Übungsplatz〔練習場〕

福居伸宏 Nobuhiro Fukui http://fknb291.info/

[資料 2019-06-30]Fine Artと写真村・サブカル・中間領域等々との断絶に関連しての永田康祐さんとの対話

◇ Nobuhiro Fukui(@n291)/2018年09月24日 - Twilog

次の記事を読む限り特に何もなさそうです。Unseen Amsterdam Unveils 2018 Campaign Artist | Unseen https://unseenamsterdam.com/unseen-amsterdam-unveils-2018-campaign-artist 日本発の日本的なカルチャーへの期待が特定領域においてはまだ有効だというのもポイント。“Japanese digital artist Kenta Cobayashi”という表現も気になるところです。 https://twitter.com/knagata_org/status/1043892428275499008

1980年代から特に驚くような大きな動きはなさそうです。“それ”を“写真だけ”というジャンルで囲い込み、外から守られた状況に置く(密輸入する)から、そうした領域内の“住人”が内輪で何か新しくて価値があるように思いこむという構造。“写真”の外でボーダレスな判断をされてしまうとやはり厳しいですね。 https://twitter.com/knagata_org/status/1043892429382795264

https://twilog.org/n291/date-180924/allasc


◇ Nobuhiro Fukui(@n291)/2018年09月25日 - Twilog

PIAとはなんなのでしょうか?Photo Imaging Associationといった単語も思い浮かびますが。ちょっと文意を測りかねるので、まずはそれについて教えてください。 https://twitter.com/knagata_org/status/1044268008313503744

なるほど!失礼しました。しかし、PIAって、もう終焉したんでしたっけ?誰が始めて、誰が終わらせたんでしょうか?それはなかなか興味深いことですね。PIAのAはFine ArtのArtとは違ったもっと広い概念なんでしょうけども。例えば「おかんアート」のArtや「技術」という意味のそれも包含するような。 https://twitter.com/knagata_org/status/1044549572566016001

前述のツイートを遡っていただければわかると思いますが、私は“写真”(写真村、サブカル系、中間領域)といった狭い領域での話をしているわけではなくて、Fine Artとしては普通にキビシイのでは?といった話をしていたのですが。ですので、従来の写真論云々といったことも、あまり関係はないのですが。 https://twitter.com/knagata_org/status/1044549572566016001

ちょっとわからない部分も残るんですが、なんとなくわかってきました。実際、そうしたインターネット以降の作家だと目される作家たちのうちマーケット的にも“批評”的にも篩にかけられて残った人々とそうではない人々がいると思っていて、そうしたことをブームの終焉と考えるのであれば理解できます。 https://twitter.com/knagata_org/status/1044577375269208064

Roxana MarcociのキュレーションしたNew Photographyということでいえば、彼女がLouise LawlerのRetrospectiveも担当したこともわかるように、1977年以降の再考であり、1980年代的フェミニズムの動向であり、美術における写真の覇権をドイツからアメリカへという動きであり(これは要検証)ですよ。 https://twitter.com/knagata_org/status/1044577375269208064

いや、基本的にはその周辺だいたい全てですよ。その周辺に群れ集っているという時点でキビシくないですか?もちろん、これは非常に私個人のうがった見方でもあるとは思うのですが、Fine Artの世界からすると、まあそうなのではないかなという。 https://twitter.com/knagata_org/status/1044583463834148866

いや、小林健太さんは面白い部分もあると思います。でも、本人が天然っぽいし、曖昧で、まだまだ絞り込まれていない感じがするので、とても危うい感じです。写真文脈云々とか関係なく、評価する読み筋だって、もちろん存在すると思います。 https://twitter.com/knagata_org/status/1044583463834148866

https://twilog.org/n291/date-180925/allasc


◇ Nobuhiro Fukui(@n291)/2018年09月27日 - Twilog

軽井沢のフォトフェスティバルとは、浅間国際フォトフェスティバルのことなんでしょうか?先日のワークショップで今道子さんの話になったついでに、うつゆみこさんの話になって、画像を検索しているときに、そうした催事が行われているということに気づきました。永田さんもいろいろ見てますね。 https://twitter.com/knagata_org/status/1044587773867438080

「〜そういう話です。」というのが、ちょっと抽象的でわからなかったのですが、MoMAの件と軽井沢の件ではなく、Unseenと軽井沢という理解で良いのでしょうか?前者だとかなり不釣り合いですし、そこはあまり結びつかないですよね。全然異なる世界の話だと思います。 https://twitter.com/knagata_org/status/1044587773867438080

浅間国際については、1980-90年代式の仕事の仕方を雑誌広告芸能といった世界で学んで、ほとんどそのままのマインドのままでいる人々が回している限り、難しいのではないでしょうか?そうした人々は催事を重ねるごとにプロフィールの行数を増やしていきますが、その内実はというと常に疑問です。 https://twitter.com/knagata_org/status/1044587773867438080

当たり前のことですが、きちんとした個別の専門性を持った人材を集めてチームを組んで仕事をしないと、なかなか上手くはいかないでしょうね。もちろん、それでもフェスティバルのキュレーションには難しさもつきまとうのでしょうけども。 https://twitter.com/knagata_org/status/1044587773867438080

まあ、具体的にはとても細かい話になっていくので、ツイッターでのやり取りにはあまり向かないですね。New Photographyについても、永田さんは単に2015年だけの話をしているようにも思えるし、ひょっとしたらもう少し知っているようにも思える。前提とする事実のすり合わせがまず必要ですね。 https://twitter.com/knagata_org/status/1044587773867438080

2015年のその件は、中森康文さんやマーサ・ロスラーも同席していたトークですよね。内容はほとんど覚えていませんが、もう少し何か話していたような。。コットンはまあいいでしょう。あと、マルコーシがちょくちょく話すジェフ・ウォールのテクスト(デジタル化にも言及している)は1989年発表ですよ。 https://twitter.com/knagata_org/status/1044586657133936640

https://twilog.org/n291/date-180927/allasc


◇ Nobuhiro Fukui(@n291)/2018年09月29日 - Twilog

[脱字訂正]
誤:1977年以降の再考であり、1980年代的フェミニズムの動向であり、
正:1977年以降の再考であり、1980年代的フェミニズムの動向との関連であり、 https://twitter.com/n291/status/1044583782987120640

