Takesada Matsutani: drop in time
In his Paris studio, Japanese-born artist Takesada Matsutani talks about how he came to join the Gutai Art Association in 1963, moved to Paris in 1966, and how vinyl adhesive glue and graphite have sustained a practice ‘streaming into infinity’.
Coming of age in postwar Japan, artist Takesada Matsutani found himself longing ‘to make something beyond the canvas’. Gravitating to likeminded artists coalescing as the Gutai Art Association – gutai translating roughly to ‘concrete’ – and working increasingly with the new material of vinyl adhesive glue to make bulbous, three dimensional paintings, the artist eventually moved to Europe in 1966, finding employment in Stanley William Hayter’s Parisian engraving studio, Atelier 17, where engraving allowed Matsutani to ‘draw his imaginations’.
‘drop in time’, Matsutani’s first solo exhibition at Hauser & Wirth Somerset opens on Friday 28 September 2018. The exhibition, which has been organised in collaboration with Olivier Renaud-Clément, includes new paintings and a site-specific installation, alongside a selection of prints dating from the 1960s. In addition, a series of never-before-seen assemblages will be on view, offering an insight into the breadth of the artist’s practice.
Related StoriesView all
George Condo: In the Studio
This fall, we joined George Condo in his New York studio ahead of two major openings, his London exhibition, ‘Ideals of the Unfound Tru...
Working the Land
As fall visitors flock to Storm King, the historic outdoor museum in New York’s Hudson Valley, chi...
The Artist’s Library: Phyllida Barlow on Fernando Pessoa and ‘The Book of Disquiet’
‘Lines like these, which seem to spring into being on their own, independently of whoever says them, cleanse me of all the metaphysics...
Glenn Ligon: In the Studio
‘I'm interested always in the things that can be said and the things that cannot be said, or the things that are difficult to say, or t...
Marcel Duchamp: The Making of the Book
The author Henri-Pierre Roché once wrote aptly of Marcel Duchamp: ‘His finest work is his use of time.’
Beyond The Limit
‘I like painting because it’s something I can never come to the end of. . . . The thing to do is always to keep starting to paint, neve...
Black Peace Strategies for the Future of Humankind: Dedicated to Lorna Simpson
Lorna’s work resonates very closely with something in me. I was trying to figure out how I could put that feeling into music, almost li...
Thomas J Price: Moments of Truth
For more than two decades, Thomas J Price has been challenging the expectations and assumptions of those who encounter his art. Working...
A reading and response to the poems of Erna Rosenstein by The Wooster Group
Born in 1913 in Lwów (now the Ukrainian city Lviv) and raised in Kraków, Poland, Rosenstein emerged as part of the Polish avant-garde...
A Dynasty of Imaginary Creatures: George Condo on William S. Burroughs
In 1989, the artist George Condo, then 32 years old, met the writer William S. Burroughs, who had just turned 76, and the two began an...
A Museum Disguised as a Shop
In 2017, for the catalog of the Gordon Robichaux gallery’s first exhibition, ‘Ken Tisa: Objects/Time/Offerings,’ I interviewed Tisa, wh...
The Frisson of Difference
At a student house party in London some time in 2001, a boozed-up stranger started talking to Thomas J Price about a radical performanc...
The Life and Death (and Life) of Painting
Three years ago, Fondazione Prada gave renowned Swiss artist Peter Fischli carte blanche to organize an exhibition for its historic pal...
Sutures of Night
Memories haunt the insomniac. Interminable nights of wakefulness conspire with the past to bring forth long-forgotten events and their...
Henry Moore On the Loom
Mary Moore revisits West Dean College of Arts and Conservation in West Sussex almost 50 years after introducing her father to the schoo...
A Nest for Learning
We asked Lola Mercadal, Head of Front Desk at Hauser & Wirth Menorca, to tell us about the Education Lab, an initiative for local art c...
The Artist’s Library: Matthew Day Jackson on J.A. Baker’s ‘The Peregrine’
In this installment of ‘The Artist’s Library,’ a recurring series in ‘Ursula’ in which writer and editor Sarah Blakley-Cartwright speak...
Frank Bowling: London / New York with Mark Godfrey and Courtney Martin
On the occasion of his inaugural exhibition with the gallery, Sir Frank Bowling’s work was presented in both the gallery’s London and N...
On the occasion of ‘Biophilia,’ a joint exhibition of the work of Abigail Booth and Max Bainbridge at Make Hauser & Wirth Somerset—a un...
Livestream Test: Mozart’s ‘Idomeneo’ at Munich Opera Festival
Hauser & Wirth is honored to present a co-livestream event, in partnership with the world-renowned Bayerische Staatsoper and the Munich...
The Radar: Summer Exhibition Roundup
In a special installment of The Radar—a recurring feature in Ursula of uncommon cultural recommendations from across the world—we asked...
François Morellet: Rigorous Absurdity
On the occasion of ‘La dation François Morellet,’ a new exhibition opening 9 June at Centre Pompidou featuring 18 key works by the foun...
Screening Room: ‘Within Our Gates’
Selected by artist Gary Simmons: Oscar Micheaux’s landmark 1920 film ‘Within Our Gates,’ streaming all weekend, 18 – 20 June.
A Man Ahead of His Time: The Silent Films of Oscar Micheaux, Through the Lens of Juneteenth
‘If I were to just show the beauty of who and what we are and celebrate certain identities without touching some of the scars that make...
I am staring at Tetsumi Kudo, who is staring at Tetsumi Kudo enclosed in a birdcage.
I remember vividly the strong draw to the i...
‘Our own body could be considered, from a topological point-of-view, a landscape with mounds and valleys and caves and holes. So it see...
Manto Tupinambá: Memories
On the occasion of ‘Lygia Pape: Tupinambá,’ the first solo exhibition in Los Angeles of the work of Lygia Pape (1927-2004), Ursula revi...
The Radar: Adeline Ooi
In this installment of The Radar—our uncommon cultural recommendations from around the globe and across the decades—Adeline Ooi, Direct...
Global Fax Festival: A New Performance Dedicated to Butch Morris by David Hammons
For the first time ever, David Hammons, in collaboration with Los Angeles’ venerated Mon...