A Restatement: The Art of ‘Ground Zero’ (Part 6) Yusuke Nakahara and Nuclear Criticism I Yusuke Nakahara speaking at the symposium The Shape of the Art Museum of the Future (September 2010, Benesse House, Naoshima). Photo Osama Nakamura, courtesy
A Restatement: The Art of ‘Ground Zero’ (Part 5) Iwaki Yumoto III On March 21 of this year I flew to Hakata with the artist Takashi Murakami. We went there to visit the artist Mokuma Kikuhata. As soon as we
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
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
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 Fukuryu
A Restatement: The Art of ‘Ground Zero’ (Part 1) The Runit Dome, Fukushima, and the Lucky Dragon In the summer of 2004, around the same time as now when the singing of the cicadas was intense, a certain exhibition opened
Kuninosuke Matsuo and the Yomiuri Indépendent Exhibitions (Part III) In his previous two columns, Part I and Part II, Noi Sawaragi has been exploring the links between the intellectual and newspaper correspondent, Kuninosuke Matsuo, and the Yomiuri Indépendent series of
Kuninosuke Matsuo and the Yomiuri Indépendent Exhibitions (Part II) In his previous column, Noi Sawaragi began exploring the links between the intellectual and newspaper correspondent, Kuninosuke Matsuo, and the Yomiuri Indépendent series of exhibitions that provided a key platform for
Kuninosuke Matsuo and the Yomiuri Independent Exhibitions (Part I) From fall 2010 through May this year, the Tokyo Metropolitan Art Museum has held a series of two exhibitions of works from its collection titled “MOT Collection Chronicle 1947-1963: Days of
The sublime and the everyday – Chelfitsch: The Sonic Life of a Giant Tortoise Chelfitsch – Performance still of The Sonic Life of a Giant Tortoise (2008) at Kanagawa Arts Theatre, February 1, 2011. Photo Kikuko Usuyama. When
A deep, black hole inside of ‘me’ (Part II) In his previous column, Noi Sawaragi introduced concerns about the differences between art and theatre, presence and absence in relation to Norimizu Ameya’s The shape of me, simultaneously presented at multiple
A deep, black hole inside of ‘me’ (Part I) All images: Installation views of Norimizu Ameya’s The shape of me (2010) at Festival/Tokyo 10. All images courtesy Festival/Tokyo 10. © Yohta Kataoka. Norimizu Ameya’s The shape of me