Rinko Kawauchi will exhibit a new series “Murmuration” at the Brighton Photo Biennal 2010 (Oct 2nd – Nov 14th 2010). The series is commissioned by the Brighton Biennal and will be accompanied by a publication.
Acclaimed Japanese photographer Rinko Kawauchi has been drawn to the spectacle of flocking starlings at Brighton Pier. Here during the winter months at dusk, the birds gather in their tens of thousands, wheeling around to create a mesmerizing swirling cloud called a murmuration. Kawauchi is fascinated by the ephemeral nature of this phenomenon and, continuing with the theme of the flock, she has also trailed groups of people through the city.
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Jeffrey Ladd reviewed our publication Yutaka Takanashi, Photography 1965 – 74 in his 5B4 Blog:
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The winner of the contemporary book [at Rencontres D’Arles Photography Festival 2010] went to Only Photography’s fine book “Yutaka Takanashi Photography 1965-74″. Only Photography is Roland Angst’s independent publishing house in Berlin. Their books are beautifully produced with a strong care towards design and printing and the Takanashi book is their best so far. Past titles have been Ray K. Metzker’s ‘Automagic’ and Frauke Eigen’s ‘Shoku’.
Photo by Jeffrey Ladd
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Recently our exhibition Oliver Sieber – Imaginary Club was reviewed by Thomas Linden at the newspaper Koelnische Rundschau:
Oliver Sieber: Blonde Angel, Osaka, 2006
Mysterious and wild
Oliver Sieber’s photographs of the global club scene
By Thomas Linden
You want to be unique and at the same time you want to be part of a group. Individualism and uniformity can be two sides of a coin in today’s world of self-expression. Oliver Sieber, photographer from Düsseldorf, investigates this phenomenon in sub cultural milieus in Los Angeles, Toronto, but also in Germany.
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The newspaper Koelner Stadtanzeiger reviewed our exhibition “Oliver Sieber – Imaginary Club“.
His Private Utopia
By Damian Zimmerman
… Oliver Sieber is known for his own distinct portraits on the subject of youth- and subcultures as well of blind people and transsexuals. At Galerie Priska Pasquer he shows in an impressive wall installation his “Imaginary Club” in which he incorporates all those people he would like to be close to. In this club Punks, Visus, Mods, Psychobillies and Gothic Lolitas from Los Angeles, New York, Tokyo, Cologne or Schwaebisch Hall encounter each other. These are people who communicate their identities through clearly visible, albeit sometimes difficult to understand, codes – for to distance themselves from the masses and at the same time for to associate themselves with their own group.
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Extended and complemented are the protagonists of Oliver Sieber’s series with black and white street scenes, which often appear being not less fantastic, as well as with portraits of friends and acquaintances.
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Thus emerges an ideal society for Oliver Sieber, a kind of utopia, in which he feels comfortable.
Koelner Stadtanzeiger, July 15, 2010
We are very glad that our publication “Yutaka Takanashi, Photography 1965 – 74″, published by Only Photography, Berlin, won the Contemporary Book Award at the Rencontres D’Arles Photography Festival 2010.
The Contemporary Book Award goes to the best photography book published between 1 June 2009 and 31 May 2010. The Book Awards winners are chosen by the five Discovery Award nominators, Rencontres d’Arles president Jean-Noël Jeanneney, and LUMA Foundation founder Maja Hoffmann.
Rencontres d’Arles 2010
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We almost missed the remarks on Yutaka Takanashi’s book “Toshi-e” (‘Towards the City’, from which we recently exhibited a selection of works) in the Frankfurter Allgemeine Sonntagszeitung FAS – the Sunday edition of the Frankfurter Allgemeine Zeitung, FAZ:
(German version below)
Small Opinions
Those who know Cartier-Bresson and who like Robert Frank will love Yutaka Takanashi. Takanashi who? No one was as big as him, especially not his sweetish-perverse fellow-countryman Araki, and what a joy that only now we are able to discover him. He began in the 1960s to photograph Tokyo, the people in Tokyo and the landscape around Tokyo, in a way like the young Cassavetes made movies. Dirty, blurred, rough. And why do the photographs look like being made today? Because modern Japan was always one – two decades ahead of the world? Or because Takanashi could see with 35-mm lens in our frenzied, grey, depressing future – in contrary to all other black-and-white photographers? In a reprint of his most famous book „Toshi-e“ (errata editions, ca. 30 EUR) together with Takanashi we can enter a time machine and fly to the place where the life ends and something different from the death begins. (…)
bill
Frankfurter Allgemeine Sonntagszeitung (FAS), June 20, 2010, No. 24, P. 28
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Hijacked 2 – Australia / Germany
Curated by Mark McPherson (Aus) and Ute Noll (Ger)
Australian Centre for Photography
Friday 11 June – Saturday 17 July 2010
Our civilization is like a thin layer of ice upon a deep ocean of chaos
Werner Herzog
Hijacked explores the socio-cultural landscapes of Germany and Australia through the diverse talents and perspectives of 32 contemporary photographers. With a focus on the young, the boundary-riding and the fringe-dwelling, Hijacked is layered with imagery that is variously evocative, confronting, dreamlike and incisive.
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Concurrent to our exhibiton: “Oliver Sieber – Imaginary Club“, Boehm/Kobayashi Publishing Project has published
“Oliver Sieber – Imaginary Club 2″.
“Boehm/Kobayashi Publishing” is a label created by the artist couple Katja Stuke and Oliver Sieber.
Oliver Sieber – Imaginary Club 2
Boehm/Kobayashi, 2010
SC 34,4 x 27,9 cm, 12 pages, ed. 150
Available at Schaden.com
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While Galerie Priska Pasquer is currently having the first solo show in West since two decades with photographs by Yutaka Takanashi, in Japan the artist is highly regarded since many years.
Last year the National Museum of Modern Art, Tokyo showed a major retrospective of the artist. A review at Tokyo Art Beat on occasion of the show gives an overview of the career of Yutaka Takanashi from 1960 until today:
The Changing Faces of Japan
A retrospective at the National Museum of Modern Art, Tokyo, charts fifteen series spanning fifty years of photographer Yutaka Takanashi’s work, which focuses on the nature of change and urban space.
Review by Kenneth Masaki Shima, Tokyo Art Beat
Living in Tokyo is an exercise in looking at multitude. Often impressions here are formed by ‘not seeing’, by passing over the diversity and unbalance that exists around us. We draw out landmarks from the cityscape, beacons we use to demarcate paths of familiarity without being conscious of how the urban space guides our everyday consciousness.
Yutaka Takanashi’s work creates a biographical record of Tokyo and its residents. The world within his viewfinder gives the sense of a greater composition that extends beyond the focal center to include details to the extremities of the frame. Although employing a number of different methodologies his lens is consistently focused on the minutiae amongst the mélange. In one work from ‘Tokyoites’ for example, black suits crammed into a train car dominate the image, the small headline on an exposed corner of newspaper giving subtext to mood of the scene: “Public Opinion on America…”
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