• August 4, 2020
    The “striking difference” here is perhaps the reddest herring: Are all these different people actually the same person? Who cares. The show has a very big heart. Contrastissimo Rasa_EL_FabulaMark HandJean-Gwénolé FleuriotElke LenteLa Flûte EnchantéeJoseph Beuys From The GraveJordi Villafranca July 19 – August 16, 2020 http://www.4-6-4-9.jp/contrastissimo-%40-4.6.4.9.html
  • July 24, 2020
    Architect Ryoji Suzuki extracted the realm of architectural film and suspenseful material mainly from commercial cinema at the same time incorporating experimental films such as La Région Centrale (1971/Canada/Michael Snow) and Son nom de Venise dans Calcutta désert (1976/France/Marguerite Duras), which in themselves are architectural films that exist only in the realm of a material suspense.

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  • July 18, 2020
    During the 1960s the painter and installation artist Kōji Enokura, a key figure within the Mono-ha movement, had made a series of abstract watercolours prior to his first solo exhibition in 1969 at Tokyo’s Tsubaki Kindai Gallery. A selection of these paintings are now on display at Space 23˚C in Todoroki. Each painting focuses on an undefinable

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  • June 14, 2020
    I recently found my photographs of Georges Adéagbo’s London show from 1995. Strange detail jumps out as I look at these again: an interview with writer Kenzaburo Oe being one (we share a birthday; exactly twice my age), and political scientist Suzanne Berger on “Anti-statism” being the other. “This exhibition brought together six contemporary artists,

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  • March 26, 2020
    “It’s midnight, there’s no one here. The machines break down and start talking to each other.” Eduardo Paolozzi I’ve always appreciated the idea of “slow preparation, fast execution,” but I think this little project may have taken the idea a little too literally. Some of the music in the album ‘NEW CLEAR VISION’ by SITHA

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  • March 5, 2020
    Koji Nakano, Exhibition中野浩二「彫刻展」XYZ CollectiveMarch 01 – March 23, 2019 http://xyzcollective.org/current.html
  • December 11, 2019
    西川ひろみ Nishikawa Hiromi 藝術新著 1974年10月号 通巻298号 『増大特集:日本の肖像画」Geijutsu Shincho, No.289, October 1974 (Japanese Portraits) Born in Tokyo 1973, Graduated, Aichi Prefectural University of Arts“New Artist Award”, Kokugakai (National Painting Association) 1974, “Pūruvū Award”, Kokugakai 1975, Aichi Prefectural University of Arts (certification)1976, Aichi Prefectural University of Arts, Graduate studies1980, Enrolls at Japanese Ministry for Cultural Affairs (Bunkachō kokunai)1983, Member of

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  • November 28, 2019
    We need new skin. It could be something like fur, like the scales of a snake, like the downy hairs of a plant, like glowing glass. It obscures our previous category just as manipulating one of the genes leads to a tomato with a moth gene and a sheep with a frog gene. I am

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  • November 18, 2019
    Photo report from the September preview, writing for Art Review Asia. Okayama Art Summit 2019: IF THE SNAKEArtistic Director: Pierre HuygheSept 27 – Nov 24, 2019 https://www.okayamaartsummit.jp/2019/
  • November 12, 2019
    Mika Kitamura, TOPOSAlt_MediumOctober 31 – November 12, 2019