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Dates: February 16 – March 16, 2013
Location: Taka Ishii Gallery (Kiyosumi, Tokyo)

Taka Ishii Gallery is pleased to present Daido Moriyama’s solo exhibition Farewell Photography from February 16 to March 16. The exhibition will include an edition featuring ten images from Daido Moriyama’s seminal title Farewell Photography. The edition, produced to commemorate the presentation of William Klein + Daido Moriyama at London’s Tate Modern (October 10, 2012 - January 20, 2013), consists of black and white prints produced from digitally archived originals, subsequently reproduced in the media of silkscreen on paper. The silkscreen prints are produced by Tokyo-based Edition Works, responsible for the acclaimed 2011 Moriyama edition ACCIDENT.

The 2012 Farewell Photography silkscreen prints exist as a genuine extension of Moriyama’s original, most extreme project; pixelated virtual images realized in the tactile media of silkscreen on paper suggest that contradictions enlivening Moriyama’s 1972 series, distinct within his oeuvre for expressing a near total disregard for photographic convention, remain vital within present-day practice.


Daido Moriyama
“Farewell Photography”, 1972 / 2012
silkscreen on paper
image size: 313 x 550 mm/ paper size: 508 x 610 mm
set of 10 pieces, edition of 35
Photo: Kenji Takahashi


Daido Moriyama
“Farewell Photography” (detail), 1972 / 2012
silkscreen on paper
image size: 313 x 550 mm/ paper size: 508 x 610 mm
set of 10 pieces, edition of 35
Photo: Kenji Takahashi

For further information please contact:
Exhibition: Elisa Uematsu Press: Takayuki Mashiyama
1-3-2-5F Kiyosumi, Koto-ku, Tokyo 135-0024
tel : 81-3-5646-6050 fax : 81-3-3642-3067
www.takaishiigallery.com e-mail : tig@takaishiigallery.com
Tue-Sat 12:00-19:00 Closed on Sun, Mon and National holiday

Dates：March 9 – April 6, 2013
Location: Taka Ishii Gallery Photography / Film (Roppongi, Tokyo)

Taka Ishii Gallery Photography / Film will present an exhibition of works by Francis Bacon from March 9 to April 6. The exhibition will include 11 contact sheets, which were used as important image sources in his production process.

It is well known that Bacon worked from photographs rather than live models. While he hired John Deakin and other established photographers to make some of the photographs, he also frequently hired unknown photographers who were active in New York at the time. Some of the contact sheets show sequential photographs, which evoke Eadweard Muybridge’s works, but they also betray his idiosyncratic perspective on the human figure. In 1974, Bacon explained, “I want to isolate the image much further and take it very much further away from the photograph. I only use photographs as I would use a dictionary in a foreign language.” He wrote directly onto some of the photographs to formulate ideas for his works.

Some of these valued contact sheets were preserved as the “Robertson Collection.” Mac Robertson, who worked as an electrician at Bacon’s studio, inherited and later sold works Bacon was planning to destroy, as well as documents including his contact sheets and diary entries. The contact sheets included in the current exhibition were also a part of his collection.


Enlarged contact sheet of female nudes, from the floor of Francis Bacon’s studio. C 1975
Prov. The Robertson Collection.
Unique vintage gelatin silver enlarged contact sheet, 41.9 x 50.8 cm
Courtesy of Michael Hoppen Gallery, London


Two men wrestling in a studio, from the floor of Francis Bacon’s studio. C 1975
Prov. The Robertson Collection.
Unique vintage gelatin silver enlarged contact sheet, 41.9 x 50.8 cm
Courtesy of Michael Hoppen Gallery, London

From March 8 to May 26, “FRANCIS BACON,” the first posthumous retrospective of Bacon’s works in Asia, will be held at the National Museum of Modern Art, Tokyo. Please visit the exhibition website http://bacon.exhn.jp for details.

Taka Ishii Gallery Photography / Film
6-6-9 2F Roppongi Minato-ku Tokyo #106-0032, JAPAN
tel: 03 6447 1035 fax: 03 6447 1036
Tuesday-Saturday / 11:00 – 19:00
Closed on Sun, Mon and National holiday

Dates: January 26 – February 16, 2013
Location: Taka Ishii Gallery Photography / Film
Opening reception: Saturday, January 26, 18:00 – 20:00

Taka Ishii Gallery Photography / Film is pleased to present Tomoki Imai’s solo exhibition “Semicircle Law”. The current exhibition is comprised of 15 works that Imai shot in multiple locations within a 30km radius of the Fukushima No.1 nuclear power plant in the approximately 20-month period between April 21, 2011 and the end of 2012.

