The work of Masahide Otani is exemplary. Each object is made of tinted plywood: chairs, tables, an easel, and scaffolding.  But his objects are not exactly what they outwardly pretend to be. The scaffolding is not scaffolding, but rather, an object said to be scaffolding, an object formulated as scaffolding.  And it is in this that the works are fundamentally exemplary, paradigmatic, because they are formulated in parallel.  Reconstitution 2 is no more than café tables and chairs. Je fais is just a set of scaffolding. Chambre espagnole is nothing more than a canvas frame on an easel, yet all of these things are literally something else. They are a "second time", a remake, a making again of, which means that these objects produce a shift within a gap. They acquire as a result, an exemplary and unquantifiable singularity. Literal and exemplary, because it's about a repetition, a re-formulation: scaffolding is scaffolding is a tautology.  But of course there is a shift in this second time, the object is not exactly the same because we must change our way of seeing it and of using it. Masahide Otani plays this shift, this gap. Firstly, by keeping the appearance of the objects intact, while neutralizing their original use through a change of material: none of the chairs can be used and it is obviously impossible to use the scaffolding. Then, by maintaining the possibility of function in these objects even though he perturbs it: in "Chambre espagnole", despite the function of the easel being maintained, it is doubly absorbed, because not only is the object unusable but it also makes reference to a "perspectivist" illusion, in which Velàsquez himself could get lost. And finally, in exposing precisely this shift and this gap, even down to language itself: that which is literal, repeated, is in itself, and no doubt it is here that their meaning is most profound; the translation in the meaning of the gap in their usage, in the meaning of this a-grammaticality, "Je fait", restores to language, to subject, to form and from what I can see, restores a new possible use that - makes it be again, sufficiently to render them their power, to the indifferent truth of tautology.' (Giorgio Agamben, Bartleby o della contingenza). However in these other uses, a shadow is already taking shape: these empty chairs, this empty canvas stretcher and this scaffolding, standing against the white walls, say or end up issuing  a kind of construction site warning, "Caution: Men at Work"  Are these ruins or is this work in progress ? The works of Masahide Otani are here, yet again, exemplary.

                                                                Fabien Vallos

Masahide Otani
Born in 1982 in Shibukawa
Lives and works in Bordeaux


2007    DNSEP, École des Beaux-Arts, Bordeaux
2007- 2008   Post graduated, École des Beaux-Arts, Lyon

Solo Shows

2013     Figures du vide, Cortex Athletico, Paris
2012     Setting a painting, Cortex Athletico, Bordeaux
2009    Sensation de non-événement, (with the support of the Drac Île de France), Cortex Athletico, Bordeaux
2006    Masahide Otani, Cortex Athletico, Bordeaux
2005    Masahide Otani, Design Planets gallery, Maebashi, Japan
            Infinite-simal, Concept Space gallery, Shibukawa, Japan

Group Shows
2013   Campagnes/ Campagne, Cortex Athletico, Bordeaux
         Nuit Jaune, included in the program Nuit Blanche, Espace des Arts sans Frontières, Paris

2012   Art & Paysage
, Biennale d'Artigues-près-Bordeaux
            My own private #2, The Snake, Cortex Athletico, Paris

2011    Biennale d'art contemporain, Anglet
            Chapelle vidéo #1, Musée d'Art et d'Histoire, Saint Denis
2010    Armory Show, Cortex Athletico, NY
            Dynasty, Palais de Tokyo, Paris
         Matériaux divers et autres bonnes nouvelles, Cortex Athletico, Bordeaux
            FID, Festival du film documentaire, Montévidéo, Marseille
2009    Liste 09 -Tthe young art fair, Cortex Athletico, Basel
            Une exposition de peinture, Zoo galerie, Nantes
            Travelling museum, Düsseldorf
2008    Le vide n'a pas de porte de sortie, Ancienne Banque du Japon, Hiroshima
            Ce qui revient,  Galerie ACDC, Brest
            RDV08, Musée d'Art Contemporain, Lyon
            Extérieur jour, Cortex Athletico chez Immanence, Paris
2007    Liste 07, The Young Art Fair, Cortex Athletico, Basel
            Imbéciles habitants, Concarneau, France
            Equilibre instable, CAPC musée d?art contemporain de Bordeaux
            Atsuo Hukuda ?Travelling Museum, Cortex Athletico, Bordeaux
            What day is it today ? à suivre... , Bordeaux
2006    Mu -no-shodo,University of Gunma, Maebashi, Japan
           Atsuo Hukuda ?Travelling Museum, Parkhaus Im Malkastenpark,Düsseldorf
           FIAC, Cortex Athletico, Cour Carrée du Louvre, Paris

2009    Les galeries françaises à l'assault de Volta, Roxana Azimi, Le journal des arts, Nr 304, may 29th - june 11th         2009, p. 23
2006    Ouverture prochaine de la galerie Cortex Athletico, Sud-Ouest, January

2009    Drac Île de France

2007    Banque Crédit Agricole / École des Beaux-Arts & Capc - Musée d'art contemporain, Bordeaux

Conseil général Seine St Denis