Masato Takasaka

Masato Takasaka, ANOTHER PROPOSITIONAL MODEL FOR THE EVERYTHING ALWAYS ALREADYMADE WANNABE STUDIO MASATOTECTURES MUSEUM OF FOUND REFRACTIONS 1994-2013 (r)eternal return to productopia-almost everything all at once, twice three times (in four parts…) less is more is more is mori art museum RX2013 remix), 2013. Mixed media, found objects, structural pine, mdf composition board, light box, digital collage of the artist's past works from 1994-2013. Image courtesy Jake Walker.
Masato Takasaka, ANOTHER PROPOSITIONAL MODEL FOR THE EVERYTHING ALWAYS ALREADYMADE WANNABE STUDIO MASATOTECTURES MUSEUM OF FOUND REFRACTIONS 1994-2013 (r)eternal return to productopia – almost everything all at once, twice three times (in four parts…) less is more is more is mori art museum RX2013 remix), 2013.

Living Room Arrangement (2013), Installation View, Margaret Lawrence Gallery. Image courtesy Jake Walker. Madeline Kidd and Masato Takasaka, Living Room Arrangement, 2013, Installation View, Margaret Lawrence Gallery.

m.t. after m.t. (2008) after m.k. (2002) for f.d. #1 (2013), Image courtesy Estelle Ihász.
Masato Takasaka, m.t. after m.t. (2008) after m.k. (2002) for f.d. #1, 2013.

m.t. after m.t. (2008) after m.k. (2002) for f.d. #1 (2013), in process, rear view.   Image courtesy Dilana Workshop.

Masato Takasaka
(Untitled)


Masato Takasaka’s practice emanates from a circuitous, self-reflexive recycling of materials, contexts, texts, titles, historical references and biographical ephemera: “reiterative principles… combining old work, studio detritus, abandoned models from architecture school and even packaging and drinks cases from his parents’ Japanese supermarket in a kind of self-curated mini-retrospective” (Rex Butler, ‘Prog-Art’, Australian Art Collector, 54, 2010).

Takasaka’s forthcoming artist book will synthesise documentation of installations, already-made texts and artworks, including a selection of Takasaka’s Post-Structural Jam (Shut Up! We Know You Can Play!…) (2009) ‘degree-zero collages’.  The book will simultaneously function as a manifesto and as a dissembled archive of Studio Masatotecture projects (progressive masatotecture + design + masterplanning the universe in space + time 1994-2013).


FUNDRAISING

To raise funds to cover the production costs of Masato Takasaka’s forthcoming book, 3-Ply has commissioned Takasaka to produce a series of one-off rugs. Each rug is based on a different drawing from Takasaka’s series m.t. after m.k. (2002) (2008), in which he made copies of a painting Colour Study (2002), made by his partner Madeline Kidd, that had reminded Takasaka of a Kandinsky/Fauvist-inspired painting he once made in high school. Kidd’s art practice includes an ongoing interest in curating contemporary artworks into real and fictional domestic settings. Thus, Takasaka’s homage to Kidd’s painting, reproduced in rug form, offers a material tribute to his partner’s art practice, and celebrates the home as an integrative space for contemporary art.

Each rug is 2.4 m x 1.6m, hand-tufted, made from 100% New Zealand merino wool, suitable for heavy residential and commercial use. The first rug in the series, titled m.t. after m.t. (2008) after m.k. (2002) for f.d. #1 (2013), was exhibited at the Margaret Lawrence Gallery, Melbourne, May 30-June 23 2013 as part of Kidd and Takasaka’s installation Living Room Arrangement (2013) in the Third/Fourth Melbourne Biennial, coordinated by Christopher L.G. Hill.  Further rugs in the series will be made-to-order (approximate delivery time 6-8 weeks).

Image coLiving Room Arrangement (2013), Installation Detail, Margaret Lawrence Gallery. Image courtesy Jake Walker.m.t. after m.t. (2008) after m.k. (2002) for f.d. #1 (2013), Installation view, Residence of M.T. and M.K. with M.T.. Image courtesy Estelle Ihász.