Issei Suda, a Master of Japanese Photography | Interview Roland Angst with Ferdinand Brueggemann | Part 2
Previously I had posted an interview I did with Mariko Takeuchi on Japanese photography, this time I am posting an interview the Berlin publisher Roland Angst did with me on the Japanese photographer Issei Suda for the first Western monograph in the artist. Suda is slowly becoming more popular in the West((At GALERIE | PRISKA PASQUER we introduced Issei Suda’s work with two solo exhibitions…
MISS HOKUSAI - New Animé on the the 19th century artist Hokusai
Set in 1814, Miss Hokusai focuses on O-Ei, the daughter of famed artist Tetsuzo, better known by his pen name Hokusai, as she tries to navigate the various aspects of her life. O-Ei spends the bulk of her time assisting her divorced father who cares about his art and not much else.
Issei Suda, a Master of Japanese Photography | Interview Roland Angst with Ferdinand Brueggemann | Part I
Previously I had posted an interview I did with Mariko Takeuchi on Japanese photography, this time I am posting an interview the Berlin publisher Roland Angst did with me on the Japanese photographer Issei Suda for the first Western monograph in the artist. Suda is slowly becoming more popular in the West((At GALERIE | PRISKA PASQUER we introduced Issei Suda’s work with two solo exhibitions in…
Yutaka Takanashi – Towards the City | Part 4 |Final
Yutaka Takanashi – Towards the City | Part 4 |Final
by Ferdinand Brueggemann This is part four, the final part of my essay “Yutaka Takanashi – Towards the City” for the “Yutaka Takanashi” exhibition catalogue, accompanying the show at the Fondation Henri Cartier-Bresson.((Essay: “Towards the City” [French/English]. in: Yutaka Takanashi, published by Éditorial RM, Mexico City and Toluca Éditions, Paris. Published on occasion of the exhibition…
Yutaka Takanashi – Towards the City (including a short history of the “Provoke” era), Part 3
Yutaka Takanashi – Towards the City (including a short history of the “Provoke” era), Part 3
This is part three of of my essay “Yutaka Takanashi – Towards the City” for the “Yutaka Takanashi” exhibition catalogue, accompanying the show at the Fondation Henri Cartier-Bresson.((Essay: “Towards the City” [French/English]. in: Yutaka Takanashi, published by Éditorial RM, Mexico City and Toluca Éditions, Paris. Published on occasion of the exhibition Yutaka Takanashi, Fondation Henri…
Kirsten Dunst in “Turning Japanese”
By Mr. Mr. & Takashi Murakami
Daido Moriyama at the photo shooting range of The Photographers’ Gallery in London.
(via shihlun)
Exhibition: Mika Ninagawa
Viborg Kunsthal, Viborg, Denmark
Jan. 18 - May 4, 2014
Mika Ninagawa’s richly colored photos and movies often focus on magnifying details in extreme close-ups that provide an almost abstract image of reality. The particularly eye-catching aesthetics are kitsch in its exaggeration, but also poetic in its gentle and evocative images.
In a unique style, artist mixes a surreal universe with attractive visuals from the popular culture. For example by reference to older, Japanese geisha traditions and neoclassical films like “Kill Bill”. Both play with staging of sex, violence, weapons and beauty. In this manner, the works represent a special style that is particularly popular among Japan’s youth, but also within a wide international audience.
Mika Ninagawa (b. 1972) lives and works in Tokyo, Japan. She exhibited at Kunsthaus Graz, Austria; Centre National d’Art Contemporain, Grenoble, France; Mori Tower and Ueno Royal Museum, Tokyo, Japan, amongst many other places.
[from the press release by Viborg Kunsthal]
IMAGE: Mika Ninagawa, “on air” (Chiaki Kuriyama), 2004
©Mika Ninagawa, courtesy Galerie Priska Pasquer, Cologne
“Is it still worthwhile to talk about new art?” Dercon asks. And then he answers himself. “I think it’s much more worthwhile to talk about new techniques and new audiences. The real challenge for the development of art is maybe the fact that we have a true new audience who want much more from us and from art than to judge and admire. They want to use art and museums almost as a kind of platform to explore the human condition.”
Dercon’s decision to have his office on the same floor as the visitor learning and education departments reflects the importance he attaches to Tate’s social role and its new public, which he wants to involve more in the creative process. “Today, to be really cool and sexy is to be sharing,” he says. “Inclusivity instead of exclusivity. Let the private collectors in the private museums do the exclusivity game.”
”Tate Director Chris Dercon: ‘Everything Can Be Changed’
ARTnews
(via galerie-priska-pasquer)