Yusuké Y. Offhause’s project takes an ambitious and participatory multidisciplinary approach. Playing cleverly with scale, he has created a fully formed small-scale museum. Yusuké Y. Offhause likes to play with boundaries, whether between artist and curator, or art and design. By opening this new exhibition space, he is now enabling other artists to present their works.
One such artist is Thomas Bonny whose exhibition Entrée par la grande porte (Making a grand entrance) consists of a dozen pieces specially created for this original showcase. The works invite the public to engage with dimensions and different spaces. For example, upon entry visitors are welcomed by two oversized ceramic perfume atomisers and an engraved inscription against the wall in the first room, which reads “Do not feel smaller than you are”… evoking Lewis Carroll.
Yusuké Y. Offhause is a Franco-Japanese artist who was born in Tokyo in 1985. He joined the Haute Ecole d’art et de design de Genève (Geneva University of Art and Design; HEAD) in 2011, where he studied for his bachelor’s and master’s degrees in visual arts, before subsequently gaining a DAS from the Centre d’expérimentation et de réalisation en céramique contemporaine (Center for Experimentation and Realisation in Contemporary Ceramics, CERCCO).
His work blurs the line between art and design, and explores the notion of imperfection as an artistic quality. He believes that it can be a source of creativity and play an aesthetic role.
Thomas Bonny is an artist who was born in Geneva in 1975. He studied art at ERG, école supérieure de recherche graphique (School of Graphic Research), before perfecting his approach at HEAD. He completed his training at CERCCO. His pictorial research and experimentation, nurtured in particular by recurring preoccupations with collage and pattern, have in recent years, been enriched by his increasing use of ceramics.
To mark International Museum Day on 15 May, Yusuké Y. Offhause opened his own museum at the Ariana Museum, featuring the work of artist Thomas Bonny.
This project received funding from the Fonds d'art contemporain de la Ville de Genève (City of Geneva Contemporary Art Fund; FMAC), as well as a cultural grant from the Fondation Leenards.
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