Karma International1/6/1Karma InternationalKarol<strong>in</strong>a DankowMar<strong>in</strong>a LeuenbergerHönggerstrasse 40CH-8037 ZürichT +41 79 843 58 90<strong>in</strong>fo@karma<strong>in</strong>ternational.orgwww.karma<strong>in</strong>ternational.orgShown at <strong>LISTE</strong>:Tobias Madison, 1985, CHCarissa Rodriguez, 1970, USPamela Rosenkranz, 1979, CHKeiichi Tanaami, 1936, JPSergei Tcherepn<strong>in</strong>, 1981, USOther Artists of the Gallery:Kim Seob Bon<strong>in</strong>segni, KRAgnieszka Brzezanska, PLIda Ekblad, NODavid Hom<strong>in</strong>al, CHThomas Julier, CHEmanuel Rossetti, CHThomas Sauter, CHM<strong>art</strong><strong>in</strong> Soto Climent, MXKeiichi TanaamiA tree of anelephant, 1989Wood, lacquer<strong>18</strong>.5 × 45 × 79 cmKeiichi Tanaamis (*1936) practice is ofhigh <strong>in</strong>fluence for the development of Pop Art<strong>in</strong> Japan. He’s a predecessor for manyJapanese <strong>art</strong>ists such as Takashi Murakamior Tabaimo. Tanaami studied graphicdesign and created various record covers.He worked with Ushio Sh<strong>in</strong>ara, the leaderof the Japanese Neo-Dada-movementas well as Robert Rauschenberg and MichelTapié dur<strong>in</strong>g their visits <strong>in</strong> Japan. In 1969Tanaami travelled to the USA where he metwith Andy Warhol and visited his factory.In 1975 Tanaami became the first Art Directorof the Japanese Playboy magaz<strong>in</strong>e.S<strong>in</strong>ce 1991 he teaches at the <strong>art</strong> school<strong>in</strong> Kyoto. He recently had shows atthe Sch<strong>in</strong>kel Pavillon <strong>in</strong> Berl<strong>in</strong>, Studiolo <strong>in</strong>Zurich and Nanzuka <strong>in</strong> Tokyo. He lives andworks <strong>in</strong> Tokyo.104 / 105
Kisterem0/9/5KisteremMargit ValkóKépíró u. 5.HU-1053 BudapestT +36 1 267 05 22M +36 30 960 10 15kisterem@kisterem.huwww.kisterem.huSolo Show at <strong>LISTE</strong>:Tamás Kaszás, 1976, HUOther Artists of the Gallery:Miklós Erdély, HUJános Fodor, HUGyörgy Jovánovics, HUKatal<strong>in</strong> Káldi, HUÁdám Kokesch, HUTamás Körösényi, HUAntal Lakner, HULittle Warsaw, HUJános Sugár, HUGergő Sz<strong>in</strong>yova, HUKamilla Szíj, HUJúlia Vécsei, HUGitte Villesen, DE/DKAnna B. Wiesendanger, CHTamás KaszásMemorial Course,2012Wood, chalkdraw<strong>in</strong>gs300 × 520 × 120 cmTamás KaszásMemorial Course(detail), 2012Wood, chalkdraw<strong>in</strong>gs300 × 520 × 120 cm106 / 107We activate our life as we relate to thepremises around us. We make up our m<strong>in</strong>dsand st<strong>art</strong> act<strong>in</strong>g as we go. Surrounded bygestures advertis<strong>in</strong>g various agendas mostpeople live the praxis of life on the basis ofpolitically passive, practical choices and acts.As soon as everyday life is under siege,we st<strong>art</strong> to imag<strong>in</strong>e futures differently,and activate our political speculat<strong>in</strong>gon optional paths to follow and choices toappropriate it for the better. As we appropriateanew, we reconfigure the socialsphere and our private wishes and stances<strong>in</strong>tersect with those of the public,the spiritual and the social blend. In the end,the social sphere demands the subjectivityof the spiritual energy to empower itthough forms of representation, as we needto mediate our position anew socially.We need registers to translate our futurepositions, and need to cl<strong>in</strong>g on to theknown <strong>in</strong> order to legitimize it to us ourselvesand to translate our wish to others.(Freek Lomme)Tamás Kaszás usually creates complexprojects <strong>in</strong>spired by theoretical researches.By mix<strong>in</strong>g poetic images with useful<strong>in</strong>ventions <strong>in</strong> his exhibit<strong>in</strong>g practice,autonomous <strong>art</strong> pieces appear <strong>in</strong> the frameof large <strong>in</strong>stallations (visual aid constructions– as he calls them). <strong>The</strong> MemorialCourse focuses on the aesthetical viewof the political. <strong>The</strong> chalk draw<strong>in</strong>gs showfigural elements of posters from historicalpolitical movements of the XX. Century.<strong>The</strong> textual elements and political signs areleft, as someone would reconstruct themonly by memories, recall<strong>in</strong>g the visual p<strong>art</strong>without ideological context.Kaszás is widely exhibited <strong>in</strong> Europe<strong>in</strong>clud<strong>in</strong>g Untimely Stories, Muzeum Sztuki,Lodz (2012); 12th Istanbul Biennial (2011);<strong>The</strong> Science of Imag<strong>in</strong>ation, LudwigMuseum, Budapest (2010); How to resistand object to conditions of the present,Open Space, Vienna (2009); <strong>The</strong> SweetestDream – unity and dissonance <strong>in</strong> Europe,SPACE, London (2006); Travel<strong>in</strong>g withoutmov<strong>in</strong>g, W139, Amsterdam (2004).