Tang Contemporary Art is proud to announce the launch of a new solo exhibition “Tools are Validated” by the young Japanese artist Kaito Itsuki at the Bangkok Space on August 4th, 2022. The exhibition presents 17 fabulous paintings by Kaito Itsuki. When we use software, the word “validate” pops up a lot. After checking that
Tang Contemporary Art is proud to announce the launch of a new solo exhibition “Tools are Validated” by the young Japanese artist Kaito Itsuki at the Bangkok Space on August 4th, 2022.
The exhibition presents 17 fabulous paintings by Kaito Itsuki.
When we use software, the word “validate” pops up a lot. After checking that each tool is working correctly, the application would display “Tools are validated” on the screen. In Kaito Itsuki’s paintings, “Tools are validated” appears as both text and image. Human identity (personality) is used as a medium for information exchange.
While utilizing various tools in validation and connection with other people, humans are being transformed into tools. Bruno Latour believes that man is not a transcendental subject, but an embodied existence. This
embodiment exists through the process of “internalization” (dans le rabat) and the communication based on “plug-in”. “Plug-in” is a network term. When people want to realize their subjectivity, they must download certain plug-ins to acquire a certain function. Therefore, only by “identifying with certain movable plug-ins and downloading these plug-ins can people acquire on-site and temporary functions”. In paintings, tools exist to realize subjectivity. Then what “tools” do we need to survive in society? When we find a “tool”, we would try to figure out whether the tool is right for us and how it can make us feel comfortable. It is also an exploration of our identities and the reasons behind our choices. Without self-analysis, people can’t get what they really need.
Kaito Itsuki studies how people learn about themselves, which is also a process of constantly “internalizing” the attributes of objects into themselves.
In addition, Kaito Itsuki often mentions the concept of けじめ (kejime). When all empirical facts need to be defined and systematized, the authority of knowledge-centrism (Alfred Jules Ayer) should be established.
However, when the meaning of a proposition is solely responsible for its symbol, there would be much more freedom and fun. けじめ (kejime) originally means “distinction”, but it is also the etyma of “けじめを取る, kejime o toru” (take responsibility). In Japan, “responsibility culture” and “shame culture” have been prevailing. Kaito Itsuki fully demonstrates the national psyche in her paintings. She takes us to indulge in this speculative visual tour and play around in this ravine between modern discipline and subject spirit. At the same time, the artist’s thinking on painting and handicraft is delicate yet direct, which facilitates expensive gameplay.
In an innovative way, Kaito Itsuki’s paintings guide people to learn multidisciplinary knowledge through visual perception: the new philosophy of technology, terminology, praxeology, subculture, nation and region, gender relations, etc. All these require the artist to act like a coder. Presumably, “Tools are validated” is her key, as well as her mysterious work habit or motto.