Video and rhythm: Akira Miyanaga’s arc (2011) and scales (2011) (Part 2) Still from arc (2011), HD video, 7 min 30 sec. Courtesy the artist and Kodama Gallery. In minimal music, “repetition” is significant in the respect that it producesView More >
Columns
Scene 4 (He suddenly felt he had been here before)
In a continuation of the column 2010 Cinema, this is the fourth in a series of fictional portraits by Hu Fang, each taking the form of loose screen plays. 4.1 He suddenly felt he had been here before – heView More >
Noi Sawaragi: Notes on Art and Current Events 23
A Restatement: The Art of ‘Ground Zero’ (Part 4) Iwaki Yumoto II All photos ART iT (March 2012) I returned to Tokyo from Iwaki Yumoto and in the New Year, on Tuesday, January 24, 2012, I set foot for theView More >
Critical Fieldwork 22
Video and rhythm: Akira Miyanaga’s arc (2011) and scales (2011) (Part 1) Generally speaking, the video art one sees these days in art exhibitions projected onto single or multiple screens in dark, partitioned rooms can be classified into three groups.View More >
Naoya Hatakeyama
Lines, Models and Other Illusions By Aveek Sen Installation view of TWENTY-FOUR BLASTS 2011 (2011). Courtesy Tokyo Metropolitan Museum of Photography. Architects continue to think and work towards the completion of architecture. But every step closer to completion takes somethingView More >
Critical Fieldwork 21
Collage and Photography: Naruki Oshima’s New Series ‘haptic green’ (Part 2) Risaku Suzuki Mont Sainte Victoire NZP-10 (2001), type C print, 40.7 x 50.8 cm. Courtesy Gallery Koyanagi. Naruki Oshima’s “haptic green” is a series of collages each made byView More >
Noi Sawaragi: Notes on Art and Current Events 22
A Restatement: The Art of ‘Ground Zero’ (Part 3) Iwaki Yumoto I Exterior view of the Mihako-za After taking part in the symposium Community and Art in the Aftermath of March 11: Before and After, held October 30 of lastView More >
Critical Fieldwork 20
Collage and Photography: Naruki Oshima’s New Series ‘haptic green’ (Part 1) Reflections – 0606 (2006), Lambda print mounted on Plexiglas, 120 x 123cm, edition of 5. All images: Courtesy Gallery Nomart. Having exhibited work at the International Architecture Biennale RotterdamView More >
Lieko Shiga
The Resistant Photograph: A Day with Lieko Shiga By Aveek Sen Angry Lily (2007), from the series “Canary.” Image © and courtesy Lieko Shiga. I had always felt that somewhere in the depths of my photography there had to beView More >
Critical Fieldwork 19
Tracing Masanori Handa, 2007-2011 Curated by Midori Matsui, “The Door into Summer: the Age of Micropop,” held at Art Tower Mito in 2007, took a fresh look at Japanese contemporary art since 1995. Premised on the concept of a “doorView More >
Noi Sawaragi: Notes on Art and Current Events 21
A Restatement: The Art of ‘Ground Zero’ (Part 2) ji me n (ground) In his previous column, Noi Sawaragi introduced a reexamination of his concept of “the art of ground zero” by discussing the cultural resonance of the Daigo FukuryuView More >
No. 11: Mom Art
The ticking time bomb of okan-art If outsider art inhabits one end of the spectrum away from mainstream fine art, there is another art form being lovingly nurtured at the opposite end: okan or “mom” art, as the name suggests,View More >