Masato Takasaka

RESEARCH + PRACTICE

Masato Takasaka is a Melbourne-based artist, known for both his performances as a lead guitarist in über-hip rock bands as well as his visual art practice. Takasaka thinks about his studio practice in musical terms, describing his aesthetic as an iPod Shuffle on endless repeat: playing the greatest hits of 20th century avant-garde art, with references to constructivism, dada, pop and minimalism alongside the back catalogue of his own greatest hits. Primarily working with found objects and materials and more recently in the medium of painting to construct his gallery based installations, art and design histories collide in Takasaka’s mini-cities. Described as “techno-contemporary”, the exuberant chaos of his sculptural practice involves a process of working and re-working everyday materials in inventive ways to make something new.

Masato Takasaka completed a Bachelor of Fine Art (Hons) at the Victorian College of the Arts and also holds a PhD in Fine Art from Monash University. Recent solo exhibitions include Garage Days Revisited, Sutton Gallery, Melbourne, 2016; Garage Days Re-revisited, TCB Inc. Art, Melbourne, 2016; Hells Flags VI, Hell’s Kitchen, Melbourne, 2015; ALMOST EVERYTHINGALL AT ONCE, TWICE, THREE TIMES (In Four Parts…), Gertrude Contemporary, Melbourne, 2012; Selected group exhibitions include TarraWarra Biennial 2016: Endless Circulation, TarraWarra Museum of Art, Healesville, 2016; Channel G as part of Transmission: Legacies of the Television Age, National Gallery o f Victoria, Melbourne, 2015; 3-Ply Remote Residency, The Stool, Good Press Gallery, Glasgow, 2014; Don’t Kurt Cobain, Slopes, Melbourne, 2014; Melbourne Now, National Gallery of Victoria, Melbourne, 2013; Roppongi Crossing 2013: OUT OF DOUBT, Mori Art Museum, Tokyo, 2013; Reinventing the Wheel: the Readymade Century, Monash University Museum of Art, Melbourne, 2013; A Space Oddity, Linden Centre for Contemporary Arts, Melbourne, 2013; Third/ fourth Melbourne artist-facilitated Biennial, Margaret Lawrence Gallery, Melbourne, 2013; NETWORKS (cells and silos), Monash University Museum of Art, Melbourne, 2011; New Psychedelia, University of Queensland Art Museum, Brisbane, 2011; Post-logical Form, Contemporary Art Centre of South Australia, Adelaide, 2011 and Cubism and Australian Art, Heide Museum of Modern Art, Melbourne, 2009. As part of the artists’ group Inverted Topology was included in Minus Space at PS1 Contemporary Art Centre, New York, 2009; SNO, Sydney, 2007 and + Plus Factors, Australian Centre for Contemporary Art, Melbourne, 2006.

His selected bibliography includes Melissa Loughnan, 'An A to Z of new Australian contemporary art' (working title), Thames & Hudson, 2017, Helen Hughes, ‘Regimes of Value’, Art Guide Australia, May/June 2013, pp. 53-55; Reuben Keehan, Out of Doubt- Roppongi Crossing 2013, Mori Art Museum, Tokyo, p. 138; Andrew Maerkle, ‘Masato Takasaka at Roppongi Crossing’, Broadsheet, Vol. 42.4, December- January, 2013, pp. 275-276; Stuart Munro, ‘The island over there: How culture travels in Japanese contemporary art’, Broadsheet, Vol. 42.4, 2013, pp. 271-274; Patrice Sharkey, Reinventing the Wheel: the Readymade Century, Monash University Museum of Art, Melbourne, pp. 104-105; Scott Wark, ‘Profile: Masato Takasaka’, Runway #23 [PROTOTYPE], December 2013; Carolyn Barnes, & Work in (Perpetual) Progress', Gertrude Contemporary, Melbourne 2012; Geraldine Barlow,NETWORKS (cells & silos), Monash University Museum of Art, Melbourne, p. 12, 2011; Sebastian Moody, New Psychedelia, The University of Queensland Art Museum, Brisbane, pp. 92-94, 2011; Damiano Bertoli, Post-structural Jam, !Metro Arts, Brisbane, 2010; Rex Butler, ‘Prog-Art’, Australian Art Collector, Issue 54, October- December 2010, pp. 150-155; Julie Ewington, ‘Cubism and Australian Art’, Australian & New Zealand Journal of Art, Volume 10, Number 1, 2010 p. 161; Robert Nelson, ‘Curious takes on cubism’, The Age, January 20, 2010 p. 15; Kate Woodcroft, ‘Masato Takasaka: Post-structural Jam’, Eyeline, No. 72, 2010 p. 85; Sue Cramer, ’Post-Cubism 1980-2009’. Cubism and Australian Art, edited by Sue Cramer and Lesley Harding, Miegunyah Press, Melbourne University Publishing, 2009, pp. 234-236; Helen Hughes, ‘Masato Takasaka: Never-Endism’, un magazine 3.2, December 2009, pp. 22-24; Danny Lacy, ‘No Place in Time’, Cubism and Australian Art, edited by Sue Cramer and Leslie Harding, p. 280, Miegunyah Press 2009; Lisa Radford, ‘What’s the difference to you?’, unmagazine 3.1, June 2009, p. 9.

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