An edited transcript of Mel Chin's opening lecture for The 12th Hiroshima Art Prize: Mel Chin at the Hiroshima City Museum of Contemporary Art. From the early work Lecture Ax to The Invitation, a new work made for Hiroshima, Chin reflects, through anecdotes and quotations, on the ideas at the root of his practice.
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.
Text: Jung-Yeon Ma Ho Tzu Nyen’s solo exhibition “Voice of Void” was presented at the Yamaguchi Center for Arts and Media [YCAM] from April 3 to July 4, 2021. At the beginning of the talk with the artist and the production team held at the opening of the exhibition, the question was posed: “Why the Kyoto School now?” ...
Invention: Keisuke Matsuda ‘Stabilization 3’ ＠ eN arts Keisuke Matsuda – Untitled (2015) Objects whose secret is not their expression, their representative form, but on the contrary their condensation and their subsequent dispersion in the cycle of metamorphoses. In
‘Okinawa’ and ‘Portrait’: – Ryuichi Ishikawa’s Okinawan Portraits 2010-2012 Ryuichi Ishikawa – from Okinawan Portraits 2010-2012 I have already touched on the portraits of Ryuichi Ishikawa (b. 1984) in a previous column (Critical Fieldwork 48: Japanese Portraits). I