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]

More Akasegawa Thomassons [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]