Installation view, Hidetoshi Nagasawa. 1969-2018


ph. Michele Alberto Sereni

Talk – Hidetoshi Nagasawa. Tra Oriente e Occidente

05.07.2024, 17:30

Hidetoshi Nagasawa. Tra Oriente e Occidente

Friday, July 5th 2024, at 5.30PM at BUILDING, Milan



Giorgio Verzotti, curator of the exhibition Hidetoshi Nagasawa. 1969-2018



Bruno Corà, art historian and critic

Marcello Ghilardi, professor of Aesthetics and Philosophy of Interculturality

Aldo Iori, art historian and critic, professor of Art History



RSVP, event by, +39 02 89094995


On Friday, July 5th, 2024 at 5.30PM, BUILDING is pleased to present a further insight into the exhibition Hidetoshi Nagasawa. 1969-2018 (04.04.2024 – 20.07.2024), hosting a talk between art historians and critics Bruno Corà and Aldo Iori, Professor of Aesthetics Marcello Ghilardi, and exhibition curator Giorgio Verzotti.


The conversation, moderated by the exhibition curator, will focus on the poetics of Hidetoshi Nagasawa, characterized by a deep research of synthesis between Eastern and Western culture. In this perspective, art historians Bruno Corà and Aldo Iori will explore in depth the analysis of some of the works on display in the exhibition, starting from their personal knowledge of the artist and his work, matured during the curatorship of exhibitions and critical essays dedicated to Nagasawa such as Ombra Verde (Rome, MACRO-Museo d’Arte Contemporanea, 23.04.2013 – 15.09.2013).


Marcello Ghilardi will explore the themes of Form, Concept, Experience between Japan and Italy; speaking on how Hidetoshi Nagasawa’s artistic journey can be best understood and appreciated by virtue of a contextualization and knowledge of certain aesthetic notions of ancient and modern Japan. Without, of course, lessening the Japanese master’s experiments and formal innovations, certain concepts peculiar to Japanese philosophical and artistic culture-particularly those of engi (dependent onset), ma (fragment, interval) and basho (place) are proved to be essential. Therefore, through these notions one can understand not only the theoretical background from which Nagasawa moves, but the aesthetic experience itself that results from an encounter with his works.