Minoru Nomata at De La Warr Pavilion

Windscape, until Sept 4

Minoru Nomata, Gekka-4 (detail), 2022. Courtesy of the artist, White Cube and Taro Nasu

We were excited to attend the grand opening of this show on Saturday May 21, the first time Minoru Nomata’s work has been displayed outside Asia. The Japanese artist paints fantastical, unpeopled architectural structures, which manage to appear simultaneously ancient and futuristic.

Nomata was inspired by the buildings he saw emerge around him as a young man growing up in an industrial suburb of Tokyo during the economic boom in that country in the 70s. But that’s just the starting point for his constructs. It’s as if Escher and Piranesi had come to life and collaborated on designing the set of a post-apocalyptic, actorless sci-fi movie: an uncanny mix of Ionic and bionic.

The exhibition constitutes a bold and imaginative feat of curation by the DLWP’s new Head of Exhibitions Joseph Constable, and it’s a great fit in the magnificent, streamlined setting of the 30s Pavilion. 13 paintings fill the first-floor gallery, and the space has been maximised by the construction of three mast-like structures which each hold a canvas and help create a maritime-industrial mood in keeping with the feel of the paintings.

Downstairs, from May 25, there’s a show from the interdisciplinary design collective RESOLVE, entitled LIDO, which ‘surveys the geographical and political-ecological context’ of Bexhill, with foraged and found materials, and sounds like an interesting companion piece.

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