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23 October 2006 @ 06:18 pm
ma  

Yet ma is not a mere emptiness or opening; through and in it shines a light, and the function of this ma becomes precisely to let that light shine through. A literary example of this image can be found in the twelfth-century novel, The Tale of Genji by Lady Murasaki: "It was the fifteenth night of the eighth month. The light of an enclouded full-moon shone between the ill-fitting planks of the roof and flooded the room. What a queer place to be lying in!, thought Genji, as he gazed around the garret, so different from any room he had ever known before."

.

"This negative space/time is therefore anything but a mere nothing awaiting the positive space/time; it is a pregnant nothingness that is "never unsubstantial or uncreative." To continue the metaphor, ma is not merely fecundative either; it glows with spiritual power, meaning, and attraction, just as light shining through the gate or "a spiritual strength faintly revealing itself."


--"Intervals ("Ma") in Space and Time: Foundations for a Religio-Aesthetic Paradigm in Japan", by Richard B. Pilgrim
 
 
23 October 2006 @ 11:41 am



Dizzying, Gursky-like images of Hong Kong skyscrapers.

--michael wolf
 
 
20 October 2006 @ 04:00 pm

Clark, John. Modernity in Asian Art, University of Sydney East Asian Series No. 7. Broadway, NSW, Australia: Wild Peony, 1993.

Inoue, Mitsuo. Space in Japanese Architecture. Translated by Hiroshi Watanabe. New York: Weatherhill, 1985.

Kim, Hongnam, Chung Yang Mo, and Kang Woo-bang, eds. Korean Arts of the Eighteenth Century: Splendor & Simplicity. New York: Asia Society Galleries, 1993.

Korean Cultural Heritage: Fine Arts, ed.^eds. Seoul: Korea Foundation/Yeong and Yeong, 1996.

Koreana: Koran Cultural Heritage, ed.^eds. 4 vols. Seoul: Korea Foundation, 1994-7. (same as above) probably has section on residential architecture

Nitschke, Gunter. From Shintô to Andô: Studies in the Anthropology and Architecture in Japan: John Wiley & Son Ltd, 2000 [1993].

Pilgrim, Richard B. "Intervals (Ma) in Space and Time: Foundations for a Religio-Aesthetic Paradigm in Japan." History of Religions 25, no. 3 (19856 February): 255-77.

Portal, Jane. Korea: Art and Archaeology. London: Thames & Hudson, 2000.
 
 
 
18 October 2006 @ 10:20 am







(video of construction)
(video of burning)


Nakahashi constructs his Zeros from approximately 25,000 individual photographs by carefully photographing a 1:32 scale toy model, and when the photographs are developed he (or I should say we) create a full-scale replica of the Japanese Zero. It is through the participation of volunteers that we create, by assembling the photographs, the full-scale plane.

By the opening of the exhibition it is expected that only half of the piece will be complete. In the time leading up to the and into the exhibition volunteers and people who are just passing through will be invited to piece together sections of the plane. In the end, what’s most important is that history becomes tactile, tangible; history is brought to life in the hands’ of the participants. For Nakahashi the process of creating his full-scale Zeros is far more important than the finished product.

“My ‘memory’ of war,” Nakahashi cites, “was making a plastic model of a zero fighter, and playing with it. I had been absorbed in making plastic models since I was a third grader.”

If we think of the process by which Nakahashi works, this analogy – that the artist places the landscape of the child under a microscope – materializes in a literal manner, because in fact he uses a micro-lens to photograph the surface of the toy model. For every square centimeter Nakahashi shoots approximately 27 photographs. Through his microscopic interrogation of the child’s universe – which is always constructed by adults – he reveals that toys are never ideologically neutral, toys in some fashion – albeit in some abstract form – are the purveyors of cultural history. The toys that we produce and market to children says a good deal about our values, and as Barthes says, “toys are usually based on imitation, they are meant to produce children who are users, not creators.”6 Toys are the embodiment of cultural history and the act of child’s play in some sense is an imitation or reconstruction of that cultural history: the mass industrial manufacture of toys (e.g., war planes, guns, tanks) also re-inscribes and reproduces our culture interpolated through child’s play.

--read more
 
 
 
 
17 October 2006 @ 02:26 pm

Thursday, February 22, 2007 Depart
Northwest Airlines 52
Depart: 5:00pm evening Detroit, MI Detroit Wayne County (DTW)
Arrive: 7:20am morning Frankfurt, Germany Frankfurt International (FRA)


Sunday, March 4, 2007 Return
Northwest Airlines 51
Depart: 10:20am morning Frankfurt, Germany Frankfurt International (FRA)
Arrive: 1:50pm afternoon Detroit, MI Detroit Wayne County (DTW)


Total: $638.55 USD


.


