Remembering Seiko Mikami, media artist – or was she? III Installation view of the exhibition “World Membrane: Disposal Containers” (1993), Gallery NW House, Tokyo. Photo: Mikio Kurokawa. All photos courtesy Roentgenwerke; cooperation Shigeki Kimura. (Continued) The conspicuous gap
Remembering Seiko Mikami, media artist – or was she? II Molecular Informatics ~ morphogenic substance via eye tracking (Version 2.0) (1996), DEAF96, Rotterdam. Photo V2_Organisatie, all photos courtesy Tama Art University (Continued) The question that immediately springs to
Remembering Seiko Mikami, media artist – or was she? “Molecular Informatics ~ morphogenic substance via eye tracking (Version 1.0)” (1969), Canon ARTLAB, Hillside Plaza, Tokyo. Photo Mikio Kurokawa, all photos courtesy Tama Art University The sad news of
Obscenity as a symbol – Rokudenashiko and Genpei Akasegawa Rokudenashiko in her “Manboat.” Photo courtesy Shinjuku Ophthalmologist Gallery Artist Rokudenashiko has been rearrested. (1) As with her first arrest in July 2014, this latest action stems from suspicions
A Restatement: The Art of ‘Ground Zero’ (Part 20) “Yasashii Bijutsu” and Takashi Tosu III Takashi Tosu – Oshima leprosy sanatorium. “Takamatsu, boat and crag.” All photos: From Nobuyuki Takahashi’s Twitter (@yasashiibijutsu). This photo posted November 15, 2014.
The shape of the “future” – Grand Guignol Mirai postscript All photos: Scenes from the August 2014 performance of Grand Guignol Mirai. Photos ©Takashi Homma, courtesy Grand Guignol Mirai 2014 executive committee. This installment of Notes on Art
A Restatement: The Art of ‘Ground Zero’ (Part 19) “Yasashii Bijutsu” and Takashi Tosu II Takashi Tosu – Oshima leprosy sanatorium, film #00. All photos: From Nobuyuki Takahashi’s Twitter (@yasashiibijutsu). This photo posted August 2, 2014. The manner
A Restatement: The Art of ‘Ground Zero’ (Part 18) “Yasashii Bijutsu” and Takashi Tosu I Yasashii Bijutsu Project – Café Shiyoru. Photo Kimito Takahashi. All photos courtesy Art Setouchi Executive Committee. “I want to be critiqued and questioned
A Restatement: The Art of ‘Ground Zero’ (Part 17) Kota Takeuchi and Fukushima II: The Correlation/Reciprocation between Paintings and Twitter Kota Takeuchi – “Ego Search” series (2013), oil on canvas, 162 x 130.3 cm each. Installation view at “Sight
A love parade under the guise of a demo – Ellie (Chim↑Pom)’s “LOVE IS OVER” Invitaion to LOVE IS OVER (2014), postcard, stamp, horse blood, seal. Design: Hidenori Yoshioka. Photo: Kenji Morita. News that Ellie, the sole female
A Restatement: The Art of ‘Ground Zero’ (Part 16) Kota Takeuchi and Fukushima I: The demolition and rebirth of Mihako Theater Kota Takeuchi – Demolition of Mihako Theater (2013), two-channel video projection, movie screen, camera, benches. Late last
A Restatement: The Art of ‘Ground Zero’ (Part 15) The decontamination of land and art II Shuji Akagi – 20130106 Fukushima City Concert Hall (2013) Shuji Akagi is a former painter. Actually, he is still an artist, although