Madhat Kakei’s paintings, wanderings/circles, and coincidence Installation view of untitled paintings by Madhat Kakei at Akutsu Gallery, Maebashi (2017). All photos: Noi Sawaragi, courtesy Madhat Kakei. A young architect friend told me there was a Kurdish painterView More >
Looking back on 2017 – Beyond the “judging” of art festivals Every Holiday Squad – Rode Work (2017). Installation view at the group show “Rode Work” curated by Side Core for Reborn-Art. Festival (Sakanamachi, Ishinomaki). Photo Shuji Goto, courtesy SideView More >
Looking back on 2017 – Beyond the “judging” of art festivals Every Holiday Squad – Rode Work (2017). Installation view at the group show “Rode Work” curated by Side Core for Reborn-Art. Festival (Sakanamachi, Ishinomaki). Photo Shuji Goto, courtesy SideView More >
Tatsumi Orimoto’s turning point: ‘Lunch’ and ‘Punishment’ after the death of Art Mama Scene from Punishment of 26 Bread Men (2017) at the Taro Okamoto Museum of Art.︎ This year (2017), a large number of international art exhibitions and internationalView More >
A Restatement: The Art of ‘Ground Zero’ (Part 36) ‘Tower of the Sun’ and ‘Great Peace Prayer Tower’ Okamoto Taro – Sun of the Underworld (1970). Photo courtesy Expo ’70 Commemorative Park Office.︎ At the Expo ’70 Commemorative Park inView More >
A Restatement: The Art of ‘Ground Zero’ (Part 35) Osamu Kokufu’s Engine in the Water and its other selves Installation view of “Osamu Kokufu: Engine in the Water Redux” Part 2 (2017) at Art Space Niji. Photo: Tomas Svab.︎ ItView More >
A Restatement: The Art of ‘Ground Zero’ (Part 34) Antarctic Architecture and Everyday/Extraordinary Pole Reversal Core buildings of Showa Station. Photo courtesy National Institute of Polar Research.︎ I was passing the LIXIL building on my way to Kyobashi Station toView More >
A Restatement: The Art of ‘Ground Zero’ (Part 33) Tadashi Tonoshiki and Anti-Scene ‘Reversal’ Tadashi Tonoshiki – BARRICADE IWAKI (1988). Installation view at Iwaki City Art Museum. All photos: Courtesy Hiroshima City Museum of Contemporary Art.︎ I had the opportunityView More >
A Restatement: The Art of ‘Ground Zero’ (Part 32) The Endless International Exhibition: ‘Don’t Follow the Wind’ Update (III) Okumamachi, Futaba-gun, Fukushima, January 2017. Photo: Shuji Akagi, © Shuji Akagi︎. Between midnight of March 31 and midnight of April 1View More >
A Restatement: The Art of ‘Ground Zero’ (Part 31) The Endless International Exhibition: ‘Don’t Follow the Wind’ Update (II) Nobuhiko Obayashi (center) on set during the filming of House (1977). Photo courtesy PSC/ Nobuhiko Obayashi Office. Of course, I hadView More >
A Restatement: The Art of ‘Ground Zero’ (Part 30) The Endless International Exhibition: ‘Don’t Follow the Wind’ Update (I) It will soon be two years since the opening (on March 11, 2015) of “Don’t Follow the Wind,” the exhibition “noView More >
2016↔2017: Looking Back and Forward Norimizu Ameya’s “Letter from.” (Kenpoku Art 2016) begins with participants sending postcards to actual post offices in northern Ibaraki, and receiving invitation-like letters. The photo shows a spot on the bank of the Kuji RiverView More >