From publisher: In the Shinto religion, the Torii is referred to as the entrance to the sacred world. Sacred areas of the Shinto religion, which sees the fear possessed towards nature as its beginning, exists in all parts of Japan. However, another time leading to ancient times passes beyond the Torii. The entrance might disappear while I am dillydallying... thinking thus, I took these photographs. 27x21cm hardback, full colour offset.
Edition of 500 copies.
Signed copy (with small Torii drawing also). Faint rubbing to cover.
Atsushi Fujiwara follows the steps of his grandfather through the south of Japan, guided by his book of Tanka poems called Nangokusho.
In “Nangokusho” there’s a lyrical feeling of loneliness, a quest for lost roots, Atsushi’s eye translates poetic verses in visual imagery, he hunts the invisible, the long gone.
A slow wandering through empty streets, railways and backyards, Nangokusho is a silent ode to the Southern lands of Japan.
“The photographs speak for themselves. In the critique of photography, I make it a general rule to comment on the background from which the photographs arose.
If these were paintings, the past might be portrays from memory or imagination, but as regard this collection, photography will capture only what is currently there.
Today, Kagoshima and beautiful Okinawa are dramatically different from how Tohmon (nd: art-name of Atsushi’s grandfather) saw them, and there is nothing remaining of that now.
Fujiwara Atsushi undertook to pursue sceneries that no longer exist. If the reader should sense a certain emptiness from these photographs, this must be understood to be the emptiness of post-war Japan.”
Amerikabilder 1962-1993 (signed)
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LE SILENCE Une fictiongathers a corpus of contemporary works by 25 artists, ranging from Arman’sAccumulationsto Hiroshi Sugimoto’s photographs, and together they present a world that is both strange and familiar, what curator Simone Menegoi refers to as “the story of a planet that has become uninhabitable for reasons unknown….” Part scientific experiment, part fictional narrative, the effect of these traces that our civilisation leaves behind is one of a reversal of history, as if the works between the pages, artifacts of our contemporary era, are being observed through the eyes of an archaeologist or anthropologist from the future.
The curators Simone Menegoi and Cristiano Raimondi have amassed a collection of prints, glass plates, sculptures, slides, video stills and paintings, that sit within the tradition of the landscape genre yet seen from a particular perspective: the aesthetics of the contemporary Sublime, drawing on the spectacle of environmental disasters and economic collapse. Another prominent group of works is comprised of sculptures and assemblages from artists, active since the 1960’s, who use every day and waste material to create. Work by American artist Michael E. Smith, whose sculptures are made from waste collected in his hometown, the urban desert of Detroit, completes the exhibition as ‘fossils’ of our consumer society.
Artists: Dove Allouche, Vladimir Arkhipov, Arman, Bartolomeo Bimbi, Maurice Blaussyld, Michel Blazy, Karl Blossfeldt, Brassaï, Peter Buggenhout, Carlos Casas, Romeo Castellucci, Lourdes Castro, Tony Cragg, Daniel Gustav Cramer, Geert Goiris, Jochen Lempert, Yves Marchand & Romain Meffre, Adrien Missika, Linda Fregni Nagler, Walter Pichler, Rudolf Polanszky, Pierre Savatier, Erin Shirreff, Michael E. Smith, Daniel Spoerri, Hiroshi Sugimoto
THE DAILY EXHAUSTION is a small newspaper, which contains 23 self-portraits of an obsessed workaholic artist, who has reached the sweaty emotional state of exhaustion. When you browse through the publication, you will pass a gradual colour spectrum, which Kruithof considers the stratification of human energy. THE DAILY EXHAUSTION confirmed quite aware that a photo or a photo series is invented as a conscious construction, but simultaneously withdraws that statement into question, because the pictures are credible and honest. This causes confusion and raises the question of what THE DAILY EXHAUSTION actually is? In her current and future exhibitions Anouk Kruithof displays THE DAILY EXHAUSTION newspapers either as a large pile, from which visitors can take a copy for free or as a large wall installation made out of the original pages of the newspaper.
This special edition comes with a print together with the newspaper-zine in a sealed plastic bag. The photo is a snapshot from the trash bin at the printer. (Dijkmann Offset Amsterdam, where the newspaper-zine was printed in August 2010) newspaper-zine: 19.5 X 27.5 cm, full colour, 48 pages print: 20 X 30 cm, inktjet colour print, signed and dated.
One Picture Book 69: Fishing with My Dad 1978-1995
How to Hunt (2005–10) is a series of evocative photographic studies on the theme of hunting by the Danish artists Trine Søndergaard (*1972) and Nicolai Howalt (*1970). In this long-term artistic collaboration, Søndergaard and Howalt joined annual fall and winter hunts in Denmark and interpreted the age-old ritual of hunting through the lens of the camera. In the past, hunting was an act of human instinct and survival, whereas today the phenomenon is more embedded in perceptions of a privileged “good life”. How to Hunt investigates the relationship between animals, people and nature in a contemporary take on art history’s millennium-long interpretation of the hunting scenario. The series explores a classical and existential theme, at the same time deploying the creative potential of new photography to create a permeable boundary between documentary and art. Text in English. Highly recommended.
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