Performing under pressure in the museum of broken objects. 27x20x3 inches Museum glass, broken terracotta horse and wooden stand/ 2018
Photo credits- Anil Rane


One can immediately identify a ‘wrong’ note in an orchestra/piece of music between all the ‘right’ notes. The rightly played notations create a symphony whilst the wrong one creates a sound. The wrongness of the note is subjective to the orchestrated composition (which underlines its ‘wrongness’). The note in itself is a sound; a sound if heard in solitude, would connect to the listener. But, is the listener even listening? This question is as true as ‘is the music really being played?’ We all live in a vacuum of pretentions where giving and receiving have become mere actions. The stage of thoughtlessness is not a spiritual sign of the mind, but rather the virtual blindness covering the healthy eye.

The talk will reflect upon the internal forces that are creating a subtle shift in the mannerisms of working, the age-old debate between the artist, artisan and the designer. It will also try and understand the ‘market’ economics that work on these classifications, the un- necessity of becoming the protagonist and how humbleness cannot be mistaken as withdrawal.

About the Talk

Time/Date: 19:00-20:30 2018.7.10.Tue
Venue: Ningenkan room NA207, Kyoto University of Art and Design
Admission: Free (Booking required)
Seating Capacity: 100
*English>Japanese consecutive translation available

Organized by: Kyoto University of Art and Design, Graduate School of Art and Design Studies / Higashiyama Artists Placement Service(HAPS)

About the Speaker

Shreyas Karle is the Co-Director of CONA Foundation- a non-profit space in North Bombay. He holds a degree in Fine Arts by the L.S. Raheja School of Art, Bandra, a post-graduation in Indian Aesthetics by the University of Mumbai, and a Masters in Visual Arts by the Maharaja Sayajirao University, Baroda.
He has been the Director of Sandarbh, a site-specific residency program in rural part of North India. He was part of the Aichi Triennial, Rainbow Caravan in 2016, was invited to participate in the New Museum Biennial, Surround Audience in New York (2015) and was part of the first edition of the Kochi Muziris Biennial in India (2012). He has a few solo shows to his credit including Unnecessary alcove at Project88, Bombay (2018).

Booking & Inquiries

For Booking and Inquiries:
*Please send 1.Name, 2.Number of participants, 3.Phone number or email address, 4.Occupation (for student, please note the school name./for KUAD student, add the student ID)


Connecting Kyoto and the World through Contemporary Art

The environment surrounding contemporary art has become vastly more complex over the past few decades. Faced with this situation, it is no easy task for artists to find a way to be active at a global level. Naturally, it is virtually impossible to get a firm grasp on the art scenes that are being produced concurrently all over the world. In particular, in neighboring Asian countries that are seeing rapid economic growth and modernization, there are more opportunities than ever before to show one’s work, taking into account the new art museums and art fairs that are being established, and the flourishing numbers of international exhibitions. Although global attention focused on this region has increased, the situation is quite different in Japan, where there is a general sense that the work of developing art-related institutions has been finished. However, it is precisely this state of affairs that has led to a renewed questioning of how global networks are constructed, a reconsideration of how institutionalization works, and the role of artists in society.
In Kyoto, art schools produce a large number of new artists each year. But what kinds of connections might one discover today between this center of traditional Japanese culture and the world of contemporary art that has grown ever more complex in this way? “Global Art Talk,” presented by HAPS and Kyoto University of Art and Design, is a program where internationally active artists, curators, collectors, researchers, and gallerists, among others, are invited, and, through a series of dialogues, strives to provide a global perspective as well as deepen understanding. (Until last year it ran under the title of “ULTRA x HAPS.”)

The “GLOBAL ART TALK” is part of the Resident Curator Program of the Higashiyama Artist Placement Service (HAPS), which seeks to provide support to young emerging artists.

The Kyoto University of Art and Design is dedicated to establishing an institution that will foster artists from Kyoto who aim to work in the contemporary art world at a global level.


 The vertical side of the horizontal
67x31x1 inch Found sand-stone with vertical cuts/ 2018 Photo credits- Anil Rane