New Photography 2015 @MuseumModernArt について、ロクサナ・マルコーシは、ジェフ・ウォールの1989年発表のテクストに加えて、ジークフリート・クラカウアーの1927年発表の論考についても言及。1920年代のメディア状況とインターネットの大衆的な普及以降の状況の類比的な関係ということでしょうか。 https://twitter.com/n291/status/1045163105565601792

https://twilog.org/n291/date-180929/allasc

メモ

KENZO (ケンゾー) が新鋭映像作家を支援する新プロジェクト「Kenzo Season Zero」をスタート | News | THE FASHION POST
https://fashionpost.jp/news/120248


◇ Pude ver un Puma on Vimeo
https://vimeo.com/54110254


◇ 'El auge del humano', de Eduardo Williams - Trailer - YouTube


◇ Painting after technology: Hal Foster and Mark Godfrey in conversation | Tate
https://www.tate.org.uk/context-comment/audio/painting-after-technology-hal-foster-and-mark-godfrey-conversation
27 July 2015


◇ 芸術への入門:デザイン、文脈、意味 – Better Late Than Never – Medium
http://j.mp/2W7J0x1


◇ 真贋のはざま
http://umdb.um.u-tokyo.ac.jp/DKankoub/Publish_db/2001Hazama/
懐かしのサイト。要再読。


◇ Shanghai Tower (650 meters) - YouTube
https://youtu.be/gLDYtH1RH-U


モンゴメリー・バス・ボイコット事件 - Wikipedia
https://ja.wikipedia.org/wiki/%E3%83%A2%E3%83%B3%E3%82%B4%E3%83%A1%E3%83%AA%E3%83%BC%E3%83%BB%E3%83%90%E3%82%B9%E3%83%BB%E3%83%9C%E3%82%A4%E3%82%B3%E3%83%83%E3%83%88%E4%BA%8B%E4%BB%B6
リマインド。

メモ(リマインド含)

◇ FuckSethPrice.pdf
http://sethpricestudio.com/writingarchive/FuckSethPrice.pdf


◇ SETH PRICE with Will Fenstermaker – The Brooklyn Rail
https://brooklynrail.org/t/14649


◇ Consumer Reports: Seth Price -ARTnews
http://www.artnews.com/2018/11/16/consumer-reports-seth-price/


◇ Seth Price at Friedrich Petzel (Contemporary Art Daily)
https://www.contemporaryartdaily.com/2018/12/seth-price-at-friedrich-petzel-2/


◇ 'People Often Get Hung Up on the Search for Meaning': Artist Seth Price on Why You Probably Don't Understand His Work | artnet News
https://news.artnet.com/art-world/seth-price-interview-1420096


◇ Seth Price’s Digital Dissolution - Hyperallergic - Sensitive to Art & its Discontents
https://hyperallergic.com/477577/seth-price-hell-has-everything-petzel/


◇ The Original Copy: Photography of Sculpture, 1839 to Today | MoMA
https://www.moma.org/calendar/exhibitions/969


◇ On Photography People and Modern Times on Vimeo

A 2-channel video installation on collected photographic documents, now divided between intimate past moments and a present environment that secures their preservation. A subjective story of the Arab Image Foundation, Beirut.
38 minutes, 2010.
Part of Told, Untold, Retold. An exhibition by Till Fellrath and Sam Bardaouil. Mathaf, Arab Museum of Modern Art, Doha.

https://vimeo.com/19680810
Akram Zaatariの代表作のひとつ。


UCLA Art Department of Art Lectures: Charline von Heyl on Vimeo

5/5/11 --- Charline von Heyl is a painter who lives and works in New York. She has had solo exhibitions at Le Consortium, Dijon; the Dallas Museum of Art; and the Vienna Seccession. She has participated in many group exhibitions, including Oranges and Sardines at the Hammer and Make Your Own Life: Artists In and Out of Cologne at the Institute of Contemporary Art, University of Pennsylvania. (Run time: 1 hour, 27 min.)

https://vimeo.com/92310676


Kodak (2006) — Critical Commons
http://www.criticalcommons.org/Members/andydancer/clips/kodak-2006/view


◇ The Great Train Robbery - YouTube

For more information and to download this film, please visit https://www.loc.gov/item/00694220/


Considered the first narrative film, "The Great Train Robbery" was directed and photographed by Edwin S. Porter, a former cameraman for the Thomas Edison Company. Primitive by modern standards, the 10-minute action picture depicts 14 distinct scenes filmed at various locales in New Jersey intended to represent the American West. 'Broncho Billy' Anderson, the screen's first Western star, played several roles in the film, including a bandit and a train passenger. Audiences were thrilled and terrified to watch a gunman in medium close-up fire directly at the screen in the film's final scene ... although Porter suggested to exhibitors it could just as easily be shown at the beginning of the film instead. Named to the National Film Registry in 1990.

https://youtu.be/In3mRDX0uqk


◇ Hélio Oiticica: The Body of Colour symposium video recordings | Tate
https://www.tate.org.uk/context-comment/video/hélio-oiticica-the-body-of-colour-symposium-video-recordings


◇ Enjoying Life with Art – 現代アートの作家たちのグローバル展開を応援します。
https://eandk-associates.jp/


◇ 世界変革のとき──キュレーションについて:フォーカス|長谷川新(インディペンデントキュレーター)|美術館・アート情報 artscape
https://artscape.jp/focus/10152877_1635.html


◇ 長谷川新『点と線』 |地下室ブログ
http://chikashitsu.blog.shinobi.jp/loud%20majority/%E9%95%B7%E8%B0%B7%E5%B7%9D%E6%96%B0%E3%80%8E%E7%82%B9%E3%81%A8%E7%B7%9A%E3%80%8F


◇ 彫刻を見よ——公共空間の女性裸体像をめぐって:フォーカス|小田原のどか(彫刻家、彫刻・銅像・記念碑研究)|美術館・アート情報 artscape
https://artscape.jp/focus/10144852_1635.html


◇ Who are the most important contemporary painters working today and where is abstract painting headed? : ContemporaryArt
https://www.reddit.com/r/ContemporaryArt/comments/65k9jt/who_are_the_most_important_contemporary_painters/


◇ ArtRank: Market Influence Through Symbolic Isolation « Jaclyn Horowitz
http://jaclynhorowitz.com/artrank-market-influence-through-symbolic-isolation/