From the mountaintop, the building was sometimes visible as a blurred white dot. Neither the building’s enormous emission nor 20km and 30km radii could be seen. No transformation excepting the change of the seasons was visible.
Not being an interested party in the strictest sense, I felt that I would eventually forget this tragedy as I had many others. To forget something is to become accustomed to it. I did not want to become accustomed to the idea that a semicircle of emptiness was just a four hour drive away.
And yet, I probably will forget. As the memory slides gently into oblivion, my photographs allow me to recall not only visible, but also invisible things.
- Tomoki Imai

In his best known works Mahiru – in the middle of the day (Seigensha, 2001) and Light and Gravity (Little More, 2009), Imai photographed everyday landscapes such as streets and forests and ordinary interiors. These tranquil works, in which no people appear, convey Imai’s sincere attitude toward the act of looking and his quiet excitement in finding beauty in ordinary scenes. In his recent work A TREE OF NIGHT (Match and Company, 2010), Imai created spreads comprised of snapshots on one page and macro shots of descriptions of visual and aural sensations excerpted from a novel printed in braille on the facing page. By juxtaposing these images, he showed that there are things that we sacrifice by being able to see and encouraged viewers to reexamine the very act of looking.

The Japanese government designated the area within a 20km radius of the Fukushima No.1 nuclear power plant an “evacuation zone” and limited access to it on April 22. Imai began shooting the images included in the current exhibition on April 21. In all of these images, the camera is pointed in the direction of the nuclear power plant. The works offer no opinion on the nuclear disaster, but show us that while we may think that we are facing this unprecedented disaster, we are actually incapable of seeing it.

Tomoki Imai new publication “Semicircle Law”
Retail price: TBC, published by Match and Company (2012)
Hardcover, total 64 pages, 27 illustrations, H28 x W35 cm
Art direction: Satoshi Machiguchi
Texts include; Essays by Charlotte Cotton and Taro Amano (Chief Curator, Yokohama Museum of Art) (English and Japanese)
Anticipated release date: January, 2013


Tomoki Imai "Semicircle Law #03 2011/5/1 - 29km", 2012


Tomoki Imai "Semicircle Law #16 2012/6/30 - 31km", 2012

Taka Ishii Gallery Photography / Film
6-6-9 2F Roppongi Minato-ku Tokyo #106-0032, JAPAN
tel: 03 6447 1035 fax: 03 6447 1036
Tuesday-Saturday / 11:00 – 19:00
Closed on Sun, Mon and National holiday

Dates: January 25 – March 9, 2013
Location: Taka Ishii Gallery Kyoto
Opening reception: Friday, January 25, 18:00 – 20:00

Taka Ishii Gallery Kyoto is pleased to present “where water comes together with other water,” an exhibition
by Shinpei Kusanagi from January 25 to March 9.

A place that is no place in particular is also any place. With a slight modification, the English word nowhere,
used to describe “no place in particular,” becomes now here or the place where one is now.
The train station, which is neither Kiyosumi nor Shirakawa, is simultaneously both Kiyosumi and Shirakawa.
Once you climb the stairs and exit the station, you may find yourself in the town where I was born or a town
in which a stranger lives. Is it possible to intentionally stay in such a place that is both nowhere and
anywhere?
Shinpei Kusanagi

For five years starting in the fall of 2007, Kusanagi published a drawing of landscapes and plants in the
Kiyosumi Shirakawa area to accompany each installment of Teru Miyamoto’s novel Mizu no katachi [the
shape of water] serialized in the monthly magazine éclat (published by Shueisha). Kusanagi’s first book
Kiyosumi kaiwai [Kiyosumi and its Environs] (tentative title) (to be published by Kyuryudo) will feature
original drawings made for the serial novel as well as Kusanagi’s own writings.

