TOKYO PHOTOGRAPHIC RESEARCH #01: PHASE TRANS

G/P galleryにて帰国後初となる新作個展を開催します。ぜひご高覧ください。

会期：2018年4月27日（金）- 2018年6月23日（土）　＊会期延長されました
会場：G/P gallery（東京）
時間：12:00 – 19:00 日月休廊
Web：http://gptokyo.jp/

オープニング・トーク
日時：2018年4月27日（金）18:00 – 19:00
登壇者：山峰潤也（水戸芸術館 現代美術ギャラリー 学芸員）、小山泰介
モデレーター：後藤繁雄（G/P gallery ディレクター）
定員：20名　＊要事前予約

オープニング・レセプション：2018年4月27日（金）19:00 – 21:00

プレスリリース：

G/P gallery では、2018年4月27日（金）より、小山泰介の新作個展『TOKYO PHOTOGRAPHIC RESEARCH #01: PHASE TRANS』を開催いたします。

『TOKYO PHOTOGRAPHIC RESEARCH』（以下、TPR）とは、小山と山峰潤也氏（水戸芸術館 現代美術ギャラリー 学芸員）が発起人となってはじめた現代写真プロジェクトです。TPRはオリンピックを目前に控えた東京の姿を、アーティストによる多様な視点からリサーチ・作品化し、2020 年以降の社会へと受け継ぐことを目的としています。本展ではその第一弾として、ロンドン、アムステルダムでの約４年の海外活動を経て昨年末に帰国した小山による、東京のフィールドリサーチによって制作された写真と映像を交えた新作インスタレーションを発表いたします。

これまでも東京の特異性は多くの写真家を惹きつけ、さまざまな方法論でそれぞれの時代や視点による変容の姿が記録されてきました。小山も写真家としての活動をはじめた2000年代初頭より東京をフィールドに撮影し、2008年に発表した写真集「entropix」では、都市の表層を有機的に変化する現象として微視的な視点で鮮やかに捉えるアプローチを試み、これは作家を抽象写真や実験写真の探求へと向かわせるきっかけにもなりました。2009年には都内各所で虹色の広告ポスターを接写した「Rainbow Form」(2009)を発表し、その後、同シリーズを元に2016年までに5つのバリエーション作品「Melting Rainbows」(2010)、「Rainbow Waves」(2013)、「Seventh Depth」(2014)、「Pico」(2015)、映像作品「Pico – Infinity / Pico – Flash」(2016)として派生させた「Rainbow Variations」は、写真の本質である複製・反覆の可能性、デジタル・イメージの流動性を強く追求した小山の代表シリーズとして広く知られています。

本展では、東京を撮影した写真のオリジナルデータを全て消去し、データ復旧ソフトによって復元した際に発生したエラーイメージによる新作をはじめ、プロジェクションで投影されたイメージと投影先のテクスチャーとが引き起こす知覚的不一致にフォーカスした新作など、再び東京をモチーフに制作を始めた小山の現在をご覧いただけます。テクノロジーの発展が生み出した可能性だけでなく、その欠点や誤用をも取り込んで提示されるイメージは、時代とともにつねに更新しつづけてきた写真の歴史とイメージ・メイキングに対する探究を一貫して継続してきた作家の、新たな側面をあらわにすることでしょう。ぜひこの機会にご高覧ください。

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TOKYO PHOTOGRAPHIC RESEARCH #01: PHASE TRANS

Period: 2018.4.27 (Fri.) – 2018.6.16 (Sat.)
Venue: G/P gallery, Tokyo
Open: 12:00 – 19:00
Closed on Sunday & Monday
Web: http://gptokyo.jp/

Opening Talk: 
Date: 2018.4.27 (Fri.) 18:00 – 19:00
Guest: Junya Yamamine (Curator, Contemporary Art Gallery, Art Tower Mito)

Opening Reception: 2018.4.27 (Fri.) 19:00-21:00

Press Release:

G/P gallery presents TOKYO PHOTOGRAPHIC RESEARCH #01: PHASE TRANS, solo exhibition featuring the latest work by Taisuke Koyama from April 27, 2018 (Fri).