◎ Tanya Leighton | Home
https://tanyaleighton.com/
http://tanyaleighton.com/exhibitions


◇ Michael Krebber - Greene Naftali Gallery
http://origin.www.greenenaftaligallery.com/artists/michael-krebber


◇ Rhinegold: Art from Cologne, Michael Krebber | Tate
https://www.tate.org.uk/whats-on/tate-liverpool/exhibition/rhinegold-art-cologne/rhinegold-art-cologne-michael-krebber


◇ 3/29/2016 Michael Krebber on Vimeo
https://vimeo.com/162206602


◇ Meet the Collectors | Takeo Obayashi - YouTube

‘I asked Tadao Ando to design the house as artwork,’ recalls Obayashi-san. The result is an arch-minimalist space articulated around an interior courtyard, which bristles with thousands of tessellated tiles courtesy of Olafur Eliasson. Every two years, a new site-specific commission adds to the collection of a man who is as passionate about so-called international art, as he is about homegrown talents. In this exclusive profile, Obayashi-san shares insights into his personal journey and passions.

https://youtu.be/g-e9YhLQQWE


◇ Interview with Okwui Enwezor - YouTube

Okwui Enwezor, Consulting Curator

Nigerian-born curator Okwui Enwezor is the consulting curator of »Making Africa – A Continent of Contemporary Design«. He is the director of Munich’s Haus der Kunst and the director of the 56th International Venice Art Biennale in 2015. Throughout his career, Enwezor has focused on art and design of the 20th and 21st century from all over the globe. He also studies theories of diaspora and migration, post-colonial modernism and the architecture and urbanism of post-colonial African cities. This interview, which was led by the exhibition’s curator Amelie Klein, is the perfect primer to start engaging with the exhibition. Enwezor discusses the influence of design in Africa and why it is important to redefine the traditional design terminology in this new context.

https://youtu.be/khNz6rWTSOU


◇ Six questions for Jeff Wall — Objektiv
http://www.objektiv.no/realises/2015/3/11/six-questions-for-jeff-wall


◇ PART 2: Artist Mariam Ghani, Daughter of Afghan Pres, Addresses Ferguson, Borders and Afghan Women | Democracy Now!
https://www.democracynow.org/2015/8/12/part_2_artist_mariam_ghani_daughter


◇ A Brief History Of Collapses - The Guggenheim Museums and Foundation

Mariam Ghani
A Brief History of Collapses
Mariam Ghani’s video traces the parallel histories of two distinguished buildings—the Museum Fridericianum built by Simon Louis du Ry in Kassel, Germany, in 1779, and the Darul Aman Palace built by Walter Harten in Kabul in 1929—examining their discrete ideological associations. In spite of the buildings’ divergent locations and sociopolitical contexts, they remain united by various similarities of structural detail informed by German neoclassicism. The Darul Aman Palace, which was emblematic of King Amanullah Khan’s plans for the country’s modernization and originally earmarked as the seat of its future parliament, is now a ruin. By contrast, its German counterpart, the first public museum in Europe, was restored in the early 1980s and now presents exhibitions of contemporary art.

https://www.guggenheim.org/artwork/34593


◇ A Brief History of Collapses (long excerpt) on Vimeo
https://vimeo.com/100683295


◇ "Crystal world (After J.G. Ballard)", by Ann Lislegaard (Excerpt) - YouTube

http://lislegaard.com/?p=229

Crystal World (after J.G.Ballard)
2006
2-channel 3D animation, 2 leaning screens, no sound.
Installation view: How to Live Together -- 27th Bienal de São Paulo

Crystal World (after J. G. Ballard) is a double channel projection first shown at the Sao Paulo Biennial 2006. In the 3D animation a universe is constructed with architectural structures and a jungle that slowly crystallize. A text, generated from a letter written by the protagonist in J.G. Ballard's novel The Crystal World (1966), describes a zone of entropy, a process of transformation and crystallization. The animation moves through spaces combining architectural elements of Lina Bo Bardi's Casa de Vidrio and Oscar Niemeyer's Matarazzo Pavillion, both in Sao Paulo. The Dead Tree (1969) by Robert Smithson and Untitled, Rope Piece (1970) by Eva Hesse are also installed and re-activated in the animation between other references.

https://youtu.be/CqNV28AK894


◇ Crystal World (after J. G. Ballard) - Ann Lislegaard
http://lislegaard.com/?p=229


◇ Lida Abdul - In Transit, 2008 - YouTube
https://youtu.be/Kt2uD8iX1SY


◇ Lida Abdul – 'A Beautiful Encounter With Chance' | TateShots - YouTube

Afghan artist Lida Abdul describes the chance encounter that became the basis for her elegiac film Dome.

Abdul calls her pieces 'anti-monuments', and in Dome we see a small boy dancing alone in the centre of a bombed-out building in Kabul.

The boy's circling movements trace the shape of the roofless dome as he looks up at the sky, then comes the sinister throbbing of whirling rotor blades as a helicopter passes overhead.

https://youtu.be/XVaIJsB6aIE


◇ Paul Chan - The Guggenheim Museums and Foundation
https://www.guggenheim.org/artwork/artist/paul-chan


◇ Rouse Visiting Artist Lecture: Luisa Lambri, with Mark Lee - YouTube

Luisa Lambri is an artist currently based in Milan.

For nearly two decades, Lambri has examined the relationship between space and the human experience through the medium of photography. Her early work expressed a desire to depict constructed spaces in non-figurative ways and to highlight architectural details that in their form suggest abstraction. As a result, many of her photographs are situated in a place between representation and abstraction and can be understood as a perpetual reconsideration of space and its effects on human life.

For many years an investigation into the history of Modernist architecture, especially private residencies, was of particular interest to the Lambri. The photographs from this early period rarely presented a building with the intent of objective representation but rather tried to subvert and deconstruct the authority of many of the 20th century's most iconic buildings through a process of abstraction. In these photographs, Lambri focused on details such as doors, windows or staircases as conduits between the inside and the outside and as possibilities for movement. The concentration on details like ceilings, floors, windows or wall patterns resulted in abstract images that often make it impossible to say where a photograph was taken, which building the artist worked in or what architect designed it. The artist repeatedly stated that these earlier works could be understood as self-portraits devoid of her physical presence exploring female identity within spaces mostly constructed by men.

