Three years to collect seawater, ten years to scatter it – On the Oku-Noto Triennale/Movement SuzuPro at Kanazawa College of Art – The Oku-Noto Mandala (2017), former Yagi residence, Suzu, Ishikawa. All photos (unless otherwise noted): Kichiro Okamura, courtesy
“A Room with Snoopy”—Reversing Tatzu Nishi’s A Room of Hachi Tatzu Nishi – A Room of Hachi (2023), Hachiko Square, Shibuya, Tokyo. All photos (except where otherwise noted): 88PROJECTS/Jiroh Fujimura. ©︎Tatzu Nishi, courtesy 88PROJECTS After writing about the
100 years of art in the Japanese archipelago—In the 100th year since the Great Kanto Earthquake and the birth of Hachiko The current statue of Hachiko outside Shibuya Station, Tokyo. On September 16, I attended “Kazushi Ooura: Mt.
Heat Source and Body Heat: “Art After Human” MOCAF MOCAF (Museum of Contemporary Art Fukushima), March 11, 2023, Tomioka, Fukushima. All photos (except where otherwise noted): courtesy MOCAF. On March 13, the wearing of masks to prevent the
“Takehisa Kosugi 2022” and Kiyoshi Izumi’s SOMA Scene from “Takehisa Kosugi 2022” (Hall Egg Farm, Saitama, October 15, 2022). GC (left) and Kiyoshi Izumi (right) performing Takehisa Kosugi’s South, e.v. (1999). Photo: Kiyotoshi Takashima, courtesy HEAR. Takehisa
The “failure’ of shosoku – Shuzo Azuchi Gulliver View of the Shuzo Azuchi Gulliver performance Failure due to backroom deal of “BODY” held between 16:00 and 16:30 on Friday, November 13, 2022, at the former Daiichi Bank Yokohama Branch.
Speed and Eros – Rikako Kawauchi and Phaedrus Installation view of Rikako Kawauchi’s solo exhibition “Colours in summer” at Tsutaya Books, Ginza Atrium, Tokyo, 2022. All images: Shintaro Yamanaka (Qsyum!) ©︎Rikako Kawauchi, courtesy the artist and WAITINGROOM. I
“Smallness” and “largeness” – On Tatsuo Kawaguchi’s “relations” Installation view of “Tatsuo Kawaguchi: Relation” at Shigeru Yokota Gallery, Tokyo, 2022. ©︎Tatsuo Kawaguchi, courtesy Shigeru Yokota Gallery. I’ve recently had the opportunity to view in succession a number of old
Back to ‘The Art of Ground Zero’ – War, Plague, Nuclear Energy MOCAF (Museum of Contemporary Art Fukushima), March 11, 2022, Tomioka, Futaba, Fukushima. Photo courtesy: MOCAF. On March 11 this year, eleven years after the Tohoku earthquake
Matter-of-fact supernaturalism View of “Sato Masaharu: Trace – absence of presence/presence of absence” (2021) at the Contemporary Art Gallery, Art Tower Mito. Photo Naruki Oshima, courtesy Contemporary Art Gallery, Art Tower Mito. Viewing it again today, it is
Minoru Onoda: The pulse of “Theory of Propagation Painting” a half-century later Minoru Onoda – Work 61-11 (1961), 91.4 x 133.1 x 7.4cm, collection Himeji City Museum of Art. Photo Shigefumi Kato. On May 15, 2021, eager to
Art to help us live through these times Mine Oka and Shunzo Sato (Part 2) Shunzo Sato – Wako Dojin (Mingling with the world hiding the light of one’s wisdom and virtue), 2002. All photos: Mami Fukuzoe, courtesy Shunzo