MUJIN-TO Production is pleased to announce Tsubasa Kato’s solo exhibition “Still the Never-World,” starting from 26th Oct, 2013.

Kato has been executed his “Pull and Raise” project -many people pull up various structures mimicking his or his friends house, or sometimes buildings such as a lighthouse- in various locations. “Pull and Raise” requires many people’s forces to be joined as it slowly pulls up a huge structure and let it stand up. With the emergence of such event, people who would’ve never encountered before gather up while the structure exists as the catalyst, and people share the very moment the structure starts to move.

This time at the exhibition “Still the Never-World,” Kato is presenting art pieces that were created while he was wandering all over the U.S.A. from late 2012 to 2013 visiting different cities; for instance, New Orleans, where the scar of Hurricane Katrina still remains, and Detroit, where recently the city went bankrupt. He will show some pieces from the following project which took place in a Native American Reservation in North Dakota as well.
During his journey in the US, Kato witnessed how the American globalism, all build up with the so-called “freedom” and “capitalism,” is taking over diverse localism. Meanwhile, he decided to hold the initial “Pull and Raise” project in the US, and chose North Dakota as its location and had flew back there for the second time.
Kato will be showing the outcome of the whole project that includes two “Pull and Raise” performances: one as a 10m tall “Tipi,” a significant mobile housing of the native americans, and also a boarding school, facility part of the assimilation policy against the native americans.

Kato’s project develops employing individual locality with the action of pulling and raising up a structure. The action of pulling itself can sometimes be only a temporary association while working together with locals, on the other hand, there certainly is shareable essence between the moment of action and in the artwork. Furthermore, the action of “Pull and Raise” lets us grasp the simple, but unconscious existence of the universal gravitation surrounding this world, and it may seemingly be resisting to such fundamental force. Kato attempts to tangibilize all sorts of issues and draw attention by literally pulling up those matters from its unacknowledged circumstances. This may be his peculliar way of presenting new future by tearing off the context from the ground and let the structure -metaphor of the context- move onto its next phase.

However, as a matter of fact, Kato’s project contains subtle and indescribable sense of catharsis, which is one of the very essence of his art. The fact that there exists some sort of sympathy among those who actually participate in the “Pull and Raise” and those who see his artwork is the true worldview of Kato. Rather, because of it is something indescribable, we are able to acknowledge the profundity and power of Kato’s work, and come to realize the power of art after all.

Please visit us and come witness the world of Kato’s project.