Book Title: Kiyosumi kaiwai [Kiyosumi and its Environs] (tentative title) Author: Shinpei Kusanagi
Specifications: A5 Size, approximately 160 Pages and 60 Color photo reproductions
Design: Akira Sasaki Published by Kyuryudo http://www.kyuryudo.co.jp/

The current exhibition marks the publication of Kiyosumi kaiwai [Kiyosumi and its Environs] (tentative title),
a book of Shinpei Kusanagi’s drawings and writings, from Kyuryudo; the exhibition will feature
approximately 60 original drawings from the book as well new acrylic-on-canvas paintings. By overlaying
the seemingly disparate facets of his work––paintings and book illustrations––onto the city of Kiyosumi
Shirakawa, Kusanagi carefully examines the commonalities between them.

Born in Tokyo in 1973. His recent major exhibitions include, “project N 45 KUSANAGI Shinpei” (Tokyo
Opera City Art Gallery, Tokyo, 2011), “VOCA” (The Ueno Royal Museum, Tokyo, 2011) and “Towing
Voyage” (Altman Siegel Gallery S/F, San Francisco, 2009).


Shinpei Kusanagi, "The ally", 2011, Acrylic on hemp canvas, 194 x 259 cm
Courtesy of Taka Ishii Gallery


Shinpei Kusanagi, "Untitled", 2009, Acrylic on wooden panel, 36.4 x 25.7 cm
Courtesy of Taka Ishii Gallery


Shinpei Kusanagi, "Untitled", 2011, Acrylic on wooden panel, 36.4 x 25.7 cm
Courtesy of Taka Ishii Gallery

For further information, please contact:
Taka Ishii Gallery, Kyoto / Junko Yasumaru
www.takaishiigallery.com e-mail : kyoto@takaishiigallery.com
483 Nishigawa-cho Shimogyo-ku Kyoto #600-8325, Japan tel: +81(0)75 353 9807 fax: +81(0)75 353 9808
Open：11:00 - 19:00 Closed on Sunday, Monday and National holiday

Dates: November 30, 2012 – January 19, 2013
(Winter holidays: December 23, 2012 – January 7, 2013)
Location: Taka Ishii Gallery Kyoto / Tomio Koyama Gallery Kyoto
Opening reception: Friday, November 30, 18:00 – 20:00


© Yuki Kimura

Taka Ishii Gallery Kyoto and Tomio Koyama Gallery Kyoto will concurrently hold two solo exhibitions–Yuki Kimura “Interior 6L01–107T” and Tam Ochiai “Meadow Traveler, Madeleine Severin” respectively. During the solo exhibitions, the group exhibition “for missing O KYTO” (exhibiting artists: Ryoko Ito, Atsushi Nishijima, and Hiroyuki Oki) invited by Kimura and Ochiai will be held at TKG Editions Kyoto.

Yuki Kimura “Interior 6L01〜107T” Location: Taka Ishii Gallery Kyoto
In the current exhibition, Yuki Kimura will exhibit her new work “Interior 6L01–107T”, which continues her engagement with photographs of rooms. Both the lifestyles captured in the anonymously produced found photographs of living spaces Kimura uses in her works and the medium of the analog photographic print have become obsolete with the passage of time. Kimura has found inspiration in the fact that the image and the medium have followed the same fate together. The current installation consists of free-standing panels and a related series of 9 black and white photographs. The space represented in the photograph overlaid on the actual space of the gallery via the support structure, results in the creation of a new space. The relationship existing between the photographs may be read as a series of induction lines within the space, photography evolving into a physical experience. From the place in which the photographs were taken to the place the photographs have been placed, Kimura’s practice calls into existence what one might call a visual tautology. This will be Kimura’s first solo exhibition at Taka Ishii Gallery Kyoto and her 6th with the gallery.

Tam Ochiai “Meadow Traveler, Madeleine Severin” Location: Tomio Koyama Gallery Kyoto
Tam Ochiai will show a series of paintings created with bleach on fabric and addressing the concept of migration; a video piece documenting a trip made between the first and last cities found in a dictionary; and 28 drawings that are reproduced in his artists’ book meadow traveler’s restaurant guide. This artists’ book consists of maps of actually existing restaurants, such as a Polish restaurant in Mexico City, which deviate from their geographical locations. It is a restaurant guide for travelers of sites similar to “meadows that emerge in nature,” which are created by combining elements placed outside of their contexts as in Surrealist literature. Ochiai fragments various things and brings disparate parts together to transgress conventional contexts and create complex and unfettered significations that resonate and enrich the imagination. This will be his first solo exhibition at Tomio Koyama Gallery in five years.

