Japan’s biggest design showcase Tokyo Designers Week (TDW) landed again for the year in the Gaienmae Aoyama area.
We went along to check out the exhibits. Here are our highlights.
Real estate company Chintai are a regular face at TDW. Here they created a “Tokyo Merry-Go-Round” with artist Asami Kiyokawa.
At the Robot Exhibition we liked this “clapping robot”, a kind of large version of the Pachi Pachi Clappy. Maywa Denki also participated in this part of TDW, showing off their latest instrument toy, Mr Knocky.
This was more mysterious. Artist and digital sculptor Noriko Yamaguchi created the “Keitai Girl Suit Chi”, whose entire body is covered in cellphone (keitai) keypads. It was a contemplation on how touch is still important to communication.
Here we entered the Uncanny Valley. The android Asuna was a “receptionist” created by A-Lab.
This booth was very popular, a manga sticker world presented by Toyo Ink and manga-ka Shintaro Kago.
DNP and Kengo Kuma teamed up with technology that allows you to print directly onto a tree, fusing the texture of metal with wood and promising a “new materiality”.
The outdoor schools section featured this “Tanjo no Katachi” by Nihon University, a primitive representation of form itself.
Staying outside, these kids seemed to love this container installation designed by Sebastian Masuda (an art director for Kyary Pamyu Pamyu).
It wasn’t all “new” stuff, though. A special pavilion was devoted to the work of Edo-era ukiyoe print artist Hokusai.
Here the Hokusai prints came into digital life. Using a special interactive app, holding up your phone brought the flat images into colorful life on your mobile screen.
Shiori Yano’s “MOTHERS MOUNTAIN” bottled up motifs of street culture.
Finally, Sato Sugamoto’s “Non-Verbal Communication” shows two “hats of thought” of two people meeting and trying to communicate.
Tokyo is a city that is a paradise to photographers; it opens up just so many opportunities for images — the technology, lights, crowds, fashion, subcultures, architecture, businessmen, seasons, festivals… We would venture that Japan has been responsible for more Flickr accounts that any other “source materials” but of course, we may be wrong there.
And so with such competition out there competing for eyeball space, it takes a project with something special to stand out. And while there are legions of talented photographers — local or expat — resident in the city, perhaps Matthew Pillsbury succeeded because he’s an outsider — he’d only come to Tokyo once before he started creating the images for his new show, aptly titled “Tokyo”, showing at Benrubi Gallery in New York until October 25th.
“The growing use of technology in our lives has simultaneously allowed for instantaneous global communication, but it also can isolate us by favoring virtual contact as opposed to real-world interaction,” he told Slate.
While making his epic long-exposure shots of various locations throughout the city he ran into classic Japanese bureaucracy, which made getting permission to shoot in some places difficult. Shoots at some locations, such as a sumo tournament, ultimately did not work out because the management would not allow him in. We would have loved to see a long-exposure sumo bout!
Phillsbury usually works in color but we can certainly see why he broke his own rule for this series.
How many of the places in the photographs do you recognize?
Shibaura House is a community space in the Tokyo district of Shibaura, a neighborhood in the south of the city near the port. The stylish glass building is designed by Kazuyo Sejima and hosts private functions, as well as regular workshops and art events.
When the center first opened in 2011 its translucent architecture attracted quite a bit of gushing from the likes of Design Boom et al. Arc Space compared the building to a Japanese paper lantern: “Public and private programs interweave in this cunning, white-clad amalgamation of boxy geometric volumes and playful curves… The most luxurious thing about Shibaura House is the spaciousness of its rooms in a city notorious for its exorbitant land prices. This is architecture far more down to earth, stripped down and pragmatic, yet with a playfulness instigated by the rounded shapes and shifting heights of its interior and semi-interior spaces.”
Earlier this year Shibaura House published a series of illustrated bilingual “Kanto Tour Guides” with the help of 10 foreigners (why only foreigners, we’re not sure). Contributors included Lucas Badtke-Berkow, Jean Snow, Vivian Morelli, and Jared Braiterman.
It also recently produced this funny English-language video introducing its facility and services.
The presenter is “Charlie”, who for reasons unknown does the whole video in a top hat.
While casual visitors are perhaps unlikely to be passing through the business district of Shibaura (though a walk by the canals is nice), do pop in if you are nearby. Shibaura House has a free ground-floor space open to the public and which also has wi-fi. There is also a library with many books about architecture (of course!) and the staff can speak English. Oh, and a cup of coffee only costs ¥100.