Over the last decade, Lambri’s interest in structures and spaces has broken from the confines of architecture as she started to look at other practitioners in the field of the visual arts who were similarly intrigued by space and abstraction. Her photographs of works by artists connected to Minimalism and the Light and Space movement as well as Latin American abstraction, particularly Neo-Concretism, have occupied her practice and taken the work away from only exploring architecture to a wider consideration of form, space and abstraction. While minimal and reductive in style the photographs are highly personal and interrogate, in equal parts, our physical and psychological existence as humans.

For this event, Lambri will present an overview of her work, with particular attention to her investigations of geometric and organic abstraction. Mark Lee, principal of Johnston Marklee & Associates and co-Artistic Director of the 2017 Chicago Architecture Biennial, will introduce Lambri–a participant in the Biennial–and they will engage in a conversation following Lambri's lecture.

Luisa Lambri was born in 1969 in Como, Italy, and currently lives in Milan. Her solo exhibitions include presentations at the Metropolitan Museum of Art, New York; the Isabella Stewart Gardner Museum, Boston; the Hammer Museum, Los Angeles; the Baltimore Museum of Art, Baltimore; the Menil Collection, Houston and the Carnegie Museum of Art, Pittsburgh among many others. In 1999 she was awarded the Golden Lion at the 48th Venice Art Biennial for her presentation in the Italian Pavilion.

Mark Lee (MArch '95) is a principal and founding partner of the Los Angeles-based architecture firm Johnston Marklee. Since its establishment in 1998, Johnston Marklee has been recognized nationally and internationally with over 30 major awards. A book on the work of the firm, entitled HOUSE IS A HOUSE IS A HOUSE IS A HOUSE IS A HOUSE, was published by Birkhauser in 2016. This followed a monograph on the firm’s work, published in 2014 by 2G. Mark has taught at the Harvard Graduate School of Design, Princeton University, the University of California, Los Angeles, the Technical University of Berlin, and ETH Zurich. He has held the Cullinan Chair at Rice University and the Frank Gehry International Chair at the University of Toronto. The firm’s work is in the permanent collections of the Museum of Modern Art in New York, the Art Institute of Chicago, the Menil Collection, the San Francisco Museum of Modern Art, the Carnegie Museum of Art, and the Architecture Museum of TU Munich. Together with partner Sharon Johnston (MArch '95), Mark Lee is the Artistic Director of the 2017 Chicago Architecture Biennial.

https://youtu.be/46NwwYVREkE


◇ Rodney Graham discusses Central Questions of Philosophy at Lisson Gallery - YouTube

The artist Rodney Graham talks with Art Review's editor, Mark Rappolt, about notions of the ‘performative self’ in his series of photographic stage sets, related paintings and objects.

Filmed at Lisson Gallery London during his exhibition, 'Central Question of Philosophy' 3 October - 3 November 2018.

Film by Laura Bushell

https://youtu.be/WBWqxs7Wo-A


Joyce Pensato | Artists | Lisson Gallery
https://www.lissongallery.com/artists/joyce-pensato


◇ What is a Photograph? @ICP - Collector Daily

Matthew Brandt: 1 chromogenic print soaked in Gray’s Lake water, 2013
Marco Breuer: 1 chromogenic paper, embossed and scraped, 2008, 3 gelatin silver papers, burned, 1996, 1998, 2000, 1 chromogenic paper, burned, 2012, 1 gelatin silver paper, brushed, 1998
Liz Deschenes: 1 set of 13 gelatin silver photograms, 2013
Adam Fuss: 2 gelatin silver photograms, 1988, 1 cibachrome photogram, 2001
Owen Kydd: 2 videos, 2011, 2012
Floris Neusüss: 1 gelatin silver photogram, 1991, 1 gelatin silver photogram and broom, 1983
Marlo Pascual: 1 chromogenic print with wood stool, 2013, 1 chromogenic print with fluorescent light, 2010
Sigmar Polke: 1 collage of gelatin silver prints, 1977, 2 gelatin silver prints with applied color, early 1970s, 1 gelatin silver print, 1964-68
Eileen Quinlan: 1 chromogenic print, 2011, 2 gelatin silver prints, 2008, 2011-2013
Jon Rafman: 2 mixed media prints, 2013, 1 photopolymer resin and acrylic paint, 2013
Gerhard Richter: 4 color photographs with enamel/oil, 1998, 2003, 2008, 1 gelatin silver print with oil, 1986
Mariah Robertson: 1 unique color print on metallic paper, 2010
Alison Rossiter: 12 works on various expired photographic papers, 2007-2013
Lucas Samaras: 1 Polacolor instant print with hand applied ink, 1969, 6 manipulated Polaroid SX70 prints, 1973-1976
Travess Smalley: 3 pigment prints, 2011
David Benjamin Sherry: 2 chromogenic prints, 2012, 2013, 1 chromogenic print with adhesive and sand, 2012
Kate Steciw: 1 chromogenic print with custom frame and mixed media, 2012, 1 chromogenic print diptych with custom frame and mixed media, 2013
Artie Vierkant: 1 UV print on sintra, 2012, 1 UV print on Dibond, 2013
James Welling: 3 inkjet prints, 2006/2008, 3 inkjet prints, 2001
Christopher Williams: 1 set of 45 offset prints and tape on paper, 2013
Letha Wilson: 1 gelatin silver photogram/chromogenic print, 2012, 1 chromogenic print, concrete, and wood frame, 2012, 1 chromogenic print and concrete, 2012

https://collectordaily.com/what-is-a-photograph-icp/


Amazon | What is a Photograph? | Carol Squiers, Geoffrey Batchen, George Baker, Hito Steyerl | Collections, Catalogues & Exhibitions

内容紹介
Bringing together a group of stylistically diverse but similarly adventurous and innovative artists, this book explores the intense creative experimentation in photography that has occurred since the 1970s. Few people ask, "What is a painting? A drawing? A sculpture?" But the medium of photography, especially since the 1970s, has been constantly changing as technological developments allow for endless experimentation—until the very definition of a photograph becomes ripe for debate. Beginning with the waning days of conceptual art, this book presents a wide variety of artists—among them James Welling, Christopher Williams, Marco Breuer, Alison Rossiter, Sigmar Polke, and Gerhard Richter—who have reconsidered and reinvented the role of light, color, composition, materiality, and subject in the art of photography. Brought together for the first time in book form, these individuals have found new ways of implementing both analog and digital technology, in many cases creating hybrid works that open up new possibilities for today’s artists. Filled with brilliant color reproductions, this volume not only traces the many strands of experimentation that have developed out of conceptual art, but also encourages dialogue on the continuing experimentation that is occurring as photography continues to evolve within the analog and digital worlds.