“for missing O KYTO” (exhibiting artists: Ryoko Ito, Atsushi Nishijima, and Hiroyuki Oki) invited by Kimura and Ochiai Location: TKG Editions Kyoto
Organized around the themes of sound, music and time, this group exhibition will include a manuscript that Ryoko Ito worked on as editor for her child’s graduation from nursery school; Atsushi Nishijima’s installation of various sounds made with a single piano wire; and sheet music-like drawings or charts made for editing a video work by Hiroyuki Oki. We hope that you will take this opportunity to view how this work by three exhibiting artists and two organizers expresses their continuous, yet changing, relationships and the gentle passage of quiet time.

Yuki Kimura was born in 1971 in Kyoto. She completed her graduate studies at Kyoto City University of Arts in 1996. Based upon photographs from varied sources, her installation works have continued to explore the theme of time and dimension in concurrence to the present space where the installations have placed. She continues to exhibit her art work worldwide, some major group shows including: “30th São Paulo Biennial” (2012); “Mount Fuji does not exist”, Le Plateau / Frac Ile-de-France, Paris (2012); “Kaza Ana / Air Hole: Another Form of Conceptualism from Asia”, The National Museum of Art, Osaka (2011); “6th International Istanbul Biennial” (1999). Recent solo shows include: “Untitled”, IZU PHOTO MUSEUM, Shizuoka (2010).

Tam Ochiai was born in 1967 in Kanagawa. After graduating from Wako University in 1990, he moved to the U.S. and received MFA from New York University in 1993. He currently lives and works in New York. He held a solo exhibition “spies are only revealed when they get caught” at Watari-Um Museum, Tokyo in 2010, and has held solo shows worldwide including New York and Milan. His work was featured in Yokohama Triennale 2011, and other major group exhibitions include “Winter Garden: The Exploration of the Micropop Imagination in Contemporary Japanese Art” (Hara Museum, Tokyo, touring to Japanisches Kulturinstitut Köln, Germany, and The Japan Foundation, Toronto, Canada, 2009-2010). His work is included in public collections including Museum of Contemporary Art Tokyo, The National Museum of Art, Osaka and The Japan Foundation.

For further information, please contact:
Taka Ishii Gallery Kyoto / Exhibition: Takayuki Mashiyama / Press: Junko Yasumaru
TEL: 075 353 9807 e-mail: kyoto@takaishiigallery.com
Tomio Koyama Gallery Kyoto / Press: Futaba Fujikawa
TEL: 075 353 9992 e-mail: fujikawa@tomiokoyamagallery.com
483 Nishigawa-cho Shimogyo-ku Kyoto #600-8325, Japan
Open: 11:00 - 19:00 Closed on Sunday, Monday and National holiday

Dates: December 15, 2012 – January 12, 2013
The gallery will be closed for the winter holidays from Dec 28, 2012 to Jan 7, 2013
Location: Taka Ishii Gallery (Kiyosumi, Tokyo)

Taka Ishii Gallery is pleased to announce “Telltale of A Sunday Practice”, the third solo exhibition in Japan of Mexico City based artist Mario Garcia Torres. For his second exhibition at Taka Ishii Gallery, Garcia Torres will premier a new body of works which rethink his own studio problematics as seen through the lens of conceptual art practices.

The exhibition’s main piece, The Kid Who Loved Being Bored, is a short-essay about the beauty and usage of boredom, which takes the form of a children’s book. In the tale, the discovery of Xoco with such an emotional state and his momentary existence in a beam of light are recounted and used to glimpse at the possibility of emancipation through imagination.

Presented in the exhibition as a slide show projection, the work pretends to review the codes of an art presentation to accommodate youngsters in a gallery setting. TKWLBB was written by Garcia Torres, illustrated by Tomoko Hirasawa and accompanied with music by Gustavo Mauricio Hernández Dávila (Quiero Club).

In his work Garcia Torres explores the potential of a diverse range of media including but not limited to photography, film, performance and printed intervention in order for it to serve as a tool in his own re-examination of concerns related to history and conceptual art practice. Exploiting the seemingly objective informational aesthetic of conceptual presentation, Garcia Torres unearths and employs gaps in memory and understanding to address concerns of an immediate relevance.

