FAR TSUSHIN is a project that centres around reviewing and critiquing physical exhibitions, online works and shows, and individual paintings and pieces of artwork. London-based artist Nobutaka Asanuma and Glasgow-based artist Masaki Ishikawa run it, which was conceived in December 2020 and launched in January 2021. The project involves posting research-based reviews and criticism on our website in English and Japanese and promoting them on Twitter. We currently publish reviews of contemporary art exhibitions in the UK, USA, Germany and Saudi Arabia. In the future, we aim to increase the number of authors living in different countries and cities and to create a powerful platform for information and reviews of contemporary art exhibitions. If you are interested in joining us, please feel free to contact us.


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Nobutaka Asanuma (NOBU)

Nobutaka Asanuma (NOBU) was born in Tokyo, Japan, in 1993 and is currently a student of Fine Art at Central Saint Martins, UAL, where he makes 2D and 3D works. The main subject is the social problems in our environment - including environmental issues. He is also interested in disseminating information based on his own experiences and has a personal blog about his work and arts movement.

1993年に東京で生まれた浅沼亘尊(NOBU)は、現在Central Saint Martins(UAL)のFine Art学科に在籍し、2Dおよび3D作品を制作しています。主な題材は、環境問題を含む私たちの環境における社会問題です。また、自身の経験に基づいた情報発信にも関心を持ち、個人のブログでは自分の作品や芸術運動についての投稿を行っています。

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Masaki Ishikawa


Masaki Ishikawa is a visual artist who currently works predominantly on paintings based on postcards. The postcards he uses as subject matter are often second-hand and bought from the overlooked corners of eBay and other sites. Ishikawa feels that the mass-produced front side, printed with typical travel experiences of each place, and the sender’s personal experiences and messages to the addressee written on the backside, hold the moment when a reproduction turns into an original in the form of a souvenir.

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© Julie Curtis

Duality and femininity | Julie Curtis: Monads and Dyads

This time we would like to introduce you to Julie Curtis' "Monads and Dyads", an exhibition previously held at White Cube.

Born and raised in Montreuil, Paris, Curtis studied at École des Beaux-Arts in Paris before moving to Japan and then to New York, where she currently lives and works in Brooklyn. Her work draws on a history of figurative painting, including 18th and 19th-century French artwork, Chicago Imagists, and the "pop" imagery of cartoons and illustrations. She questions the history of the objectification of women by reconstructing the archetypes of femininity in a surrealist way. She uses unexpected combinations of subject and object, visible and invisible, and exaggerated illustrative forms to express the uncanny of the familiar and the grotesque and surreal nuances of human character and behaviour.

The title of the exhibition, Monads and Dyads, is a term used in mathematics, philosophy, sociology and mysticism. A monad is a single, singular or unitary object, self-contained and indivisible, represented by a circle. In connection with God, examples include mandalas and haloes. The dyad indicates two, doubling, a potentially generative union, alluding to two-dimensional systems and conflict dynamics. She found that it resonated with her perception of contemporary society. Even before the pandemic necessitated physical quarantine, she found that it resonated with her perception of modern society: its tendency towards individualism and atomisation and the increasing polarisation of identity and public opinion.

In addition to this, Curtis focuses on dualities such as male and female, attraction and aversion, animate and inanimate, and elements such as twins, duality and reflection (sometimes false) are evident in his work. He links these dualities to the four archetypes of Jungian archetypes: the persona (mask), the shadow (instinct or repressed desire, sometimes in the form of a beast), the anima or animus (the feminine in the male psyche and vice versa) and the self (the union of the conscious and unconscious, often represented by a circle). These are the keys to deciphering the vital elements in her work: the false face, the twin selves, the occasional fang or claw, the dark carnal current in the image.

In ≪Coldroom 1», the human impulse to sanitise nature, and the reluctance to face the physical reality of animal slaughter and consumption, is expressed in glossy flesh and clinical rooms. In her work, she uses the texture of hair as a substitute for animal flesh.

≪Le Future» (French for "the future") is a unique adaptation of Georges Seurat's "La Grande Jutte". It encompasses the emotions experienced during the pandemic isolation and lockdown, the desire to see nature and the outside world, and freedom from the year-long curfew. She considers her paintings an Eden-like paradise, and the fact that half of the figures are naked is a kind of original sin. In addition, the rearview manifests a gentrified landscape, with buildings reminiscent of the Williamsburg waterfront. Thus, the painting appears positive on the surface, but despite its title, it is, in fact, about dystopia, nature, and the longing for freedom.

≪Interstice», a work of personal interest to me, depicts a girl with no facial expression, twilighting on a balcony between buildings. We wonder what she is thinking about, her family problems or her relationships, and whether the contrasting buildings represent the gap between rich and poor or some other duality. Her work encourages us to think about the relationship between the individual and society.

二元性と女性らしさ|Julie Curtis: Monads and Dyads

今回は、以前White Cubeで行われた展示Julie Curtis(ジュリー・カーティス)の”Monads and Dyads”(モナド・アンド・ダイアード)を紹介したいと思います。


展示のタイトル『Monads and Dyads』(モナド・アンド・ダイアード)は、数学・哲学・社会学・神秘主義などで用いられる用語です。モナドは、1、単数または単体を示し、自己完結的で不可分なものであり、円で表現されます。神に関連し、曼荼羅や光輪に見ることができます。ダイアードは、2、倍加を示し、潜在的に生成的な結合であると同時に、二次元的なシステムや対立の力学を暗示しています。パンデミックの影響で物理的な隔離が必要になる前から、個人主義や原子化の傾向、またアイデンティティや世論の二極化の進行という、現代社会に対する自らの認識と共鳴していることを彼女は発見したのです。


“Coldroom 1”では、自然を衛生的にしようとする人間の衝動、動物の屠殺・消費という物理的な現実を直視したくない気持ちなどが、光沢感のある肉や臨床的な部屋に表れています。彼女の作品では、動物の肉の代用として髪の毛の質感を使っています。

”Le Future”(フランス語で「未来」の意)は、ジョルジュ・スーラの”La Grande Jutte”を独自にアレンジしたもので、パンデミックによる孤立やロックダウン中に経験した感情、自然や外の景色を見たいという願望と1年間の外出自粛からの自由が内包されています。彼女は、自身の絵画作品をエデンのような楽園と考え、人物の半分が裸に描かれているのは原罪のようなものだと考えています。後方の景色は、ウィリアムズバーグのウォーターフロントを思わせる建物を配置することで、ジェントリフィケーション(高級化)された風景を明示しています。このように、表面的にはポジティブな絵に見えますが、そのタイトルとは裏腹に実際にはディストピア・自然や自由への憧れを描いています。