レビュー
"The essays pique readers to look anew at the brilliant creativity made possible by the 'willful mistakes' and 'radical experimentation' employed, whereby the photograph itself becomes the artwork. . . Highly recommended."
—C. Dubon, The University of Toledo, Choice


"These works expand and recontextualize our perception of what we call photography: contemplating the banality in everyday objects, commenting on the increasing ubiquity of the image, using alternative processes to transform the medium, and sometimes blurring the boundary between the image and other media to manipulate the picture plane."
—American Photo

https://www.amazon.co.jp/What-Photograph-Carol-Squiers/dp/3791353519


◇ ジェイ・ジョプリングとホワイト・キューブ - HODGE'S PARROT
http://hodge02.hatenablog.com/entry/20080817/p2


◇ 芸術の取引か、取引の芸術か インターネット・オークションの覇者をめざしてPaddle8が賭けに出る | Forbes JAPAN(フォーブス ジャパン)
https://forbesjapan.com/articles/detail/10417


◇ Jay Jopling - Wikipedia
https://en.wikipedia.org/wiki/Jay_Jopling


太郎千恵藏の絵画読本ver.21世紀 TARO CHIEZO PAINTING ver.21: 2006年4月
http://tarochiezo.cocolog-nifty.com/blog/2006/04/index.html


◇ ヒーローとピーポー、割り切れない関係。 菅原伸也評「Oh!マツリ☆ゴト 昭和・平成のヒーロー&ピーポー」|MAGAZINE | 美術手帖
https://bijutsutecho.com/magazine/review/19322


◇「レクチャーパフォーマンス」を逆照射する試み。長谷川新評 佐藤朋子展「103系統のケンタウロス」|MAGAZINE | 美術手帖
https://bijutsutecho.com/magazine/review/19280


◇「足場の悪さ」に挑む2人の画家 梅津庸一と佐藤克久|MAGAZINE | 美術手帖
https://bijutsutecho.com/magazine/insight/3006


◇ 福田久美子「ひとり語りの現代美術史 : 90年代より現在まで」- 名古屋造形大学機関リポジトリ
https://ci.nii.ac.jp/naid/110007989821


◇ 生きること、その不可避な売春性に対する抵抗──マーク・フィッシャー『資本主義リアリズム』 | UNLEASH
https://unleashmag.com/2019/03/15/fisher_review_higuchi/


山城むつみ氏による実験配置「ベンヤミンのメキシコ学――運命的暴力と翻訳」の凄まじさ: PuP(ペー・ウー・ぺー)
http://pantheaundpausanias.seesaa.net/article/465084493.html


◇ 写真のニュー・セオリー:批判的吟味と応答(その1) - #EBF6F7
https://aizilo.hatenablog.com/entry/2019/03/10/232942


◇ 写真のニュー・セオリー:批判的吟味と応答(その2) - #EBF6F7
https://aizilo.hatenablog.com/entry/2019/03/17/155009


◇ 視覚 知覚 思考 境界 やがて光 - Togetter
https://togetter.com/li/99836


バンクーバーの現代写真: フォトコンセプチュアリズム、ポストコンセプチュアルフォトとその後 Contemporary photography in Vancouver : Dog Mountain Report _ aki kusumoto
https://curatory.exblog.jp/27386415/


◇ あざみ野フォト・アニュアル 長島有里枝展 « 横浜市民ギャラリーあざみ野
https://artazamino.jp/event/azamino-photo-20190126/


◇ No418 映画運動の戦略論について 足立正生 赤軍―PFLP世界戦争宣言マニフェスト ( 映画監督 ) - 野次馬雑記 - Yahoo!ブログ
https://blogs.yahoo.co.jp/meidai1970/33249419.html


◇ ProtonVPN: Secure and Free VPN service for protecting your privacy
https://protonvpn.com/


◇ 本人を特定できない安全なネットアクセスを提供するTorに記録的な額の寄付が集まる | TechCrunch Japan
https://jp.techcrunch.com/2019/01/12/2019-01-11-tor-lessens-reliance-us-grants/


◇ 匿名性と個人情報保護を意識するならTor Browser&DuckDuckGoが最強の組み合わせ!今スグ導入すべきだと思うけどね? - 藤井聡太七段を応援しているGeckoのブログ。
https://newsclips.blog.fc2.com/blog-entry-731.html


◇ 草葉の読書記 |乾敏郎『感情とはそもそも何なのか』
http://exphenomenologist.blog100.fc2.com/blog-entry-1022.html


◇ 予期 - 種村剛(TANEMURA Takeshi)
tanemura.la.coocan.jp/re3_index/2K/ki_expectation.html


◇ Joseph Häxan - Google 検索
https://www.google.com/search?q=Joseph+H%C3%A4xan&source=lnms&tbm=isch&sa=X&ved=0ahUKEwiI94qGv-bhAhWFHaYKHRvbBnoQ_AUIDigB&biw=1440&bih=798


◇「フィクション」から遠く離れて 「インテリ源ちゃん」へ――全共闘運動とバリケードのなかの青春
http://web.archive.org/web/20150825202029/http://www.geocities.jp/literature_and_situation/fiction_1_1.html


◇ Dragnet Girl / 非常線の女 (1933) (EN/ES) - YouTube

1933, silent, black and white. Directed by Ozu Yasujiro. Starring Tanaka Kinuyo, Oka Joji, and Mizukubo Sumiko. Subtitles available in English. Subtitulos en español. 1933年。小津安二郎監督。無音映画。

https://youtu.be/V1pgPsYm_8U


◇ Piper Spray | Discography & Songs | Discogs
https://www.discogs.com/ja/artist/2853960-Piper-Spray


◇ Ann Dunham - YouTube
https://www.youtube.com/user/FinnHooch/videos


◇ 音楽 | Room40 - Bandcamp
https://room40.bandcamp.com/


◇ ECOLOGY WITHOUT NATURE: OOOIII: Ian Bogost, "Seeing Things"
http://ecologywithoutnature.blogspot.com/2011/09/oooiii-ian-bogost-seeing-things.html


