Japan Foundation, London<\/strong><\/p>\n

Keith Whittle presented One Place After Another: What Can Periodical International Contemporary Art Projects Share?<\/em>, examining the growth of large-scale international exhibitions. A panel discussion with Yuko Hasegawa, Lewis Biggs, Koki Tanaka, and Mark Rappolt considered the opportunities and challenges these projects create for artists, curators, institutions, and audiences.<\/p>\n

\"\"<\/p>\n

Academic Talk: Kenji Kajiya in conversation with Keith Whittle<\/h4>\n

The Japan Foundation, London<\/strong><\/p>\n

Intervening in Nature<\/em> explored the development of non-museum-based art projects in Japan, from artist-led initiatives to large rural festivals. Kenji Kajiya and Keith Whittle examined the growth of site-specific exhibitions such as the Echigo-Tsumari and Setouchi Triennales, considering how these projects connect contemporary art with landscape, environment, and local communities.<\/p>\n

\"Ichiro<\/p>\n

Curator & Artist Talk: Ichiro Endo in conversation with Keith Whittle & Kaori Homma<\/h4>\n

The Japan Foundation, London<\/strong><\/p>\n

Post 3.11: What Can Art Do?<\/em> examined how artists responded to communities affected by the 2011 earthquake and tsunami in Tohoku. Ichiro Endo, Kaori Homma, and Keith Whittle discussed art\u2019s potential role in times of crisis, considering questions of community, social responsibility, recovery, and the relationship between artists and society.<\/p>\n

\"SHIMURAbros\"<\/p>\n

Artist Talk: SHIMURAbros in conversation with Keith Whittle<\/h4>\n

Central Saint Martins, University of the Arts London<\/strong><\/p>\n

SHIMURAbros presented Film Without Film<\/em>, exploring their approach to moving image, sculpture, and installation. Yuka and Kentaro Shimura discussed how technology and film history inform their practice and how they transform cinematic language into immersive spatial experiences. The event was presented in partnership with the Japan Foundation and Central Saint Martins.<\/p>\n

\"Adam<\/p>\n

Curator & Artist Talk: Keith Whittle, Sutapa Biswas &\u00a0Adam Chodzko<\/h4>\n

Beppu Project NPO, Japan<\/strong><\/p>\n

As part of the Beppu Contemporary Art Triennial 2015, Adam Chodzko and Sutapa Biswas joined curator and programme director Keith Whittle for a discussion about their artist residencies and exhibitions in Beppu. The conversation considered their practices and experiences working within the Fujiya Gallery and the wider context of the Triennale.<\/p>\n

\"David<\/p>\n

Artist Talk: David Blandy in conversation with Keith Whittle<\/h4>\n

Create London, The Rose Lipman Building, London<\/strong><\/p>\n

As part of Frieze London VIP events in 2013, David Blandy and Keith Whittle discussed Blandy\u2019s solo exhibition Anjin 1600: Edo Wonderpark<\/em>. The conversation explored his wider practice and earlier works, examining cultural identity through popular media including music, video games, manga, anime, and the visual languages of global popular culture.<\/p>\n

\"Daisuke<\/p>\n

Artist Talk:\u00a0Daisuke Ohba in conversation with Keith Whittle<\/h4>\n

The Daiwa Anglo-Japanese Foundation, London<\/strong><\/p>\n

Daisuke Ohba and Keith Whittle discussed The Light Field<\/em>, accompanying Ohba\u2019s London solo debut. The artist\u2019s paintings use iridescent pearl paint to explore light, perception, and pictorial space. The conversation considered how changes in viewing angle and illumination transform the surface, colour, and image of the work.<\/p>\n

\"Shigeko<\/p>\n

Curator Talk: Keith Whittle<\/h4>\n

Cornerhouse, Manchester<\/strong><\/p>\n

Keith Whittle presented Mirrored Lenses: A Brief History of Japanese Video and Media Art<\/em> alongside The Conquest of Imperfection<\/em>, the first major UK exhibition of Japanese media artist Masaki Fujihata. The talk explored Japanese moving-image and media art, tracing how artists have used technology to connect performance, sculpture, video, and digital practice.<\/p>\n

\"Liliane<\/p>\n

Artist Talk: Liliane Lijn<\/h4>\n

V&A South Kensington, London<\/strong><\/p>\n

Keith Whittle presented a series of talks at V&A South Kensington, beginning with kinetic art pioneer Liliane Lijn. Reflexions, Refractions, Inflexions: Matter and Light<\/em> explored Lijn\u2019s experiments with light, movement, language, film, liquids, and industrial materials, placing her influential practice within the wider history of kinetic and experimental art.<\/p>\n

\"\"<\/p>\n

Conference: Art in the Age of the Global Environment Conference<\/h4>\n

The Sainsbury Institute, Norwich<\/strong><\/p>\n

This two-day conference examined the international significance of rural contemporary art festivals in Japan. Discussions considered how festivals such as the Echigo-Tsumari Art Triennale and Setouchi Triennale respond to ageing populations, depopulation, rural decline, and natural disasters, while exploring their wider cultural, social, and environmental impact.<\/p>\n

\"\"<\/p>\n

Curator Talk: Keith Whittle<\/h4>\n

Arts Initiative Tokyo (AIT), Tokyo, Japan<\/strong><\/p>\n

Keith Whittle\u2019s Biennial Fever: An Anthology of Perennial International Exhibitions of Contemporary Art<\/em> examined the rise and influence of international biennials. The talks considered how \u201cBiennalisation\u201d has shaped artistic production, curatorial practice, cultural policy, and public engagement, alongside the growing visibility of contemporary art from regions beyond Europe and North America.<\/p>\n

\"\"<\/p>\n

Symposia: Art School Futures: What Does It Mean to Be an Art Graduate in 2013?<\/h4>\n

Tokyo University of the Arts, Japan<\/strong><\/p>\n

This international symposium explored the changing experience of art graduates and the structures supporting emerging artists. Co-organised by Keith Whittle and Tokyo University of the Arts, the event brought together artists, curators, educators, students, and graduates from Japan and the UK to discuss careers, professional development, and international perspectives.<\/p>\n

\"\"<\/p>\n

Curator Talk: Alessio Antoniolli<\/h4>\n

University of Sunderland<\/strong><\/p>\n

Alessio Antoniolli, Director of Gasworks, London, discussed his career and the development of Gasworks\u2019 distinctive studio and residency programme. He explored how artists are selected for exhibitions and residencies and considered the importance of creative communities and places such as Vauxhall within London\u2019s contemporary art ecosystem.<\/p>\n","protected":false},"excerpt":{"rendered":"

Artist Talk: Kyunchome in conversation with Keith Whittle ArtLink, Inishowen Talk by Kyunchome accompanying All Living Things Are Breathing Now, the Japanese artist duo\u2019s first solo exhibition in the British Isles. The exhibition explored the sea and intertidal zones as spaces where humans and other species coexist, examining the connections between ecological, cultural, and spiritual […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":3,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-35","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/pages\/35","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/keithwhittle.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=35"}],"version-history":[{"count":131,"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/pages\/35\/revisions"}],"predecessor-version":[{"id":8166,"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/pages\/35\/revisions\/8166"}],"wp:attachment":[{"href":"https:\/\/keithwhittle.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=35"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}