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Critical Fieldwork 24/25

The World of Non-sensuous Similarity: Keisuke Matsuda’s Painting Keisuke Matsuda – Untitled (2008). All images: Courtesy the artist. When viewing an artist’s work for the first time, we inevitably measure their individuality according to some kind of standard of “proficiency.”View More >

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Critical Fieldwork 23

Video and rhythm: Akira Miyanaga’s arc (2011) and scales (2011) (Part 2) Still from arc (2011), HD video, 7 min 30 sec. Courtesy the artist and Kodama Gallery. In minimal music, “repetition” is significant in the respect that it producesView More >

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Critical Fieldwork 22

Video and rhythm: Akira Miyanaga’s arc (2011) and scales (2011) (Part 1) Generally speaking, the video art one sees these days in art exhibitions projected onto single or multiple screens in dark, partitioned rooms can be classified into three groups.View More >

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Critical Fieldwork 21

Collage and Photography: Naruki Oshima’s New Series ‘haptic green’ (Part 2) Risaku Suzuki Mont Sainte Victoire NZP-10 (2001), type C print, 40.7 x 50.8 cm. Courtesy Gallery Koyanagi. Naruki Oshima’s “haptic green” is a series of collages each made byView More >

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Critical Fieldwork 20

Collage and Photography: Naruki Oshima’s New Series ‘haptic green’ (Part 1) Reflections – 0606 (2006), Lambda print mounted on Plexiglas, 120 x 123cm, edition of 5. All images: Courtesy Gallery Nomart. Having exhibited work at the International Architecture Biennale RotterdamView More >

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Critical Fieldwork 19

Tracing Masanori Handa, 2007-2011 Curated by Midori Matsui, “The Door into Summer: the Age of Micropop,” held at Art Tower Mito in 2007, took a fresh look at Japanese contemporary art since 1995. Premised on the concept of a “doorView More >

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Critical Fieldwork 18

How to abandon Japan: ‘Yasuo Kuniyoshi from the Fukutake Collection’ at the Okayama Prefectural Museum of Art This exhibition of works by Yasuo Kuniyoshi at the Okayama Prefectural Museum of Art is extensive, ranging from anti-Japanese campaign posters created duringView More >

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Critical Fieldwork 17

Architecture/Collage/Painting: Jun Aoki + Hiroshi Sugito’s phantom ‘Happa and Harappa’ exhibition There is a famous essay by Colin Rowe and Robert Slutzky entitled “Transparency: Literal and Phenomenal.” Those who have come to understand from listening to others that the formerView More >

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Critical Fieldwork 16

Building up to the Tokyo Art Fair: G-tokyo, Tokyo Frontline and Art Fair Tokyo Scene from G-tokyo 2011. Photo Keizo Kioku. In the last few years, February has become the month for graduation exhibitions and art fairs. Visitor numbers haveView More >

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Critical Fieldwork 15

Naked Photography II: Takuma Nakahira’s ‘Kirikae’ In my previous column, based on the fact that in his recent solo exhibitions at BLD Gallery and ShugoArts Takuma Nakahira had abandoned the presentation method of showing photographs in pairs, I wrote theView More >

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