◇ American mutilation of Japanese war dead - Wikipedia
https://en.wikipedia.org/wiki/American_mutilation_of_Japanese_war_dead


◇ テクノロジカル・ランドスケープあるいは廃墟のヴィジョン - J・G・バラードの千年王国ユーザーズガイド 新装版 など - シミルボン
https://shimirubon.jp/columns/1679933


◇ どうすればエキスパート・ファシリテーターになれるのか? - 熟達研究からヒントを探る|ミミクリデザイン(Mimicry Design)|note
https://note.mu/mimicry/n/n3c0badd1912e

メモ(リマインド含)

◇ Guggenheim Symposium - Empathy, Affect, and the Photographic Image - YouTube

Learn more at http://www.guggenheim.org/dijkstra

In conjunction with Rineke Dijkstra: A Retrospective, on view at the Guggenheim Museum June 29-October 8, 2012, leading scholars discussed the role that empathy plays in the interactions among photographer, subject, and viewer. Organized by Jennifer Blessing, Senior Curator, Photography, and moderated by George Baker, University of California, Los Angeles.

0:16 - Introduction by Jennifer Blessing, Senior Curator, Photography, Solomon R. Guggenheim Museum
3:57 - Moderator introduction by George Baker, Associate Professor of Art History, University of California, Los Angeles
12:52 - "The Age of Empathy" and Rineke Dijkstra's Photographic Portraits by Jennifer Blessing
37:56 - You've Lost That Loving Feeling by Johanna Burton, Director of the Graduate Program, Center for Curatorial Studies, Bard College
58:00 - For Rineke Dijkstra, a Tiergarten is Not a Tear Garden by Carol Mavor, Professor of Art History and Visual Studies, University of Manchester

https://youtu.be/tFeBRCk3xns


◇ The Photographic Universe | Vision Machines with Marvin Heiferman and Andreas Velten - YouTube

The Photographic Universe II brings together a range of leading practitioners, scientists, theoreticians, historians, and philosophers to consider and reflect on current discussions in photography at a pivotal moment in its history. The unique format of the conference will consist of one-on-one conversations between two individuals from disparate professional and research backgrounds. The conference will conclude with a roundtable focusing on photographic education.

https://youtu.be/dMsD_ni-SGw


◇ George Baker -- "Photography's Expanded Field: The Work of Sharon Lockhart" - YouTube

This Visiting Artist Lecture sponsored by the Davis family, the UO Department of Art and UO Department of Art History.

George Baker is associate professor of art history at UCLA, where he has taught modern and contemporary art and theory since 2003. A New York and Paris-based critic for Artforum magazine throughout the 1990s, he also works as an editor of the journal October and its publishing imprint October Books. Baker received his Ph.D. from Columbia University, and is a graduate of the art history program at Yale University and the Independent Study Program of the Whitney Museum of American Art. He has received, among others, an Andrew Mellon Fellowship in the Humanities, CASVA and Whiting Foundation fellowships, and a postdoctoral fellowship from the Getty Research Institute. Baker is the author of many books and essays on historic and contemporary arts.

https://youtu.be/VxL7e7o0NhY


◇ Shoair Mavlian: “Shape of Light: 100 Years of Photography and Abstract Art” at Mills College - February 21, 2018 on Vimeo

Shoair Mavlian is the new Director of Photoworks, UK and will take up the post in February 2018. She was formerly assistant curator, photography at Tate Modern, London (2011-2018). She curated the major exhibitions ‘Shape of Light: 100 Years of Photography and Abstract Art’ (Tate Modern 2018), 'The Radical Eye: Modernist Photography from the Sir Elton John Collection' (Tate Modern, 2016), 'Conflict, Time, Photography' (Tate Modern, 2014), 'Project Space: A Chronicle of Interventions' (Tate Modern and TEOR/éTica, Costa Rica, 2014) and 'Harry Callahan' (Tate Modern 2013). Shoair has a background in fine art photography practice and the history of photography focusing on the twentieth century. She has a strong interest in photography relating to conflict and memory, Central and Latin American photography and emerging contemporary practice. Her independent writing is regularly published in magazines and recent publications include 'The Radical Eye: Modernist Photography from the Sir Elton John Collection’.

https://vimeo.com/259246473


◇ Concrete Photography Konkrete Fotografie: KERBER PUBLISHER | artbooks, photography, culture

Concrete Photography can be seen as a new subsection within Concrete Art. It therefore appears alongside other respective modes of artistic expression, such as Concrete Painting, Concrete Music or Concrete Poetry. Likewise, however, it is a subsection of photography. Altogether we are looking at a phenomenon or discipline for which to date there exist neither a conclusive theory, nor a comprehensive documentation even though autonomous images of its kind already emerged in the early twentieth century, vividly exerting
influence even today. Concrete Photography is, therefore, a veritable art form in its own right. This publication is the first in book form to present the history, esthetics and technique of the genre, and it introduces approx. 150 works by 80 international artists.

https://www.kerberverlag.com/en/concrete-photography-konkrete-fotografie.html

◇ Jeff Wall. Artist Talk [02.06.2018] on Vimeo

David Campany im Gespräch mit Jeff Wall
David Campany in Conversation with Jeff Wall
02.06.2018 in Kunsthalle Mannheim

Für den Katalog zur aktuellen Ausstellung von Jeff Wall hat der britische Autor und Kurator David Campany einen Beitrag über "Das singuläre Bild" verfasst. Mit dem Künstler sprach er über die Werkauswahl und Aspekte des fotografischen Einzelbildes. Es stehen dabei die Schwerpunktthemen der Ausstellung wie Inszenierung, Gesten, Sprache und Rätselhaftigkeit im Vordergrund.

For the catalogue of Jeff Wall's current exhibition, the British author and curator David Campany has written an article on "The Singular Picture". He spoke with the artist about the selection of works and aspects of the individual photographic image. The main themes of the exhibition are staging, gestures, language and mysteriousness.