Born in Monclova, 1975, Mexico, Garcia Torres received his MFA from the California Institute of the Arts (2005). His solo exhibitions have included the Museo Reina Sofía, Madrid (2010), the Fundació Joan Miró, Barcelona (2009), the CCA Wattis Institute for Contemporary Art, San Francisco (2009), and the Stedelijk Museum, Amsterdam (2007). He has also participated in the Bienal de São Paulo (2010), the Taipei Biennial (2010), and the Yokahama Triennial (2008), the Biennale di Venezia (2007) and Documenta 13 (2012). He is the winner of the 2007 Frieze Cartier Award.


Mario Garcia Torres
The Kid Who Loved Being Bored, 2012
Illustrated by Tomoko Hirasawa

For further information please contact:
Exhibition: Elisa Uematsu Press: Takayuki Mashiyama
1-3-2-5F Kiyosumi, Koto-ku, Tokyo 135-0024
tel : 81-3-5646-6050 fax : 81-3-3642-3067
www.takaishiigallery.com e-mail : tig@takaishiigallery.com
Tue-Sat 12:00-19:00 Closed on Sun, Mon and National holiday

Dates: December 8, 2012 – January 19, 2013
The gallery will be closed for the winter holidays from Dec 28, 2012 to Jan 7, 2013
Location: Taka Ishii Gallery Photography / Film (Roppongi, Tokyo)
Opening Reception: Saturday, December 8, 18:00 – 20:00

Taka Ishii Gallery Photography / Film is pleased to present Erika Yoshino’s solo exhibition “Digitalis” from December 8 to January 19. Yoshino started making color works in 2010 and released the acclaimed book Just Like on the Radio in 2011. “Digitalis” will include 15 of her latest works produced after the publication of Just Like on the Radio between 2011 and 2012.


Erika Yoshino
“Untitled” 2011-2012
C-print
Image size：20 x 30 cm
Paper size：27.9 x 35.6 cm


I spent the day reading Yumiko Oshima. Here is a passage from her Digitalis:
Since childhood, I too have been basically unable to see the stars with my naked eyes. If I close my eyes, though, I see galaxies. They are amorphous luminous bodies that appear out of nowhere when I force my eyes closed because I cannot sleep. As a child, I used to study them often and discovered that some had consistent forms and moved at fixed speeds. I named the largest and brightest galaxy ‘Digitalis.’
Digitalis is also the name of my birth month flower, which is otherwise known as foxglove. According to Maurice Maeterlinck, it is ‘a flower that shoots into the sky like a depressed rocket.’

‐Erika Yoshino


Erika Yoshino
“Untitled” 2011-2012
C-print
Image size：20 x 30 cm
Paper size：27.9 x 35.6 cm


Erika Yoshino was born in Honjo City in Saitama Prefecture in 1970. She began making photographs in 1989 and graduated from the Tokyo College of Photography in 1994. While at the College, she was influenced by Kiyoshi Suzuki and began producing black and white “street photography” images in the late 1990s. In 2010, she began producing color work. Her works, shot in Tokyo and the northern Kanto region, are tranquil, but also forcefully draw their viewers in with their unique worldview.

Yoshino has had a number of solo exhibitions including “ICE Echo Wave” (Ginza Nikon Salon, 1995), “Enoshima Zero Meter” (Works H., 1996), “Max is Making Wax” (Viewing Room Yotsuya, 2001), “Eleanor Rigby” (Yokohama Civic Art Gallery Azamino, 2008), and “Just Like on the Radio” (Port Gallery T, 2011). She has also been included in many group exhibitions including “Eleven & Eleven: Korea Japan Contemporary Art 2002” (Sungkok Art Museum, Seoul, 2002), “Black Out: Contemporary Japanese Photography (Istituto Giapponese di Cultura in Roma, 2002, traveled to Paris and Tokyo), and “Nonchalant” (4-F Gallery, Los Angeles, 2004).

