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Asako Narahashi “half awake and half asleep in the water”

Recently someone asked me about Narahashi’s series “half awake and half asleep in the water” and this reminded me that I was looking for publications with the series last year in Tokyo.

Asako Narahashi: half awake and half asleep in the water

I am very fond of this series which was photographed by Asako Narahashi at several places around Japan in 2000-2003. The curator Michiko Kasahara (today working at the MOT) was instrumental in promoting the series when she included the series “half awake and half asleep in the water” in the exhibition Kiss in the Dark: Contemporary Japanese Photography.

Asako Narahashi: half awake and half asleep in the water

The title of the series [...] is very cleverly expressed. Her works, while betraying the stereotyped images of resort areas, somehow make visible as a shared recognition the image of the sea that people embrace. Therein, an uncomfortable felling like seasickness and a pleasurable feeling of floating and entrusting yourself to the sea lodge side by side.[...] They call forth an ambivalent feeling.
[Quote: Michiko Kasahara: Kiss in the Dark. Tokyo 2001]

Moriyama - Shinjuku - Araki

Today is the last day of the exhibition Moriyama • Shinjuku • Araki at Tokyo City Opera Art Gallery. I wanted to write about it much earlier and I contacted the gallery for some more images and information since the website on the exhibition is still not finished yet. Unfortunately I haven’t received an answer and now I am a little bit late.

Moriyama - Shinjuku - Araki (exhibiton poster)

Anyway the information is not completely outdated since there is an accompanying book published, available at Amazon.jp.

Miyako Ishiuchi at Venice Biennale and at Third Gallery Aya, Osaka

Miyako Ishiuchi: Mother

Well-respected female photographer, Miyako Ishiuchi, who was selected by Commissioner Michiko Kasahara to represent Japan at the Venice Biennale this year, has revealed her plans for the show.
Ishiuchi will present her new “Mother’s” series, a group of photographs documenting her mother, an apparently stong-willed woman who lived through tumultuous times stretching from life in colonial Manchuria in the 1930s to wartime Japan where she worked as a truck driver. Ishiuchi’s tribute will start with a photograph of her mother, but will consist mostly of “portraits” of her clothing and possessions: chemises, combs and other personal effects. It promises to be a deeply personal, unassuming installation.
(source: Japanese Art Scene Monitor )

The series “Mother” is exhibited at Third Gallery Aya (Jp.) in Osaka from today on until February 19. Third Gallery Aya is a very good place IMHO which had a lot of interesting shows over the years.

Kikuji Kawada “Car Maniac”

Kikuji Kawada: Insect on Window, Tokyo 1997 - from: Car Maniac

The current exhibition of Kikuji Kawada’s works from the 1950s/60s I just wrote about reminded me of his more recent works I hold in high esteem: the series “Car Maniac”. I have seen these works for the first time at the Internationale Phototage Herten (Germany) in 1999.
The series was also included in Kawada’s solo exhibition “Theatrum Mundi” at the Tokyo Metropolitan Museum of Photography in 2003 and Kawada published it in his extremely beautiful (and today rare book) “The Globe Theater” in 1998.

Kikuji Kawada: The Flow of Cars, Paris 1997 - from: Car Maniac

I found the images from “Car Maniac” in the web at Nikon Web Gallery with an explanation by the artist:

Car Maniac

Kikuji Kawada at P.G.I., Tokyo

Kikuji Kawada: The Japanese National Flag, Shinjuku, Tokyo - from The Map Series 1959-65

Kikuji Kawada “The Map 1960-1965″ at Photo Gallery International.
IMHO this exhibition is a must see if you happen to be in Tokyo until Feb. 10.
Except in publications I have not seen his legendary book “The Map” yet, but it seems to be one of the most impressive photography books of the 20s century…

Kawada’s first photo-book “The Map” published in 1965, was received with sensational surprise, and gave him a decisive reputation. The book impressed the viewers with stimulus images through their eyes, by repeating visual exposures of the stains on the basement ceiling of Atomic Bomb Dome, and other symbolic objects that associate with the memory of World War II.

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