JEFF WALL. APPEARANCE
Kunsthalle Mannheim 2.6.2018-9.9.2018
Mudam Luxembourg – Musée d’Art Moderne Grand-Duc Jean, 5.10.2018-6.1.2019

https://vimeo.com/288154934


Andy Warhol— From A to B and Back Again | Whitney Museum of American Art
https://whitney.org/Exhibitions/AndyWarhol#exhibition-videos


◇ Tobias Madison on Seth Price's novel "Fuck Seth Price" Hey, Motherfuckers – Here is Your Generational Novel
https://www.textezurkunst.de/articles/fuck-seth-price-en/


◇ Hans Ulrich Obrist and The Shed in New York - YouTube
https://youtu.be/oBo4pURYEs0


◇ Podcasts | David Zwirner
https://www.davidzwirner.com/podcast


◇ The Passions and Posthumanism of Two Abstract Expressionists
https://hyperallergic.com/477832/the-passions-and-posthumanism-of-two-abstract-expressionists/


◇ The Art of Flex: Network Lessons from Post Internet Art « INC Longform
http://networkcultures.org/longform/2016/06/22/the-art-of-flex-network-lessons-from-post-internet-art-2/


◇ Featured Works - Images - Dirk Skreber - Artists - Petzel Gallery
http://www.petzel.com/artists/dirk-skreber


◇ Joanna Zylinska - "Photography after Extinction" - YouTube

Dr. Joanna Zylinska (Goldsmiths, University of London) at the Center for 21st Century Studies "After Extinction" Conference, University of Wisconsin-Milwaukee. May 1, 2015.

“Photography after Extinction”
In this talk I will consider what it would mean to envisage the world ‘after extinction’: not at a time when various species, including the one we are narcissistically most invested in – ourselves – have disappeared, but rather at a time when extinction has entered the conceptual and visual horizon of the majority of global citizens. Specifically, I will take the horizon of extinction as a reference point against which I will think the ontology of photography and its agency: what photography can do with and to the world, what it can cast light on, and what the role of this light (or, more broadly, light as such seen through the photographic lens) is in approaching questions of life and death on a planetary scale. Considering the history of photography as part of the broader nature-cultural history of our planet, I will trace parallels between photography and fossils, and read photography as a light-induced process of fossilisation occurring across different media. Seen from this perspective, photography will be presented as containing an actual material record of life (rather than just its memory trace). But I will also go back to photography’s original embracing of the natural light emanating from the sun to explore the extent to which photographic practice can tell us something about energy sources, and about our relation to the star that nourishes our planet. I will do this via an engagement with photographers who have consciously adopted the horizon of extinction as their workspace – from the nineteenth century geologist-photographer William Jerome Harrison through to contemporary artists such as Hiroshi Sugimoto. I will also look at practices in which the work of the sun has been taken on as both a topic and a medium, including the post-digital practice of Penelope Umbrico. The talk will end with a brief presentation of my own artwork, The Anthropocene: A Local History Project.

https://youtu.be/PnfV05JCiHg


◇ Joanna Zylinska - Free access
http://www.joannazylinska.net/read-for-free/


◇ Photography Programme | Royal College of Art
https://www.rca.ac.uk/schools/school-of-arts-humanities/photography/



◇ Donna Haraway, “Anthropocene, Capitalocene, Chthulucene: Staying with the Trouble”, 5/9/14 on Vimeo

Anthropocene, Capitalocene, Chthulucene:
Staying with the Trouble

Sympoiesis, not autopoiesis, threads the string figure game played by Terran critters. Always many-stranded, SF is spun from science fact, speculative fabulation, science fiction, and, in French, soin de ficelles (care of/for the threads). The sciences of the mid-20th-century “new evolutionary synthesis” shaped approaches to human-induced mass extinctions and reworldings later named the Anthropocene. Rooted in units and relations, especially competitive relations, these sciences have a hard time with three key biological domains: embryology and development, symbiosis and collaborative entanglements, and the vast worlds of microbes. Approaches tuned to “multi-species becoming with” better sustain us in staying with the trouble on Terra. An emerging “new new synthesis” in trans-disciplinary biologies and arts proposes string figures tying together human and nonhuman ecologies, evolution, development, history, technology, and more. Corals, microbes, robotic and fleshly geese, artists, and scientists are the dramatis personae in this talk’s SF game.

https://vimeo.com/97663518


◇ Nothing works | Tate

The void
Anna Dezeuze
1 January 2011
Tate Etc. issue 21: Spring 2011

Marcel Duchamp’s phial of Paris air, Yves Klein’s The Void exhibition, Martin Creed’s Work No.227: The lights going on and off, Gabriel Orozco’s Empty Shoe Box – for decades, artists have pushed the boundaries of how close to nothing an artwork or exhibition can be. How far can they go?

https://www.tate.org.uk/context-comment/articles/nothing-works


◇ Ceal Floyer | Artists | Lisson Gallery
https://www.lissongallery.com/artists/ceal-floyer


Charlotte Dumas
https://www.charlottedumas.nl/


◇ Jeffrey Deitch and Gagosian Team Up to Defeat Zombie Formalism - GARAGE
https://garage.vice.com/en_us/article/a3jvwk/jeffrey-deitch-and-gagosian-team-up-to-defeat-zombie-formalism


◇ Does Zombie Formalism Mean Anything in Canada?
https://canadianart.ca/reviews/could-zombie-formalism-come-to-canada/


◇ Dark Side of the Boom by Georgina Adam — the art market book of 2017 | Financial Times
https://www.ft.com/content/d8f908ac-ebc6-11e7-bd17-521324c81e23


◇ Kenny Schachter on Zombie Formalism | Monopol – Magazin für Kunst und Leben
https://www.monopol-magazin.de/dawn-dead


◇ Artists | Sadie Coles HQ
https://www.sadiecoles.com/artists/43-ryan-sullivan/installation_shots/


◇ Wilhelm Sasnal and the Power of Image | Brilliant Ideas Ep. 47 - YouTube

Polish artist Wilhelm Sasnal is a prolific painter and filmmaker whose vivid images draw on the mass media, the intimate experience of family life and the darkest chapters of Polish history. A child of the punk era and the fall of the Berlin Wall, he's insatiably curious about the modern world and unafraid to confront the powers that be and the most taboo subjects.

https://youtu.be/IK0Xd1-iZdo


◇「画像表象とリアリズム」#2:ケンダル・ウォルトン「透明な画像」(1984) - obakeweb
https://obakeweb.hatenablog.com/entry/transparent_pictures


