The meaning of photography, or, B(latent) horror effects (1) Installation view of “Lieko Shiga: Rasen Kaigan.” Photo Lieko Shiga, courtesy Sendai Mediatheque Photographs are endowed with both a certain physical substantivity, to the extent that they are “traces”
On ‘reproduction’ – The tea bowls of Kohei Nakamura (Part 2) Kohei Nakamura – Red Raku tea bowl (2012) Kazuo Yagi wrote an interesting essay on the subject of “reproduction”: On Kiyomizu-zaka there was an artist skilled in
The independent curator Takashi Azumaya died on October 16 of this year. Organized by Azumaya at the Setagaya Art Museum in 1999, “Art / Domestic: Temperature of the Time” remains one of the defining exhibitions of the 1990s. Also working
On “reproduction” – The tea bowls of Kohei Nakamura (Part 1) Kohei Nakamura – Wall: Rules of Form (2012). Foreground:Throne of Idea (2004). Installation view at “Art Crafting Towards the Future (2012) at the 21st Century Museum of Contemporary
Frames ≠ layers: The photography of Tamotsu Kido Born in 1974 and a graduate of the oil painting course at Aichi Prefectural University of Fine Arts and Music, Tamotsu Kido is familiar to those in the know as a photographer.
Critical Fieldwork 28 Neither decolorized nor faded – The latest color photographs by Daido Moriyama (Part 3) As is well known, Stieglitz “seceded” from pictorial photography that did no more than mimic symbolist or impressionist painting to pursue “the idea
Neither decolorized nor faded – The latest color photographs by Daido Moriyama (Part 2) Let us summarize the main points so far. 1) Looking back at Daido Moriyama’s “photographs of memories” from the second half of the 2000s onwards, we
Neither decolorized nor faded – The latest color photographs by Daido Moriyama (Part 1) Daido Moriyama – Tokyo (2012) All images © Daido Moriyama, Courtesy of Taka Ishii Gallery and Office Daido. We often say things like “a
Pedro Reyes’ Puzzles By Octavio Zaya Installation view of Mutantes (Mutants, 2012) at LABOR, Mexico City. All images: Courtesy Pedro Reyes and LABOR, Mexico City. The Mexican gallery LABOR has opened its new space with a solo exhibition
The World of Non-sensuous Similarity: Keisuke Matsuda’s Painting Keisuke Matsuda – Untitled (2008). All images: Courtesy the artist. When viewing an artist’s work for the first time, we inevitably measure their individuality according to some kind of standard
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
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 – he