EDUCATION KIT
| ARTIST FOLIOS
KENTARO HIROKI
THAILAND / JAPAN
Rubbish, 2016
1
Kentaro Hiroki (b. 1976, Osaka, Japan) has methodologically
hand-copied receipts, tickets, rubbish and other everyday
objects as a process of documenting his daily travel and
activities since 1998. With a focus on the relationship
between use-value and meaningfulness, his practice
resides in the domain of translation and conversion.
Hiroki obtained his MFA in Fine Art from at Malmö Art
Academy, Sweden in 2003, and is currently a lecturer at
the School of Architecture and Design at King Mongkut’s
University of Technology Thonburi, Bangkok, where he
has been based for the past decade. He has presented
his documentation of everyday life in six solo exhibitions
and a group show in countries such as the UK, Norway,
Germany, Sweden, Thailand, South Korea and Hong Kong.
He lives and works in Bangkok.
The artwork Rubbish is the outcome of an action research
that the artist Kentaro Hiroki conducted in a series
of field trips around Singapore. After observing and
studying objects he chose from the streets, Hiroki made
paper reproductions of these objects with simple pencil
drawings, completed with colour pencils. As he created
each object, Hiroki observed that his body and mind
settled in place. In exploring the dichotomy
1
of things
being useful/useless, meaningful/meaningless, he believes
that his work “addresses the value of self-reflection”.
THE ARTIST
THE IDEA
EDUCATION KIT
ARTIST FOLIOS
KENTARO HIROKI
Rubbish, 2016
1
Dichotomy: contrast between two things that are entirely different.
2
Colour pencil on paper (8 pieces)
Various dimensions
Collection of the Artist
Singapore Biennale 2016 commission
THE ARTWORK
EDUCATION KIT
ARTIST FOLIOS
KENTARO HIROKI
Rubbish, 2016
Image courtesy of Singapore Art Museum
3
OBSERVE AND DISCOVER
KENTARO HIROKI
Rubbish, 2016
1. Look at the artwork closely.
What is the artwork made of?
2. Each object in the installation was selected and
created by the artist based on his observation of
rubbish on the streets of Singapore. Do you think the
objects selected are representative of the rubbish
found in Singapore? Why or why not?
3. If you were to add one more object to the installation,
what would it be, and why?
4. After an object is used, it loses its economic value and
turns into rubbish. The artist has created art based on
such objects. What message do you think the artist
wishes to convey in his artistic process?
5. Titled Rubbish and comprising objects scattered on
the floor like debris, on what basis could this work be
considered art? And on what basis might it not be
considered art?
A. In his artwork Rubbish, Hiroki has used the technique
of appropriation
2
. Similarly, gather a few friends and
come up with your own version of the artwork.
You can consider creating different categories of
rubbish, such as waste found in offices, restaurants,
homes, etc.
B. Learn more about the rubbish disposal system (and
recycling efforts) around your neighbourhood and
find out how you can contribute to it.
GUIDING QUESTIONS
SUGGESTED ACTIVITIES
2
Appropriation: the intentional borrowing, copying and changing of existing images and objects.
BU Gallery (2015, April 22). SOUND OF SILENCE //
Kentaro Hiroki. Retrieved July 17, 2016, from
https://youtu.be/qt0kG1FR_Kw
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FIND OUT MORE
INTERVIEW
BU Gallery (2014, December 14). MEMERANDUM –
KENTARO HIROKI. Retrieved July 17, 2016, from
https://youtu.be/vYCSk0yMcLg
BU Gallery (2015, March 30). Sound of Silence
// Kentaro Hiroki. Retrieved July 17, 2016, from
https://youtu.be/zo7HDpX7UUc
ARTWORK
KENTARO HIROKI
Rubbish, 2016
5
EDUCATION KIT
ARTIST FOLIOS
AN ATLAS OF MIRRORS
AT ONCE, MANY WORLDS
FROM WHERE WE ARE,
HOW DO WE PICTURE THE WORLD —
AND OURSELVES?
Humankind has always devised ways of seeing
beyond sight. Two such instruments are the map
and the mirror, which make visible more than
just physical terrains. While the atlas – a book of
maps – locates where we are and charts where
we want to go, the mirror shows us to ourselves,
sometimes unreliably, and in curious ways.
Through an exploration of the literal and
metaphorical characteristics of atlas and mirror,
An Atlas of Mirrors reveals artistic perspectives
that arise from our migratory, intertwining
histories and cultures, particularly in Southeast,
East and South Asia.
ABOUT SINGAPORE BIENNALE 2016
The main title of the Biennale is woven through nine
‘conceptual zones’, or subthemes, which locate each
artwork in particular curatorial contexts. These zones
shape the flow of the Biennale experience, like chapters
in a book or sections in a poem. Like the title – ‘An Atlas
of Mirrors’ – which is built on the relationship between
a collective noun (“an atlas” as the collective noun) and
what is being thought of ‘collectively’ (“mirrors”), these
zones are conceptually themed along specific collective
nouns and what they hold together for contemplation
and experience. Artworks located within each zone
resonate on many levels, and at the same time, all nine
zones coincide, intertwine and reflect each other along
the conceptual continuum of ‘An Atlas of Mirrors’ as
a whole.
Each zone represents concepts, ideas and ways of seeing
as explored in the 58 artworks and projects.
• GEOMETRY & GEOGRAPHY
• MIRRORS & MAPS
• SPACE & PLACE
Where is ‘reality’, if every mapped ‘here’ is mirrored?
Here, where culture-mapped territories and regions
wend their way amidst world histories contained
within art’s histories, a mirror-scaled dragon heaves,
bewilderingly opening up infinite flights of stairs within
the curve of the stairwell in the heart of the museum.
Elsewhere, maps of present-day Sri Lanka and old
Ceylon jigsaw across space and time, whilst a pair of
artist-doppelgangers doggedly do balancing acts.
Space and place are explored and glimpsed through
mirrors and cartography, conjuring symmetrical and
asymmetrical parallel worlds where the real, surreal,
abstract and imaginary overlap.
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NINE
CONCEPTUAL
ZONES
EDUCATION KIT
ARTIST FOLIOS
ABOUT THE ZONES
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© 2016 Singapore Art Museum | © 2016 Individual contributors
All works are © the artists unless otherwise stated. Information correct at the time of publication. All rights reserved.
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