Taka Ishii Gallery Photography / Film
6-6-9 2F Roppongi, Minato-ku, Tokyo #106-0032 Japan
www.takaishiigallery.com email: tig@takaishiigallery.com
Tue-Sat 12:00-19:00 Closed on Sun, Mon and National holiday

"Why I had closed my eyes" – Between Réalité and Myself ⑩ –

Dates: September 15 – October 13, 2012 Location: Taka Ishii Gallery Kyoto
(Concurrent exhibition, gallery 1: Hiroe Saeki (September 7 – 13)

Taka Ishii Gallery Kyoto is pleased to present an exhibition of new works by Hidehisa Tachibana in gallery 2 from September 15 to October 13.

It is with my left and right hands, which I owe to my father and mother, that I make things. Somewhere down the line, I decided that my father was my left hand and my mother my right.
This May, my father passed away. Perhaps because we lived separately, it took a while for his death to sink in. When I started to make things, however, my hands would suddenly stop. When it hit me that my father was really gone, my hands had ceased moving. Hidehisa Tachibana

Despite ranging in media, Hidehisa Tachibana’s works, which include unglazed sculptures and woodcarvings, exude a similar mood. The sculptures’ strange expressions, the sensation one feels in touching them, and the long shadows they cast alternately draw in and repel viewers emotionally. It is as if the sculptures create a tie with images conjured in the viewers’ hearts. This exhibition is the tenth installment of an ongoing series.

Hidehisa Tachibana: Born in Hiroshima in 1962.
Hidehisa Tachibana statuary exhibition
2009 “sayonara”, SAVOIR VIVRE, Tokyo
“calling you”, SAVOIR VIVRE
2010 “saihate (the world’s end)”, SAVOIR VIVRE
2011 “kanashimi (sadness)”, SAVOIR VIVRE
“still life”, higashiaoyama, Tokyo
“aioi”, ANCHORET, Hiroshima
2012 “Tokyo”, SAVOIR VIVRE
“endless summer”, higashiaoyama
“Franny”, ANCHORET
“Why I had closed my eyes”, Taka Ishii Gallery Kyoto


© Hidehisa Tachibana, 2012

For further information, please contact:
Taka Ishii Gallery, Kyoto / Junko Yasumaru
www.takaishiigallery.com e-mail : kyoto@takaishiigallery.com
483 Nishigawa-cho Shimogyo-ku Kyoto #600-8325, Japan tel: +81(0)75 353 9807 fax: +81(0)75 353 9808
Open：11:00 - 19:00 Closed on Sunday, Monday and National holiday

Dates: November 10 – December 8, 2012
Location: Taka Ishii Gallery (Kiyosumi, Tokyo)

Taka Ishii Gallery is pleased to announce Hourly directional field notation, Bretagne, our second solo exhibition with artist Helen Mirra, the first to be presented within the Tokyo gallery space. Mirra previously exhibited with Taka Ishii Gallery (Kyoto, 2009); her work was also included in the group exhibition Set, Taka Ishii Gallery (Tokyo, 2005) with Lisa Lapinski and Yuki Kimura. Mirra’s recent projects include gehend (Field Recordings 1-3) at Bonner Kunsteverein (Bonn, 2011), KW Institute for Contemporary Art (Berlin, 2011) and Haus Konstruktiv (Zurich, 2012), Farbenweg, indirekter, architecturally embedded among the houses of the Universalmuseum Joanneum (Graz, 2011), Instance the Determination at the University of Chicago (2006), the book Cloud, the, 3, with an afterword by Lyn Hejinian (JRP Ringier/Christoph Keller Editions, 2007), and a GSA Art in Architecture project at the Minnesota - Canada border (2010). Mirra’s work is presently included in both the 30th Bienal de São Paulo and Les Ateliers de Rennes, France.

Mirra's present rhythm of working takes the form of a kind of paced printmaking, made through walking. The printmaking is not descriptive of the place, but instead the process is an extended chance procedure. The activities are interdependent; the walking structures the printing, and the printing impels the walking. This rhythm is nestled into a cycle of exhibitions that perpetuates the project. This procedure began in 2010 in Massachusetts, and then continued in Emilia Romagna Italy, Southern Sweden, the Taconic Range in the Northeastern US, the Arizonan Sonoran Desert, and Bretagne France. The gallery will present works from the Bretagne walks. From 9 October - 6 November Mirra will walk in Western Japan, producing works that will then be exhibited elsewhere. In addition to the prints, Mirra’s walking in Bretagne was substantiated through a series of terse field notes made over the seven hour course of each day; these notes ultimately serving as text for typewritten 16mm cotton lines, each hour represented by a one meter long line.


