Finding beauty in imperfection, irregularity, and impermanence is an aesthetic value that exists uniquely in Japanese culture.
In Japanese haiku poetry, the 14th moon, which appears the night before the full moon, is esteemed as Matsuyoi (waiting night). The Japanese hold Matsuyoi as a night filled with anticipation and hope, revering it as the time right before the moon must wane. Similarly, the Japanese believe that when something reaches its peak, it will inevitably start to decline.
The changing of the seasons and nature embodies a sense of near-perfection and the notion that there is room for improvement or growth. The Japanese have developed a preference for this sensibility, which has resulted in very distinct Japanese aesthetic. Western aesthetics differ from these principles. They seek to find beauty in symmetry or balance through principles like the golden ratio and techniques like industrial manufacturing. In turn, the products become harmonious, finite and complete.
Artists also have been exploring the idea of imperfection versus perfection. Some artists were pulled to one extreme or the other, while others found comfort exploring the thin line that distinguishes the competing aesthetics.
In the inaugural exhibition of THE CLUB, we juxtapose Western and Eastern contemporary art and Asian ceramics as we explore how artists around the world visualize the dualities of perfection and imperfection.
Agnes Martin, Daniel Buren, Donald Judd, Ettore Spalletti, Günther Förg, Dae-Sup Kwon, Masaaki Yamada, Natsuyuki Nakanishi, Robert Mangold, Sol LeWitt, Taizo Kuroda, Takeo Yamaguchi, Yoshishige Saito, Jiro Takamatsu