Criticism and Assessment: Concerning Art Concerning Disability Installation view, “Meguru a–to wo meguru” at Kyoto-ba, Kyoto, 2019. Photo Atsushi Ueyama. Over the past few years, I’ve often been asked to comment on the relationship between disability and art.View More >
Escape plan from repetitive theatrics: “SPACE PLAN: Avant-Garde Art Collective in Tottori 1968-1977” Installation view of Space Plan’s second exhibition, Tottori sand dunes, 1969. Because last year, 2018, marked fifty years since 1968, there was a succession ofView More >
Bridges and ladders: The forgotten Kanogawa Typhoon Floating debris collecting at the Chitose Bridge, photographed by Shunji Ishii in 1958. Collection Kanogawa Resource Center; courtesy Ministry of Land, Infrastructure and Transport, Numazu Office of River and National Highway. View More >
A mountain-like inquiry into “restoration”: Yamagata Biennale 2018 (Part 2) Works by Genkichi Takahashi featured in “Contemporary Yamagata Thought” (a special exhibit at Yamagata Biennale 2018: “100 Stories Like a Mountain”). From left to right: Tachiyagawa river v. rock face,View More >
A mountain-like inquiry into “restoration”: Yamagata Biennale 2018 (Part 1) Hiroaki Ido – Haibutsu kishaku (engaging in restoration) (2018), installation view at “Contemporary Yamagata Thought,” (a special exhibit at Yamagata Biennale 2018: “100 Stories Like a Mountain.” All photos:View More >
Crossroads of the Lives of Yasuo Kuniyoshi and Toshi Shimizu (Part 2) Yasuo Kuniyoshi – Festivities (1947), oil on canvas, 100.5 x 176.5 cm, Okayama Prefectural Museum of Art. The most enigmatic-looking of Kuniyoshi’s works are those heView More >
Crossroads of the Lives of Yasuo Kuniyoshi and Toshi Shimizu (Part 1) Installation view (entrance) of “Yasuo Kuniyoshi and Toshi Shimizu: Crossroads of their Lives” at Tochigi Prefectural Museum of Fine Arts. Photo Shinji Saito. A number ofView More >
The interior of Taro Okamoto’s Tower of the Sun was reopened to the public on March 19 this year. Sawaragi entered inside the tower to complete my own inspection together with other persons concerned on April 7.
A Restatement: The Art of ‘Ground Zero’ (Part 37) The transformation of the difficult-to-return zone and “Don’t Follow the Wind”
Madhat Kakei’s paintings, wanderings/circles, and coincidence Installation view of untitled paintings by Madhat Kakei at Akutsu Gallery, Maebashi (2017). All photos: Noi Sawaragi, courtesy Madhat Kakei. A young architect friend told me there was a Kurdish painterView More >