TOKYO PHOTOGRAPHIC RESEARCH (below TPR) is a contemporary photography project initiated by Koyama and Junya Yamamine (curator of Contemporary Art Gallery, Art Tower Mito). TPR is an endeavor to capture the appearance of Tokyo, heading towards the hosting of the Olympics through researches and works composed via various artists’ perspectives, and aims for the resulting works to be passed on to the post-2020 world.
This exhibition, the first of many TPRs to come, features the latest installation piece by Taisuke Koyama – who returned to Japan at the end of last year after four years of stay in London and Amsterdam – composed of both photography and video works created via his field research of Tokyo.

Throughout the years, the unique qualities of Tokyo has attracted many photographers, who documented the state of its transformation – of each generation and through each individual perspective – by means of various methodologies.
Koyama too, chose Tokyo as the field of his photography, just as he was starting his career as a photographer in the beginning of 2000s, and the resulting photobook, entropix, published in 2008, display Koyama’s attempts to capture vividly, the surface of the city – which he interpreted as an organically modifying phenomenon – through a microscopic point-of-view; this marked the beginning of his venture into the practice of abstract and experimental photography. In 2009, he presented Rainbow Form (2009), a close-up photography work of rainbow colored advertisement posters, and the series Rainbow Variations, which derived five variations until 2016: Melting Rainbows (2010), Rainbow Waves (2013), Seventh Depth (2014), Pico (2015), and the video work Pico – Infinity / Pico – Flash (2016), is widely known as Koyama’s most representative work, demonstrating his pursuit of the possibilities of the essential elements of photography – reproduction, iteration, and the fluidity of the digital image.

Starting with a piece consisted of error images, which result from use of the data recovery software in the restoration process of his purposefully deleted photographs of Tokyo and a piece displaying the perceptual discord arising from contact between the projected image and the surface the image is projected on, in this exhibition, we showcase Koyama’s latest oeuvre, where he set Tokyo as its motif once again. The images, which not only embody the possibilities arising through technological advancements, but also their fallacies and misuse, reveal his consistent research on the constantly renewing history of photography and image making. Please join us in this opportunity to peruse the works.

SENSOR_CODE

Period: 2018.5.18 (Fri.) – 2018.6.17 (Sun.)
Venue: Seen Fifteen, London
Open: Friday to Sunday 12:00 – 18:00
Supported by Arts Council Tokyo
Web: http://seenfifteen.com

Opening Party: 2018.5.18 (Fri.) 18:00 – 21:00
Video Projection for Peckham 24： 2018.5.18 (Fri.) 22:00 – 02:00

Press Release:

“Koyama is part of this prescient generation of artists working with photographic materials and ideas to conflate the imaging possibilities of digital technologies with the experimental spirit of the most vital periods of the medium’s history.” Charlotte Cotton*

Taisuke Koyama can still remember the exact date that he started working with photography, the day he bought his first digital camera on 18th October 2003. For fifteen years he has dedicated his artistic practice to an intense exploration into the evolution of the digital image. We’re delighted to welcome Taisuke Koyama to Seen Fifteen with a solo exhibition, opening as part of Peckham 24 Festival on Friday 18th May 2018.

Koyama trained in Biology and Environmental Sciences in Tokyo, and is a self-taught photographer. Bringing these two influences together into one thought, he has described his creative process as “observing with a microscope”. The seismic event of the Great East Japan Earthquake in 2011 had a profound effect on Koyama’s practice and became a critical catalyst that shifted his focus towards the subject of the unpredictability of imagess:-

“Within the vast disaster area, the boundaries between the city and nature had been shattered right in front of my eyes. I was forced to think about the inevitable limitations of photography and how impossible it is to record all of actual reality”. Taisuke Koyama

