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 handicrafts 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.
Artist
Kaito Itsuki
Kaito Itsuki is a painter born in 1993, in Sapporo, Hokkaido, and is currently based in Tokyo and New York.
Kaito's hometown of Sapporo had few opportunities for seeing art in person so much of her aesthetic influences came from anonymous images floating around the internet, video games, or comics. Staying in Sapporo until she graduated from a local arts high school, she then studied painting at Tohoku University of arts and design. Kaito also studied cultural anthropology, comparative religion and youth cultures which provided inspiration for the themes of her art works. Afterwards, she received a MFA from Kyoto city university of arts and in 2019, moved to Tokyo and then NYC to pursue her art career.
Kaito Itsuki’s art works have been shown internationally including Clear gallery Tokyo (Tokyo, Japan), Art fair Philippines (Manila, Philippine), PDX contemporary art (Portland, US), and Tang Contemporary Art(Beijing, China).
Curator
Fiona Lu
Fiona Lu (b. 1992, Hubei, China), is the director of the exhibition department of Tang Contemporary Art. Her curating themes include intergenerational research of artists, gender research, fashion and virtual art, with special focus placed on the research of emerging art phenomena brought by young Chinese artists born in the 90s and 00s. Fiona is committed to bringing out the strength of younger generations of artists. Past curating works include: "Yue Minjun: Smile at the Flower Sermon” (2022), “Indoor Weather” Caochangdi spring art show (2022), "Memory, Playfulness, and Stream of Consciousness" (2022), “Global Song" (2022), “Low Fever" (2021), "Li Erpeng: Control" (2021), "Guo Yuheng Solo Exhibition" (2020), etc. She was also selected to be part of the Emerging Curator Project of Shanghai Museum of Contemporary Art (2018).