A Restatement: The Art of ‘Ground Zero’ (Part 14) The decontamination of land and art I Shuji Akagi – 20120220 Fukushima Prefectural Library 2 (2012), lightjet print, 31.5 x 42cm. Courtesy Arataniurano and Yamamoto Gendai. Previously in this
A Restatement: The Art of ‘Ground Zero’ (Part 13) Nukes and Niigata – Addendum III The five children of Hidenaga, fourth generation of the Yoshihara Photographic Studio (1936), from “SPIRAL LIFE – 140 Years of the Yoshihara Family” (2011).
A Restatement: The Art of ‘Ground Zero’ (Part 12) Nukes and Niigata – Addendum II The Kanbara region of Niigata in earlier days. “Transformed into a lake following collapse of the Hisoyama drainage canal. From Hakusan looking toward Tagoshima,”
A Restatement: The Art of ‘Ground Zero’ (Part 11) Nukes and Niigata – Addendum I Installation at Yukihiro Yoshihara’s solo exhibition “Pleasure Dome” (1989) at Spiral Garden, Tokyo, 100 television monitors, five video projectors, 600 x 600 x 700
Painter and ‘counterfeiter’ – On ‘Makoto Aida: Monument for Nothing’ (Part 3) Aida Makoto + 21st Century Cardboard Guild – Monument for Nothing II (2000-). Installation view: Mori Art Museum, 2013. All images: Courtesy Mizuma Art Gallery. Caught
Painter and ‘counterfeiter’ – On ‘Makoto Aida: Monument for Nothing’ (Part 2) Aida Makoto – Dog (Snow) (1998), mineral pigments and acrylic on Japanese paper and board, 73 × 100 cm. Photo Kei Miyajima, © Makoto Aida, courtesy Mizuma
Painter and ‘counterfeiter’ – On ‘Makoto Aida: Monument for Nothing’ (Part 1) Installation view of “Aida Makoto: Monument for Nothing” at the Mori Art Museum. Courtesy Mizuma Art Gallery. Photo Osamu Watanabe, courtesy Mori Art Museum. The exhibition
A Restatement: The Art of ‘Ground Zero’ (Part 10) Nukes and Niigata III Anne Graham – Shinohara’s House (2012) Installation view at the Kozaburo Shinohara House, Gokahama, Niigata. Photo courtesy the Water and Land – Niigata Art Festival organizing
Takashi Azumaya – the ‘being and temperature’ Shinro Ohtake – Dub-Hei & New Chanel (1999) (detail). Installation view at “Art/Domestic – Temperature of the Time” (Setagaya Art Museum, Tokyo) Photo: Masataka Nakano, courtesy Setagaya Art Museum. The independent
A Restatement: The Art of ‘Ground Zero’ (Part 9) Nukes and Niigata II Otomo Yoshihide x Ameya Norimizu tachi – Smile (2012). Photographed July 16, 2012. All photos: Isamu Murai, courtesy the Water and Land – Niigata Art Festival
A Restatement: The Art of ‘Ground Zero’ (Part 8) Nukes and Niigata I Still from Casting Blossoms to the Sky. © Nagaoka Film Commission / PSC. August 6, 2012, 8.15am. At this time, exactly 67 years after the
A Restatement: The Art of ‘Ground Zero’ (Part 7) Yusuke Nakahara and Nuclear Criticism II The feeling I get from the artwork at the Echigo-Tsumari Art Triennale is one of spaciousness. The festival is overturning the conventional wisdom that artworks