A major trend in the Tokyo art world over the past few years has been the temporary “art-jacking” of old buildings and facilities just before they are scheduled to be knocked down.
This was a major success at the former French Embassy, which allowed artists to take over every corner of its old premises for the extravaganza that was “No Man’s Land” back in 2009 and 2010.
Trans Art Tokyo, whose current edition is running now, has been transforming old (and some new) buildings in the Kanda neighborhood with various art exhibits and events. This year includes a flying whale! The publisher Shogakukan also invited people to graffiti its walls as a tribute to its manga output over the years shortly before its building was pulled down.
This also extends to reclaiming the buildings on a permanent basis, such as the case with 3331 Arts Chiyoda, a former school that is now one of the capital’s premier art centers.
In BCTION some seventy artists and artist gropus have taken over all nine floors of a building in Kojimachi, central Tokyo, and turned the whole thing into a big installation shortly before it is going to be demolished.
Increasing the sense of this being a secret event, visitation is by reservation only. Work on the installations began in August and then the main exhibition was for the first half of September. However, some events and “encore” exhibits are being held at the end of the month.
The main disadvantage to this is that BCTION has gone under the radar somewhat and did not get as much coverage as other similar art-squatting events in the past, which is a shame as the events and exhibits (so far) looked impressive.
As the 2020 Olympics loom and bring with it a bonanza of new development works, many old buildings and districts will be making way for shiny new venues. While in limbo awaiting their fates, the spaces open up exciting opportunities for artists and designers.
Being the season of the rice harvest, at this time of year there are lots of traditional festivals around Japan. Just this weekend (a long three-day holiday weekend) we saw several portable shrines (omikoshi) around Meguro and even in the heart of Shibuya.
But every year in early September there’s another kind of festival hosted by students from Tokyo University of the Arts, one that is part art carnival though with plenty of nods to the same modus operandi of a traditional Japanese matsuri.
It’s called Geisai (“Gei” means “arts” and comes from Geidai, the nickname for the college, while “sai” means festival) and the three-day festival always features elaborate (and huge) floats that show off the students’ creative talents. There are also performances and music during the festival, with the events happening at the main campus but also spilling out into the streets of nearby Ueno.
The students compete to see which team has the best float as they parade them around, wearing colorful clothes that sort of resemble the usual garb that shrine-bearers at festivals usually wear, with some extra flourishes.
This tiger float was the winning entry in the festival. The mouth is amazingly well made.
God knows what they do with the giant floats after the festival is over, though.
Also check out Tokyo Art Beat’s photo report on a Geisai event a few years ago.
[Images via NetGeek.biz]
teamLab has got together with Gucci to create “Infinity of Flowers”, an interactive digital installation at the Gucci Shinjuku store from September 13th.
Visitors will be able to “touch” the flowers on the screen and see them bloom, scatter, grow and wither. The installation using a computer program to “paint” the flowers in realtime on the screen. The imagery on the display is created spontaneously by the system. We look forward to the video that will surely be made.
There will also be a teamLab work in display in the 8-meter window that faces Shinjuku-dori.
teamLab is an award-winning group of “ultra-technologists” working with digital experiential media. Its previous projects include a remarkable high school musical, an amazing digital mural of Tokyo at the Skytree, smart clothes hangers in a department store in Shibuya, and many more. This Shadow Dance and Shadowgraph video from early 2011 was a hit, not least because it seemed to adhere to everything we love about Japan — samurai swords and technology!
teamLab already has a florally-themed installation, “Time-blossoming Flowers”, at the new KITTE department store in Marunouchi.
“Infinity of Flowers” will run from September 13th to September 28th at the third-floor event space at Gucci Shinjuku. Entry is free.
New from Kingyo Books, “Toy Tokyo” features “the work of several photographers who are either from, or are shooting in Japan. While generic, commercial, travel photography based on stock has become the norm, ‘Toy Tokyo’ captures the exhilaration of travel photography and life on the road, in one of the world’s most intense locations.”
Photographers included in the book are: Frederic LeBain, Takeshi Suga, Cory Lum, Taiju Fubuki, Yusuke Abico, Genqui Numata, Hodachrome, Jorge Sato, Michael Feather, Katherine Oktober Matthews, Leo Berne, Kevin Meredith, Tommy Oshima, GHST WORLD, Kevin Meredith, Rei Sato, Paolo Patrizi, Sean Lotman, Jorge Sato, Remo Camerota, Michael Lyons, Martin Cheung, and Naga.Design by Cakefortiger.
You can read comments from some of the contributing lo-fi photographers over on GUP Magazine.