Departing Feb 24

United Airlines 1225
10:45 AM DETROIT (DTW)
11:00 AM CHICAGO (ORD)

United Airlines 881
12:05 PM CHICAGO (ORD)
4:20 PM TOKYO (NRT)

United Airlines 883
6:45 PM TOKYO (NRT)
9:40 PM SEOUL (ICN)


Departing Mar 3

United Airlines 884
12:10 PM SEOUL (ICN)
11:50 AM CHICAGO (ORD)

United Airlines 574
1:10 PM CHICAGO (ORD)
3:29 PM DETROIT (DTW)


Total: $1115 USD


.


Thursday, February 22, 2007 Leave

United Airlines 9197
Depart: 6:50pm evening Detroit, MI Detroit Wayne County (DTW) 1 stop
Arrive: 8:55am morning Frankfurt, Germany Frankfurt International (FRA)

Lufthansa 3632
Depart: 12:50pm afternoon Frankfurt, Germany Frankfurt International (FRA)
Arrive: 2:05pm afternoon Graz, Austria Graz Thalerhof (GRZ)


Sunday, March 4, 2007 Return

Lufthansa 3633
Depart: 2:25pm afternoon Graz, Austria Graz Thalerhof (GRZ) 1 stop
Arrive: 3:50pm afternoon Frankfurt, Germany Frankfurt International (FRA)

Lufthansa 442
Depart: 1:40pm afternoon Frankfurt, Germany Frankfurt International (FRA)
Arrive: 4:50pm afternoon Detroit, MI Detroit Wayne County (DTW)


Total: $808.45 USD

--via kayak
Tags:
 
 
 
16 October 2006 @ 12:02 pm

--nature of shape: snake or cicada skin, a shell, a husk, an imagined interior/exterior, spirit-form, vision of a celestial plain, the shape a memory takes, the texture a memory takes, how one forgets, how one can slow forgetting

--sources of light:
1) shining through, translucent
2) emanating from within, opaque
3) natural light--external, windowless--closed to light entirely

--relationship to history (personal):
1) family home--identity as immigrant, traveler--as child/son--as now-adult--as displaced, identity as child of artist
2) ancient historical treasure--japanese identity, as contemporary citizen/artist
3) european identity/british identity--religious identity?, guilt/anger

--relationship to history (national)
1) copy of a copy of a replica--19th century imperial court politics, class politics, use of traditional sewing techniques in construction--"national treasures"
2) copy of 8th century temple, religious history, cultural linage, issues of transforming the function of a space--both in original & installation
3) war crimes--genocide--cultural history of a religious group, lack of previously existing vienna memorial, "people of the book", built on ruins of 15th century temple, legacy of antisemitism

--relationship to history (of art)
1) traditional architecture--style?, traditional artisans & techniques of construction--history of? oldenburg soft-sculpture, color?
2) traditional architecture, buddhism?, installation art, louise bourgeois?, modernism, post-modernism
3) minimalism, public momument, memorial, whiteread's house etc, invites graffiti
 
 
16 October 2006 @ 11:47 am






Yoshitomo Nara + graf’s project “A to Z” began when graf built sheds in three sizes (small, medium and large) in 2003. graf’s aim is to eventually bring together these works or sheds that have been built in various locations and to create an imaginary town. A feature of this town is that the streets are named “A” to “Z”, as if in a dictionary. “A to Z” also evokes the “A to Z” street map of London. Nara has departed from the conventional method of displaying works in which the artwork is hung on a white wall. Instead, by exhibiting his work on the wall of a shed that is in no way a white cube, Nara has revived narrativity and the relationship between the work and its environment - elements that have been slowly eroded by modernism over the years.

--via yokohama triennale 2005


“graf” is a creative unit tackling every possible creation of objects/matters related to lifestyles in terms of “the structure for better living,” ranging from the design of space, furniture, graphics, and products to art and food. They initiated their activities under the name of “decorative mode no.3” in 1993, and opened their showroom “graf” at Nakanoshima, Osaka, in 1998. Not bound by conventional ideas, they deal with designs freely in many fields. The whole of their activities is called “graf,” and at present it has a staff of about thirty people. The collaboration with Yoshitomo Nara since 2003 is led by the artist Hideki Toyoshima, who is in charge of organizing projects for “graf media gm,” an alternative space managed by graf. For this exhibition, a team including Ryo Aoyagi, Kosei Konishi, and Yuki Takano are working together.

--via press release, museum of contemporary art, kanazawa