Rinko Kawauchi, one of the most celebrated young photographers in Japan today, presents her solo exhibition in Milan at Galleria Carla Sozzani, after exposing it for the first time in Europe in Paris, at the Fondation Cartier pour l’art contemporain, in 2005. For this event, the artist has chosen to show a large selection of photographs from the AILA series (2004) and exhibit her two most recent series: cui cui and the eyes, the ears.
Rinko Kawauchi captures with her camera the details of everyday life that are all too easily missed by the busy passer-by—a faucet dripping water, the crack in a watermelon, a spoon full of tapioca. Seen through the well attuned eyes of the artist, these ordinary objects and occurrences take on another character; they become charged with beauty, poetry and emotion. Kawauchi assembles her photographs in sequences, creating subtle, open-ended narratives that she publishes in the form of books. Juxtaposing her images in a way that reveals unexpected conflations of forms, moods or atmospheres, she encourages us to engage with the infinite wonders of the world.
Rinko Kawauchi, one of the most celebrated young photographers in Japan today, presents her solo exhibition in Milan at Galleria Carla Sozzani, after exposing it for the first time in Europe in Paris, at the Fondation Cartier pour l’art contemporain, in 2005. For this event, the artist has chosen to show a large selection of photographs from the AILA series (2004) and exhibit her two most recent series: cui cui and the eyes, the ears.
Rinko Kawauchi captures with her camera the details of everyday life that are all too easily missed by the busy passer-by—a faucet dripping water, the crack in a watermelon, a spoon full of tapioca. Seen through the well attuned eyes of the artist, these ordinary objects and occurrences take on another character; they become charged with beauty, poetry and emotion. Kawauchi assembles her photographs in sequences, creating subtle, open-ended narratives that she publishes in the form of books. Juxtaposing her images in a way that reveals unexpected conflations of forms, moods or atmospheres, she encourages us to engage with the infinite wonders of the world.