For example, here is what Michael Feather (responsible for the image below) says: “The reason I went with the pinhole is partly because commercial work is mostly digital, so to get away from that aspect, and with digital now, and iPhone and smart phones, we can shoot anything any time and stick a filter on it. You are playing around. You don’t start out with an actual vision, you just snap away. Whereas, when you start using something like a pinhole, with film, you start to think about what you are doing. You have made a conscious decision at the start.”
“Toy Tokyo” is promised as the first in a series of location-specific toy camera photography books. It is available for $30 from Kingyo Books.
Australia-born Okazaki is the author of other coffee table books like “Kimono Now”, “Wabori” (on traditional Japanese tattoos) and “Kicks Japan” (about street culture and sneakers).
Biwako Biennale 2014 kicks off on September 13th, running until November 9th in a small city along the edge of Japan’s largest lake in Shiga Prefecture.
This sixth edition of the festival features more than 70 artists or artist groups exhibiting site-specific work in 12 old houses in Omihachiman.
The theme this year is “Utakata”, which means foam or bubble. This ethereal beauty is the key motif in the line-up, with contributions from the likes of photographer Rinko Kawauchi, “flower arrangement car” artist Yuji Ueno, sculptor Masato Tanaka (pictured below), and more.
Here are grotesque Kokeshi-esque sculptures by Miki Sachiko.
The first Biwako Biennale was held in 2001. Passes for the 2014 festival cost ¥2,000 for adults.
A preview event was recently held at a Konno Hachiman-gu shrine in Shibuya, including a special dance performance by Tarinainanika (Kentaro Suyama & Tania Coke).
Omihachiman is a roughly 30-minute train ride from Kyoto. The two-month will also include a symposium, workshops and live events.
Local police in Nagoya have demanded that the Aichi Prefectural Museum of Art remove 12 artworks by Ryudai Takano that depicted male genitalia.
As first reported by Art Info, the action came after members of the public claimed some of Takano’s artworks were “obscene”.
Takano, who is openly gay, is taking part in the group show, “Photography Will Be”, which includes 150 photography and film exhibits by nine major Japanese photographers.
The museum has not complied with the police but instead proposed to cover up the “offensive” exhibits with a kind of veil.
Takano, no doubt aware that you should only pick the fights you can win, agreed to the museum’s idea. “These photos express the subtle, delicate sense of distance when one person touches another. There is no violence here. Instead of concealing this intervention made by the public authorities, I wanted to make it visible.”
In Japan, the depiction of genitalia is ostensibly taboo, as dictated by the conventional interpretation of a law introduced when Japan was westernizing and attempting to imitate the “morality” of Europe and America. This is why pornography is pixellated and why typically even mainstream films have scenes with full-frontal nudity similarly obscured. The latter has eased recently for scenes that are obviously comedic in tone.
Freedom of expression in art is not protected in Japan, despite the immense flourishing of creativity in all fields and concomitant strength of cultural industries like cinema and publishing.
However, there are double standards. When there was a vogue for “hair nude” photo books — i.e. full-frontal, non-censored photography — a few years ago, there were no issues preventing the major release of books featuring the likes of Rie Miyazawa and other famous actresses au naturel. Photographers like Kishin Shinoyama who have stuck to depicting women, especially celebrities, fully nude have usually be able to escape the censor.
But if you are a female artist or gay male, it’s a different matter. The arrest of Megumi Igarashi (Rokudenshi-ko) in July sparked worldwide attention, not least because her “crime” was to turn her genitalia into digital data that could be distributed. Igarashi was practically unknown at the time but has since rocketed to fame. However, even being established in your field does not guarantee protection. Gay Singaporean photographer Leslie Kee, well used to shooting stars for major contracts, found himself in trouble with the police for showing male genitalia in a Tokyo gallery. He was arrested, along with his gallerist and publisher.
And yet Japan has one of the largest porn and adult industries in the world, stores like Condomania prominently and proudly stand on Omotesando, and sex toy brands like Tenga are now known across the globe. Isn’t this missing the woods for the trees?
Censorship and police crackdowns are nothing new. Back in the 1960′s and 1970′s artists would find themselves in the dock for depicting sex or nudity. The most notorious cases are the obscenity trials for the films “Black Snow” by Tetsuji Takechi and “In the Realm of the Senses” by Nagisa Oshima.
But as the late Oshima defiantly said in court: “Nothing that is expressed is obscene. What is obscene is what is hidden.”
“Photography Will Be” runs, in its censored form, until September 28th.