Aki Kuroda - Exhibition at the Imperial City - China

Tensions between the two countries are not the artists' concern. For Zhao Shulin, the exhibition curator, the invitation of Japanese painter Aki Kuroda to the museum was born from a simple crush during his last exhibition in Beijing in November.

Born in Japan, Aki Kuroda has been living in France since 1970. Famous for his silhouettes and monochrome backgrounds, the painter is also renowned for his collective projects such as Cosmogarden, the first issue of which was presented at the Manufacture des Œillets in Ivry in 1997.

Painting, architecture, sculpture or video, the Cosmogarden is a stroll where other artists and other artistic expressions are invited to participate. "I like give and take," explains Aki Kuroda. "The idea of Cosmogarden is to create a garden, like a city, that is to say a garden whose edges are not visible and of which one does not have an overview, unlike Zen gardens. But when you walk through it, you feel the form and style of the garden; it is not programmed, nor rational."

In Beijing, the artist made sure to indicate on the poster that it was a solo exhibition. However, his work is always on the lookout for the same conception of painting. Around sixty works, from the collection of the famous French Maeght Gallery, are on display.

"It is often said that pictorial art is dead and that everything has been done. If I take architecture, which is undoubtedly the icon of our time, sometimes the constructions are splendid but perfectly inhumane. You can't live inside. A painting can then contrast with a white or a concrete wall and become like an airlock, a door open to the imagination, which goes beyond the programmed, rational, and understandable side of the architectural project. This door, it seems to me, is the definition of painting."

"Obviously, I have a connection with China. Like all Japanese and Chinese people, our histories are intertwined. The characters in particular are of Chinese origin. But I have never exhibited in showcases like archeology museums. It amuses me because I have never seen my painting in such a space; it creates a distance and gives me a certain objectivity towards it."

This surprise reflects what the painter perceived of Chinese aesthetics, which he subtly describes as baroque.

"This city is gigantic. Faced with the grandeur of the towers, Western or Japanese criteria do not work. In fact, I still haven't understood," adds Aki Kuroda. "But I'm not surprised that Chinese painting is figurative and not abstract for the most part. Faced with the universe of buildings, the lines, the mathematical aspect, it's intimacy, interiority that resists."