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Madoka Furuhashi

MA work

You Don’t Know What You Are Looking At When You Are Looking At It

For more than ten years, 140 Old Ford Road has been rented through a property agency and occupied by a number of sharers. Today, their remaining objects occupy about 95 per cent of the basement and 50 per cent of elsewhere.

My current pursuit in contemporary art stems from my architectural background, where my interest is in articulating the sense of places through formal interventions. Consequentially, my practice looks into forms of exhibitions, displays and other ways of instituting ‘arts’, by ways of generating their significance. The series of works entitled Inventory of 140 Old Ford Road set objects found in my home in Bethnal Green, London into (museum- or gallery-like) displays. They follow the ideas embedded in Marcel Duchamp’s ‘Readymades’ such as his seminal Fountain, 1917, seeing how apparently redundant objects could be seen as valuable, meaningful and significant, as the result of them being institutionalised or theorised about.

This status quo is further questioned in the most recent Obelisk  I – IV. Using the exhibition as a key modus operandi, I attempted to expose the institution of objects while retaining the objects’ own sense of identity as art.

Contemporary art is synonymous almost with nonsense, and so the whole paradigm of contemporary art theory is paraphrased in terms of a serious kind of ridicule.

Info

  • Madoka Furuhashi profile image
  • MA Degree

    School

    School of Humanities

    Programme

    MA Photography, 2013

  • You Don’t Know What You Are Looking At When You Are Looking At It

    For more than ten years, 140 Old Ford Road has been rented through a property agency and occupied by a number of sharers. Today, their remaining objects occupy about 95 per cent of the basement and 50 per cent of elsewhere.

    My current pursuit in contemporary art stems from my architectural background, where my interest is in articulating the sense of places through formal interventions. Consequentially, my practice looks into forms of exhibitions, displays and other ways of instituting ‘arts’, by ways of generating their significance. The series of works entitled Inventory of 140 Old Ford Road set objects found in my home in Bethnal Green, London into (museum- or gallery-like) displays. They follow the ideas embedded in Marcel Duchamp’s ‘Readymades’ such as his seminal Fountain, 1917, seeing how apparently redundant objects could be seen as valuable, meaningful and significant, as the result of them being institutionalised or theorised about.

    This status quo is further questioned in the most recent Obelisk  I – IV. Using the exhibition as a key modus operandi, I attempted to expose the institution of objects while retaining the objects’ own sense of identity as art.

    Contemporary art is synonymous almost with nonsense, and so the whole paradigm of contemporary art theory is paraphrased in terms of a serious kind of ridicule.

  • Degrees

  • BArch, Architectural Association School of Architecture, 2010; University Preparatory Certificate, Science and Engineering, University College of London, 2007
  • Experience

  • Visiting lecturer in Photography, Southampton University, 2013; Visiting tutor, Architectural Association, London, 2011
  • Exhibitions

  • Sprinter, Michael Hoppen Gallery, London, 2013; All I Want is Out of Here, October Gallery, London, 2012; Shizengaku, Museum of Modern Art, Shiga, 2012; Florence Dance Festival, Museo Nazionale del Bargello, Florence, 2012
  • Publications

  • Waving Flags, Rut Blees Luxemburg and Nicholas Warner, Black Dog Publishing, 2013; All I Want is Out of Here, Royal College of Art Photography Students, Self published, 2012; Enough Different, Royal College of Art Interdisciplinary Group, AND Publishing, 2011