1960s Issey Miyake shot by Shinoyama [read more]
Jaques Derrida on Kishin Shinoyama’s Light in the Dark [read more]
Rika Noguchi visualising the invisible [read more]
A new exhibition from Naoya Hatakeyama [read more]
Video work by OVAR at Big In Japan 2011 [read more]
An exhibition curated by Hiroshi Sugimoto for the 2011 Yokohama Triennale [read more]
Issey Miyake images by Irving Penn [read more]
Genpei Akasegawa on art made by the city [read more]
Yellow giants, brown dwarfs, stellar black holes, supernovae, other stuff like that [read more]
Kazuna Taguchi’s pictures lost in layers of photo-painting [read more]
Hitoshi Nomura on forms that exist independently of intention [read more]
Hitoshi Nomura shooting sounds [read more]
Kohei Yoshiyuki pointing infrared rays on vespertine voyeurs in Tokyo’s public parks [read more]
“What is embodied in photography is not a clear ‘knowledge of the whole’, but, rather, a ‘longing for the knowledge of the whole’.” – Naoya Hatakeyama [read more]
A new series of elaborately orchestrated photographs by Lieko Shiga [read more]
Shitamichi Motoyuki on memory, place and images [read more]
Yuko Kamei marrying bodies, spaces, movement and stills [read more]
Yukihiro Taguchi finds a dark to stick the light in [read more]
When Yu Ogata and Ichiro Ogata Ono are not busy building buildings they photograph buildings others have built [read more]
Lieko Shiga’s brother in his boxer shorts learning to play piano, sans piano [read more]
With his unique brand of uncomfortable hilarity, Tatsumi Orimoto’s Oil Can will be performed in Sydney this May [read more]
Leiko Shiga treats photography as means to distort – rather than document – reality [read more]
The Japanese word for “photograph”, shashin, comes from sha (“to reproduce or reflect”) and shin (“truth”). The act of photography, then, consists of taking the truth and making a copy of it on a surface. [read more]
Continuing until the end of this week at the Centre For Cosmic Wonder Tokyo: original prints from the Cosmic Wonder Free Press Sunday Edition [read more]
Chatting with Fumiko Imano about the desire to self-duplicate, the nature of photography, the relationships between fashion and art, and how she came to be her own favourite subject [read more]
At any moment in time there are hundreds of thousands of people moving at speeds of tens of thousands of kilometres an hour in the sky above us [read more]
Fans of the legendary poster designer Tadanori Yokoo should be making the most of cheap flights to Japan this October. [read more]
“To be there where I think I am not, to disappear where I think I am, that is what matters.”
Like her fellow Japanese self-costuming photographic artists Yasumasa Morimura and Tomoko Sawada, Kimiko Yoshida’s work shows that art is about transformation and photography, in particular, is a medium of performance. Because her bodily decoration and physiognomy are so motley and elastic she would be beyond recognition in her hundreds of self-portraits, were it not for their uniformly square, front-angle head-and-shoulders format. But then, ‘self-portrait’ isn’t really the right term; these are not images of herself but of costumes; fantasy selves have swallowed her up completely. [read more]
Shibakouen Hamutaro’s ongoing documentation of dilapidating theme parts around Japan [read more]
“Small changes in point of view can lead to big changes in consciousness. I think this is the role of photography and it’s what makes photography interesting.”
Naoki Honjo’s parochial birds-eye landscapes and cityscapes appear at once familiar and removed, simple and disorienting, real and fake. The Tokyo-based photographer ingeniously manipulates lighting, scale, perspective, focus and colour to invoke a sense of small-scale falseness about the environments we live in [read more]





