© 2012 Helen Mirra


© 2012 Helen Mirra


© 2012 Helen Mirra

For further information please contact:
Exhibition: Jeffrey Ian Rosen Press: Takayuki Mashiyama
1-3-2-5F Kiyosumi, Koto-ku, Tokyo 135-0024
tel : 81-3-5646-6050 fax : 81-3-3642-3067
www.takaishiigallery.com e-mail : tig@takaishiigallery.com
Tue-Sat 12:00-19:00 Closed on Sun, Mon and National holiday

Dates：October 20 – December 1, 2012
Location: Taka Ishii Gallery Photography / Film (Roppongi, Tokyo)
Opening Reception：Saturday, October 20, 18:00 – 20:00
*The gallery will be closed on November 13 to exchange the installation.

Taka Ishii Gallery Photography / Film is pleased to present a solo exhibition of works by Keiichi Tahara from October 20 to December 1. The exhibition will include approximately 10 vintage prints each from two important series of works “Fenetre” and “Eclat”, for which Tahara received much attention in the early stages of his career. The exhibition will be divided into two sections; the first half of the exhibition (October 20 – November 10) will feature prints from “Fenetre” and the second half (November 14 – December 1) will feature prints from “Eclat”.


Keiichi Tahara
“Fenetre” 1974 - 1983
Gelatin silver print
Paper size：50 x 70 cm
Image size：43 x 63.4 cm
© Keiichi Tahara

No matter what means of expression Keiichi Tahara appropriates in his works, they are always premised on their reconstruction as light and shadow... The works are constantly inflected as they perennially shift and transform. Inside and outside, white and black, nature and culture¬. The introverted and extroverted aspects of Tahara’s personality do not contradict each other. His introversion is apparent from the long years he spent shooting windows for his “Fenetre” series and fixing his gaze on interior living spaces for his “Eclat” series. That he traveled around Europe making Seikimatsu kenchiku [fin-de-siecle architecture], his massive six-volume set of books of images of architecture, or rather spaces, is evidence of his simultaneous extroversion. These various aspects of his work are not in opposition. They are constructed along a continuum... The infinite number of fractals and fissures, which Tahara’s photographic activities produce, are important because they empty all interpretations of meaning while requiring their endless regurgitation, and further create a new existential ecology equipped with a universe of new lines of meaning and referents.
- Excerpt from Felix Guattari, “Les machinations de lumiere de Keiichi Tahara”


Keiichi Tahara
“Eclat” 1988 - 1991
Gelatin silver print
Paper size：50 x 70 cm
Image size：43.5 x 63 cm
© Keiichi Tahara

Tahara works in a variety of media, ranging from photography, sculpture, and various installations to massive light-scape pieces that are produced as a part of urban planning projects. His commitment to the search for the form of light and his delicate but strong sensibility towards light and shadow constitute the foundation of all of his works. Both his early series “Fenetre” and “Eclat”, which the current exhibition comprises, already embodies these features of Tahara’s oeuvre.

Keiichi Tahara was born in Kyoto in 1951. He began making photographs after moving to France in 1972, producing “Ville” from 1973 to 1974 and “Fenetre” from 1973 to 1980. In 1977, he won the Grand Prix at the Rencontres d'Arles in France. He went on to produce a variety of photographic works including the “Portrait” series (1978–1987) and “Eclat” series (1979–1983), and traveled throughout Europe to photograph late 19th century architectural spaces. In the late 1980s, he carried out light-based projects in many parts of the globe. His works are on permanent display in museums and other various sites.

Tahara’s works will also be on display at Taka Ishii Gallery’s booths at the Frieze Art Fair (October 11–14, 2012 in London) and Paris Photo 2012 (November 15–18, 2012 in Paris).

For further information please contact:
Exhibition: Yutaka Kikutake Press: Takayuki Mashiyama
1-3-2-5F Kiyosumi, Koto-ku, Tokyo 135-0024
tel : 81-3-5646-6050 fax : 81-3-3642-3067
www.takaishiigallery.com e-mail : tig@takaishiigallery.com
Tue-Sat 12:00-19:00 Closed on Sun, Mon and National holiday