For this new exhibition, SENSOR_CODE, Koyama will present abstract photographic works from four recent projects, which employ different experimental strategies using digital sensors. The reactions of light onto the sensors in digital cameras and scanners resolve into unique colours and patterns, which in turn creates Koyama’s own visual language. Releasing abstract photography from its heritage in materiality is an ongoing area of interest for the artist. So too is a paradoxical desire to design installations that become a physical experience. The works at Seen Fifteen will be presented as large inkjet prints that will be suspended from the ceiling in a maze of sculptural images for the viewer to journey around. In our contemporary world, where we are completely saturated by a never-ending stream of digitally transmitted images, the artist’s intention within the gallery space is to invoke a contradictory sensation. By dominating the room with large-scale prints he aims to force us to feel the images as well as look at them.

*Charlotte Cotton, from the essay for the photo-book Rainbow Variations, artbeat publishers, 2015

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SENSOR_CODE

会期：2018年5月18日（金）- 2018年6月17日（日）
会場：Seen Fifteen（ロンドン）
時間：金土日 12:00 – 18:00
助成：アーツカウンシル東京
Web：http://seenfifteen.com

オープニング・パーティ：2018年5月18日（金）18:00 – 21:00
Video Projection for Peckham 24：2018年5月18日（金）22:00 – 02:00

ロンドンのギャラリー「Seen Fifteen」にて、個展『SENSOR_CODE』を開催します。本展は、PHOTO LONDONに合わせて開催される現代写真フェスティバル「PECKHAM 24」のメインプログラムとして実施され、オープニング当日の深夜には映像作品『NONAGON PHOTON』の特別屋外上映もおこないます。

G/PHM 01: G/P gallery selection

会期：2018年4月21日（土）- 2018年5月2日（日）
会場：AMS gallery（浜松）
住所：〒430-0928 静岡県浜松市中区板屋町102-8 AMSビル
時間：12:00 – 19:00

浜松に新たにオープンする「生活アート発信基地」AMSビル３FのAMS galleryにて、G/P galleryのセレクション展に参加します。また同ビル１Fにオープンする「CULINARY DECO（キュリナリーデコ）」店内にも作品が飾られる予定です。浜松にお越しの際はぜひお立ち寄り下さい。

アマナ コレクション展 01 ― 新井卓、小山泰介、畠山直哉、ホンマタカシ

会期：2018年4月2日（月）- 2018年5月11日（金）
会場：IMA gallery（東京）
時間：11:00〜19:00 日祝休館
Web：https://imaonline.jp/

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the amana collection
Exhibit 01: Takashi Arai, Taisuke Koyama, Naoya Hatakeyama, Takashi Homma

Period: 2018.4.2 (Mon.) – 2018.5.11 (Fri.)
Venue: IMA gallery, Tokyo
Open: 11:00 – 19:00
Closed on Sunday & Public Holidays
Web: https://imaonline.jp/en

AIMIA | AGO Photography Prize 2017

Artists: LIZ JOHNSON ARTUR, RAYMOND BOISJOLY, TAISUKE KOYAMA, HANK WILLIS THOMAS

Period: 2017.9.6 (Wed.) – 2018.1.14 (Sun.)
Venue: Art Gallery of Ontario, Toronto
Open: Tue., Thur. 10:30 – 17:00 / Sat. – Sun. 10:30 – 17:30 / Wed., Fri. 10:30 – 21:00
Closed on Monday
Web: http://www.aimiaagophotographyprize.com

Events:
Panel Discussion: 2017.9.6 (Wed.) 17:30 – 18:30
Opening Reception: 2017.9.6 (Wed.) 18:00 – 21:00
Online Voting: 2017.9.13 (Wed.) – 2017.11.5 (Sun.)
Winner Announcement: 2017.12.4 (Mon.)

