On the occasion of the Miart and Salone del Mobile fairs, Studio la Città will be transferring to a
temporary venue in Milan, DOUBLETROUBLE95, to propose an installation by Jacob Hashimoto:
Never Comes Tomorrow, already exhibited with great success in Verona last May. This installation
will once again be a proof of Hashimoto’s maniacal interest in architecture, space and time, and
the astral dynamics of planets and constellations. Proportions, relationships, and surfaces will be
closely interrelated with the building hosting the large‐scale installation, in this way concretizing
DOUBLETROUBLE95’s dream: to host the site‐specific work of an important international artist.
Born of a previous installation from his 2012 exhibit, “super‐elastic collisions and distant
derivations”, Hashimoto’s reinterpretation, now with a pronounced focus on paradigmatic shapes
of outer‐space iconography, reveals what the artist calls a “… fetishized space object that spoke, to
me at least, about sci‐fi optimism, magic, idealization, and inexactitude”. The installation’s black
hole structure, filigreed with curved steel at its edges before narrowing into leaded glass squares
along the funnel, betrays discernible traces of the Arts and Crafts era, a phantasmatic collision of
21st century digital telescopy and late nineteenth century craft. The viewer is immediately
transported to a Vernian universe of flying machines, crystalline domes and red planets. This use of
aesthetic anachronism, prevalent in many of his past works, highlights Hashimoto’s cautionary
attitudes toward the contemporary era’s increasing digitalization of atmosphere, one in which the
poetics of space have been replaced by the science of space. (Erik Morse)
