We would like to present to you a photography essay documenting the 17th Lyon Biennale: Les voix des fleuves, Crossing the water. The fourth and final instalment centres on one of the main venues at the Institute of Contemporary Art.
Please refer to the following chapters for the rest of the essay: Musée d’art contemporain de Lyon; La Presqu’île; Les Grandes Locos.
We would like to present to you a photography essay documenting the 17th Lyon Biennale: Les voix des fleuves, Crossing the water. The third instalment centres on one of the main venues at the Grandes Locos.
Please refer to the following chapters for the rest of the essay: Musée d’art contemporain de Lyon; La Presqu’île; Institut d’art contemporain de Villeurbanne.
We would like to present to you a photography essay documenting the 17th Lyon Biennale: Les voix des fleuves, Crossing the water. The second instalment centres on Grand Hôtel-Dieu and Jardin du Musée des Beaux-Arts, situated in the district of Presqu’île.
Please refer to the following chapters for the rest of the essay: Musée d’art contemporain de Lyon; Les Grandes Locos; Institut d’art contemporain de Villeurbanne.
We would like to present the third chapter of our photographic essay documenting the Yokohama Triennale 2023, Wild Grass: Our Lives. This instalment looks at the venues hosting the exhibition past the museum itself: the Former Daiichi Bank Yokohama Branch (旧第一銀行横浜支店), BankART KAIKO, Queen’s Square (クイーンズスクエア横浜), and the Motomachi–Chūkagai Station passageway (元町・中華街駅連絡通路).
This chapter takes its title, All the Rivers, from a novel by the Israeli writer Doris Rabinyan. The exhibition bearing the same title spans two venues, BankART KAIKO and the Former Daiichi Bank Yokohama Branch. Both historical buildings were constructed around the same period as the publication of Lu Xun (鲁迅, 1881–1936)’s Wild Grass in 1927. The curatorial text describes the novel as:
“The love story of two people, one from Israel and the other from Palestine, shows us how public events can affect individual lives.”
Was it really necessary to add another layer of literary reference? It’s open to debate. By introducing yet another seemingly political thread into an exhibition already layered with various associations, be it historical or literary, the allusion to the conflict feels more gestural than genuinely engaged.
At Queen’s Square, a massive shopping mall complex situated right next to the Yokohama Museum of Art, you would find works by Keizo Kitajima (北島敬三, b. 1954) and Yasumasa Morimura (森村泰昌, b. 1951). Blending seamlessly into the surrounding architecture and easily ignored by passersby are four supersized portraits of men in white shirts, standing side by side like towering date trees.
This is the first collaboration between the two artists. Morimura, known for superimposing himself as figures from art history, appears here disguised as the Chinese novelist Lu Xun, dressed in traditional Chinese attire. Yet rather than being singled out as a literary icon, he sits among three otherwise anonymous men, becoming just another ordinary face in the crowd. As darkness descends and the lights come on, if this were a Harry Potter film, they would probably begin conversing with one another, rambling about how only a handful of passersby had stopped to notice their existence that day.
We would like to present to you a series of photographic essays centring on Okayama Art Summit 2022 titled Do We Dream Under the Same Sky.
As a special night chapter of this series, it aims to capture glimpses of Okayama City and provide an alternative perspective on the Summit, which is predominantly active and crowded during the day. Highlights include data.flux, created by Ryoji Ikeda at the site of Okayama Castle, which was also presented during Alternative Kyoto 2021. His works often examine the relationship between the critical points of device performance and the threshold of human perception.
We would like to present to you a series of photographic essays centring on Okayama Art Summit 2022 titled Do We Dream Under the Same Sky.
Please find below the second part of the documentation that explores various areas of the Summit.
Another special chapter in this series aims to capture glimpses of Okayama City after night falls, offering an alternative perspective on the Summit, whose activity is largely concentrated during the day.
We would like to present to you a series of photographic essays centring on Okayama Art Summit 2022, titled Do We Dream Under the Same Sky.
Please find below the first part of the documentation exploring various areas of the Summit.
Another special chapter in this series aims to capture glimpses of Okayama City after night falls, offering an alternative perspective on the Summit, whose activity is largely concentrated during the day.
We would like to present to you a series of photographic essays centring on Okayama Art Summit 2022, titled Do We Dream Under the Same Sky.
Please find below the second part of the documentation, focusing on the exhibitions at the former Uchisange Elementary School.
Another special chapter in this series aims to capture glimpses of Okayama City after night falls, offering an alternative perspective on the Summit, whose activity is largely concentrated during the day.
We would like to present to you a series of photographic essays centred on Aichi Triennale 2022: Still Alive, which took place between August and October 2022 across various venues in the cities and towns of Aichi Prefecture, Japan, namely Arimatsu, Ichinomiya, Nagoya, and Tokoname.
Please find below the documentation focusing on the exhibitions in Tokoname. For the rest of the series, covering Arimatsu and Endoji, the Aichi Prefectural Museum of Art (Parts 1 & 2, with the former consisting of an introduction and review), as well as Ichinomiya (Parts 1 & 2), please follow the respective links below.
We would like to present to you a series of photographic essays centred on Aichi Triennale 2022: Still Alive, which took place between August and October 2022 across various venues in the cities and towns of Aichi Prefecture, Japan, namely Arimatsu, Ichinomiya, Nagoya, and Tokoname.
Please find below the second part of the documentation focusing on the exhibitions in Ichinomiya. For the rest of the series, covering Arimatsu and Endoji, the Aichi Prefectural Museum of Art (Parts 1 & 2, with the former consisting of an introduction and review), Tokoname, as well as the first part of Ichinomiya, please follow the respective links below.