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『AIMIA | AGO Photography Prize 2017』

アーティスト：LIZ JOHNSON ARTUR、RAYMOND BOISJOLY、TAISUKE KOYAMA、HANK WILLIS THOMAS

会期：2017年9月6日（水）- 2018年1月14日（日）
会場：オンタリオ美術館、トロント
時間：火木 10:30〜17:00 / 土日 10:30〜17:30 / 水金 10:30〜21:00 月曜休館
Web：http://www.aimiaagophotographyprize.com

パネル・ディスカッション：2017年9月6日（水）17:30 – 18:30
オープニング・レセプション：2017年9月6日（水）18:00 – 21:00
オンライン投票期間：2017年9月13日（水） – 11月5日（日）
受賞発表：2017年12月4日（月）

POST BODY / NATURE
TAISUKE KOYAMA + TAKASHI KAWASHIMA

Opening Reception: 2017.6.10 (Sat.) 15:00 – 17:00

Period: 2017.6.10 (Sat.) – 8.19 (Sat.)
Venue: LhGWR, The Hague
Open: Wed. – Sat. 12:00 – 17:00
Closed from 27th July – 5th August
Web: http://www.grotewittereus.nl

Organized by LhGWR
Cooperated by Hester Keijser (Stead Bureau), Sawako Fukai (G/P gallery)
Supported by Arts Council Tokyo, Stroom Den Haag
Special Thanks: Kohei Nawa | Damien Jalet, Tomoko Mukaiyama, G/P gallery

Press Release by LhGWR:
You are cordially invited for the opening of our summer exhibition POST BODY / NATURE, for which Japanese artists Taisuke Koyama and Takashi Kawashima entered into a one time artistic partnership. In their individual photographic and video practices, both explore the role of nature in our (post-digital) era. Now, in their inimitable way, they have created an exhibition that belies their understated demeanour; be prepared for an excessive fireworks brought to combustion with scientific rigor. Arriving at their respective work guided by completely different urgencies, their joining of forces has generated a particularly exciting visual dialogue between ratio and emotion.

Koyama (1978, Tokyo) approaches the medium of photography in line with his studies in Biology and Environmental Sciences. He investigates the relationship between organic processes and phenomena, and the manmade objects that facilitate their visual capture. Although photography has become predominantly digitalised, his own research brought him to a field where the most important players are the physical processes that photography requires for its existence on the one hand, and the physical objects that we need for the reproduction of the resulting images on the other. Sometimes, these players form a team, and sometimes they find themselves placed as opponents. This field of play Koyama games by manipulating the rational connections between process and object, by tinkering with the physical objects themselves, and through wilful impairment of the algorithmic base rules, in order to arrive at his manipulated images. In recent years, Koyama has been investigating the expressive power of devices that generate data input, such as hand scanners and digital microscopes, focussing in particular on the plurality and fluidity of the data generated, recording the results in his latest works.

Starting from a similar fascination for nature and its processes, Kawashima (1985) translates his experience of nature in a fundamentally different manner. He grew up in the region in Japan where life came to a halt after the 2011 submarine earthquake. In the Netherlands we have come to know this incident of natural violence as the tsunami that destroyed Fukushima. We can all remember the disastrous images of the first days after the impact. Alarming reports of total destruction were accompanied in our media by mentions of the potentially terrifying consequences for our ‘ecosystem’. By creating a fictional visual narrative, Kawashima speaks about natural violence of similar magnitudes to initiate the conversation about the event itself. It needs no saying that such events inevitably make us stare the fragility of our bare existence in the face, but it remains one of the great mysteries of mankind how we manage to process this on an emotional level, or how it is possible to reach a catharis. Can the human brain defy the forces of nature? These concerns Kawashima puts central in his work.

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POST BODY / NATURE
TAISUKE KOYAMA + TAKASHI KAWASHIMA

オープニング・レセプション：2017年6月10日（土）15:00〜17:00

会期：2017年6月10日（土）〜 8月19日（土）
会場：LhGWR、デン・ハーグ
時間：水〜土 12:00〜17:00
休廊：7月27日〜8月5日
Web：http://www.grotewittereus.nl

主催：LhGWR
協力：Hester Keijser（Stead Bureau）、深井佐和子（G/P gallery）
協賛：アーツカウンシル東京、Stroom Den Haag
謝辞：名和晃平 | ダミアン・ジャレ、向井山朋子、G/P gallery