• Masahide Otani

    Le vide n'existe-t-il pas ?, 2012
    Six pen pressures on paper
    33,5 x 24,5 cm
    unique artwork
    Masahide Otani
  • Masahide Otani

    Bouteilles de gaz - série Aporétographie, 2011
    Concrete
    (140 x 30 cm) x 7 - installation dimensions variables
    unique artwork
    Production Biennale d'Anglet, 2011
    Château Chasse Spleen
    Masahide Otani
  • Masahide Otani

    Aporéographie (volets clos), 2011
    pencil on paper
    43,5 x 31 cm x 1,5
    unique artwork
    Masahide Otani
  • Masahide Otani

    Aporétographie (volets clos), 2010
    Molder in concrete, metal
    dimensions variables
    unique artwork
    Musée d'Art Moderne de la Ville de Paris
    De Facto
    Masahide Otani
  • Masahide Otani

    Bouteille de Gaz, 2009
    Plaster, metal, polystyrene
    138 cm
    Edition of 3
    Masahide Otani
  • Masahide Otani

    Excuse, 2009
    White paper, wooden frame
    38,3 x 27,5 cm
    unique artwork
    Masahide Otani
  • Masahide Otani

    Autoportrait, 2007
    Plywood, steeled small chains, photograph, nails
    120 x 90 x 50 cm
    unique artwork
    Masahide Otani
  • Masahide Otani

    Un homme ne dort plus, 2007
    Light, wooden table, wooden stool, sheet of paper, pencil, rubber
    65 x 72 x 40 cm
    unique artwork
    "Maintenant, tu vis dans la terreure du silence" G. Perec, Un homme qui dort
    Masahide Otani
  • Masahide Otani

    Bureau belge, 2007
    DVD video in loop
    Dimensions variables - 3'28''
    Edition of 5 + 2 AP
    Crédit Agricole / Conseil Général Seine Saint-Denis
    Masahide Otani
  • Masahide Otani

    Setting a painting, 2007
    Lead powder on canvas
    100 x 100 cm
    Edition of 7
    Cortex Athletico
    Masahide Otani
  • Masahide Otani

    Après le tournage, 2007
    lacquered plywood
    dimensions variables
    unique artwork
    Masahide Otani
  • Masahide Otani

    Mon tombeau, 2007
    Plywood, chair, acrylic painting on canvas, glass, plastic, cardboard, paper, paintbrushes, rags, set quare, trestle table
    90 x 120 x 130 cm
    unique artwork
    Masahide Otani
  • Masahide Otani

    La chambre espagnole, 2006
    tinted plywood
    250 x 180 x 80 cm
    unique artwork
    Masahide Otani
  • Masahide Otani

    Je-fait, 2006
    tinted plywood
    Dimensions variables
    unique artwork
    Masahide Otani
  • Masahide Otani

    Echafaudage standard, 2005
    tinted plywood
    380 x 190 x 100 cm
    unique artwork
    Masahide Otani
  • Masahide Otani

    Reconstitution 3, 2004
    moulded cement
    Dimension variables
    Edition of Exemplaire illimité
    Masahide Otani
  • Masahide Otani

    Reconstitution 2, 2004
    Plywood, acrylic
    Installation environ 150 x 150 x 150 cm
    unique artwork
    Masahide Otani
  • Masahide Otani

    Rocker room, 2004
    Plywood, acrylic, metal, wood stain
    (180 x 120 x 50 cm) x 5
    unique artwork
    Masahide Otani

-

Biography

The work of Masahide Otani is exemplary. Each object is made of tinted plywood: chairs, tables, an easel, and scaffolding.  But his objects are not exactly what they outwardly pretend to be. The scaffolding is not scaffolding, but rather, an object said to be scaffolding, an object formulated as scaffolding.  And it is in this that the works are fundamentally exemplary, paradigmatic ? because they are formulated in parallel.  Reconstitution 2 is no more than café tables and chairs. Je fais is just a set of scaffolding. Chambre espagnole is nothing more than a canvas frame on an easel, yet all of these things are literally something else. They are a "second time", a remake, a making again of, which means that these objects produce a shift within a gap. They acquire as a result, an exemplary and unquantifiable singularity. Literal and exemplary, because it's about a repetition, a re-formulation: scaffolding is scaffolding is a tautology.  But of course there is a shift in this second time, the object is not exactly the same because we must change our way of seeing it and of using it. Masahide Otani plays this shift, this gap. Firstly, by keeping the appearance of the objects intact, while neutralizing their original use through a change of material: none of the chairs can be used and it is obviously impossible to use the scaffolding. Then, by maintaining the possibility of function in these objects even though he perturbs it: in "Chambre espagnole", despite the function of the easel being maintained, it is doubly absorbed, because not only is the object unusable but it also makes reference to a "perspectivist" illusion, in which Velàsquez himself could get lost. And finally, in exposing precisely this shift and this gap, even down to language itself: that which is literal, repeated, is in itself, and no doubt it is here that their meaning is most profound; the translation in the meaning of the gap in their usage, in the meaning of this a-grammaticality, "Je fait", restores to language, to subject, to form and from what I can see, restores a new possible use that - makes it be again, sufficiently to render them their power, to the indifferent truth of tautology.' (Giorgio Agamben, Bartleby o della contingenza). However in these other uses, a shadow is already taking shape: these empty chairs, this empty canvas stretcher and this scaffolding, standing against the white walls, say or end up issuing  a kind of construction site warning, "Caution: Men at Work"  Are these ruins or is this work in progress ? The works of Masahide Otani are here, yet again, exemplary.


                                                                Fabien Vallos