◇「写真」の存在論的身分を巡って:Jiri Benovsky "What photographs are (and what they are not)"(2011) - obakeweb
https://obakeweb.hatenablog.com/entry/jb2011


◇ 「Vaporwave主要リリース」カタログ化計画:近年の動向まとめ - obakeweb
https://obakeweb.hatenablog.com/entry/2018/07/20/183923


◇ 楊洲周延 - Wikipedia
https://ja.wikipedia.org/wiki/%E6%A5%8A%E6%B4%B2%E5%91%A8%E5%BB%B6
https://www.google.com/search?q=%E6%A5%8A%E6%B4%B2%E5%91%A8%E5%BB%B6&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjqy7z4__fhAhWhyosBHQGJCkAQ_AUIDigB&biw=1440&bih=798


Arata Mori
https://www.aratamori.com/


◎ Kounosuke Kawakami
https://www.kounosukekawakami.com/


◇ Kounosuke Kawakami | 川上 幸之介 – Taguchi Art Collection
https://taguchiartcollection.jp/artists/kounosuke-kawakami/


ロザリンド・クラウスによる「タスクのパフォーマンス」の説明 - Blog: Sato Site on the Web Side
https://blog.goo.ne.jp/kmr-sato/e/55f9637fb7256863c34d990443ea409b


◇ Available Residence Slots – ARTS ITOYA
https://artsitoya.com/available-residence-slots/
https://artsitoya.com/
松崎宏史さんが運営するレジデンス。


◎ Studio Kura | 株式会社Studio Kura —「 糸島から世界に文化発信!」をモットーに事業を行っています
https://studiokura.info/


◎ 加藤広太 kodadata@aol.jp
https://kata16koto.tumblr.com

291 workshop「第29期」参加者募集中

2019年04月10日(水)~06月19日(水)[全10回]+補講 ※開催曜日が水曜日になりました。
https://www.facebook.com/291ws
https://ameblo.jp/291-workshop
https://twitter.com/291_workshop


◎募集要項
日時:毎週水曜日 19:00~22:30 *1
場所:TAP Gallery http://tapgallery.jp/ Tel/Fax 03-3643-6885
   東京メトロ半蔵門線都営大江戸線 「清澄白河」駅 B2・A3出口 徒歩5分
   〒135-0022 東京都江東区三好3-2-8
会費:35,000円 *2
定員:12名
参加資格:作家を目指して写真作品の制作に取り組んでいる方(これから取り組もうとしている方)。年齢経歴不問 *3


◎ワークショップの概要
基本は作品講評形式です。
参加者が持ち寄った作品について対話し、その内容をチューニングしていくことで作品についての思考と試行を重ね、制作のプロセスへとフィードバックすることで、その質と量を高めていくことがねらいです。継続的に制作を続けられるよう、参加者の作品づくりをサポートします。
参加者の初期目標としては、個展の開催および各種コンペでの入賞です。とりあえずは、この2つを目指して制作を継続していただきます。
ワークショップの中長期的な目標としては、写真というメディウムを扱う次世代の作家(アーティスト)の養成を目指します。
作品講評のほかには、ポートフォリオやプレゼンテーションについてのアドバイス、写真集や展覧会の見方についての話などを適宜行っていきます。


ワークショップ参加希望の方は、

fknb291(at)gmail.com

上記アドレスの「(at)」を「@」に変更して、
下記のメールをお送りください。

《メール件名》
291 workshop 参加希望 *4

《メール本文》
1.お名前
2.メールアドレス
3.生年月日
4.ご職業 *5
3.略歴等 *6




▽今後の開催予定
▽今後の開催予定
【第30期】
2019年07月03日(水)~09月18日(水)[全10回]+補講
【第31期】
2019年10月09日(水)~12月11日(水)[全10回]+補講
【第32期】
2020年01月08日(水)~03月11日(水)[全10回]+補講
※主宰者の展覧会やレジデンス滞在のため日程が変更になる場合があります。※主宰者の展覧会やレジデンス滞在のため日程が変更になる場合があります。


----


>>>291 workshop「0期」各回の参考メモ&参加者の感想コメント
http://d.hatena.ne.jp/n-291/20120112#p2


>>>291 workshop「第1期」各回の参考メモ&参加者の感想コメント
http://d.hatena.ne.jp/n-291/20120405#p2


>>>291 workshop「第2期」各回の参考メモ&参加者の感想コメント
http://d.hatena.ne.jp/n-291/20120712#p2


>>>291 workshop「第3期」各回の参考メモ
http://d.hatena.ne.jp/n-291/20130117#p3


>>>291 workshop「第4期」各回の参考メモ
http://d.hatena.ne.jp/n-291/20130117#p4


>>>291 workshop「第5期」各回の参考メモ
http://d.hatena.ne.jp/n-291/20131005#p3


>>>291 workshop「第6期*」各回の参考メモ
http://d.hatena.ne.jp/n-291/20140316#p2


>>>291 workshop「第7期」各回の参考メモ
http://d.hatena.ne.jp/n-291/20140317#p3


>>>291 workshop「第8期」各回の参考メモ
http://d.hatena.ne.jp/n-291/20140326#p1


>>>291 workshop「第9期」各回の参考メモ
http://d.hatena.ne.jp/n-291/20140630#p19


>>>291 workshop「第10期」各回の参考メモ
http://d.hatena.ne.jp/n-291/20140818#p3


*1:参加人数により前後します。何らかの事情により止む終えず日時が変更になった場合も、参加された方が全10回分のワークショップを受けられるよう補講等を行います。

*2:学生の方および継続参加される方は30,000円。

*3:個展の開催を主眼とする本ワークショップでは、40歳未満の方については、1_WALL、写真新世紀、ユーナ21、フォト・プレミオなど、各種コンペティションへの応募と入賞をとりあえずの初期目標とします。40歳以上の方についても作家としての実力アップとキャリア形成について、いろいろと支援していきます。

*4:お問い合わせの方は「291 workshop 問い合わせ」としてください。
  場合により、メール未着のこともあるかもしれませんので、こちらからのご返信に時間がかかっているようでしたら、
  本ブログのコメント欄から直接その旨をお伝えいただければ幸いです。

*5:必ずしも記入する必要はありません。学生の方は学校名をご記入ください。

*6:必ずしも記入する必要はありません。