DAISUKE YOKOTA

DAISUKE YOKOTA
Charming Thanatological Matter into a Chance Dance

DAISUKE YOKOTA

DAISUKE YOKOTA

DAISUKE YOKOTA

DAISUKE YOKOTA

DAISUKE YOKOTA

DAISUKE YOKOTA

Japanese photographer-of-the-moment Daisuke Yokota takes book-making to a new level with performance element

One of the brightest photography talents to emerge from Japan in the last few years, Daisuke Yokota is steadily making a name for himself in contemporary photography circles.

The photographer, who was born in Saitama, Japan, in 1983, is becoming known for his innovative live photography book-making performances, which offer an insight into his working process – a “performative print-making style that has its roots in the 1970s Mono-ha arts movement”.

Yokota, who was featured in BJP as one of our Ones to Watch at the start of the year, takes his images with a compact digital camera, and then re-photographs the printed images using medium format film. He then prints them again, making use of leaked light, overheated developer, and singeing the negatives. The prints are sometimes re-photographed up to 10 times, adding more distortion each time.

Part of the reason for this approach is “to portray memory; what we remember, as well as what we don’t”, he told BJP in January. “I can visualise invisibleness, or things I don’t remember through those changes. And to visualise them, I have removed any details on a picture; for example, words on signboards or information to specify the location. All I remember about the picture is ‘I was there with someone once’. In that sense, the background became the subject, and showing the spatiality in the location was very important for me.”

For his latest book-making performance, Yokota will be in London on 2o May, taking part in an event with independent publisher Goliga, with whom he collaborated on a similar performance, Untitled, at Unseen Photo Fair in Amsterdam last year. In Untitled, Yokota splashed acid onto screenprints already treated with brass, turning this process into a live performance.

“Last year I had the opportunity to do a small project with Daisuke, and once I got to know his work and his working process, I invited him to make an edition of 10 images for the Goliga imprint,” says publisher Ivan Vartanian, who organised the London event and also worked with Yokota at Unseen. “That edition, Untitled, is an extension of Yokota’s general working process, in which he photographs and scans his own images. We wanted to maintain a direct experience of his process so we had Yokota apply acid to the photographs that are printed on a layer of brass. Each image, as a result, is unique, even though it is a reproduction. The event is an opportunity to show that process to the audience so they can see the artist at work.”

Vartanian and Yokota plan to extend the performance in London by adding a “zine-making aspect”, which involves photographing Untitled in the space, and using a laser printer to produce a zine.
http://www.americansuburbx.com/
http://daisukeyokota.net/

DAISUKE YOKOTA

Mimmo Jodice

Ricerca e Sperimentazione

Ricerca e Sperimentazione

Ricerca e Sperimentazione

Ricerca e Sperimentazione

Ricerca e Sperimentazione

Ricerca e Sperimentazione

Ricerca e Sperimentazione

Ricerca e Sperimentazione

Ricerca e Sperimentazione

Ricerca e Sperimentazione

Ricerca e Sperimentazione

Mimmo Jodice . Vedute di Napoli

Mimmo Jodice. Vedute di Napoli

Mimmo Jodice. Vedute di Napoli

Mimmo Jodice. Vedute di Napoli

Mimmo Jodice. Rivisitazioni. Suor Orsola, 19887

Mimmo Jodice . Suor Orsola 1987.
RIVISITAZIONI

Mimmo Jodice. Trieste 1985. RIVISITAZIONI

Mimmo Jodice.
Pompei, 1983.
MEDITERRANEO

Mimmo Jodice. Anfiteatro, Capua ,1992.
MEDITERRANEO

Mimmo Jodice. Pergamo, Turchia .1993
MEDITERRANEO

Mimmo Jodice. Opera 4.1995.
EDEN

Mimmo Jodice. Opera 5, 1995.
EDEN

Mimmo Jodive , Opera 27, 1995.
EDEN

Mimmo Jodice. Opera 31
EDEN

Mimmo Jodice. Capri 1997.
MARE

Mimmo Jodice. Madonna Dell’Arco. 1972
Figure dal Sociale.

Mimmo Jodice. Natura nr. 7, 1995.
NATURA

Mimmo Jodice . Vedute di Napoli

Ricerca e Sperimentazione

Mimmo Jodice è uno dei grandi nomi della storia della fotografia italiana. Vive a Napoli dove è nato nel 1934. Fotografo di avanguardia fin dagli anni sessanta, attento alle sperimentazioni ed alle possibilità espressive del linguaggio fotografico, è stato protagonista instancabile nel dibattito culturale che ha portato alla crescita e successivamente alla affermazione della fotografia italiana anche in campo internazionale.

Da ragazzo ama l’arte, il teatro, la musica classica e jazz; da autodidatta si dedica al disegno e alla pittura. Agli inizi degli anni sessanta scopre la fotografia. Inizia allora una serie di sperimentazioni sui materiali fotografici e sulle possibilità della fotografia, non come mezzo meramente descrittivo, ma come strumento creativo.
Durante questi anni Mimmo Jodice vive a stretto contatto con i più importanti artisti delle avanguardie che frequentavano Napoli in quegli anni: Wahrol, Beuys, De Dominicis, Paolini, Kosuth, Lewitt, Kounnellis, Nitsch e molti altri.
Jodice è particolarmente sensibile alle nuove idee e si dedica sempre più alla fotografia creativa.
Nel 1970 è invitato a tenere corsi sperimentali all’Accademia delle Belle Arti di Napoli, dove poi insegnerà Fotografia fino al 1994.
La sua prima mostra viene presentata al Palazzo Ducale di Urbino nel 1968 e nel 1970 al Diaframma di Milano un’altra mostra dal titolo “Dentro Cartelle Ermetiche” con un testo di Cesare Zavattini.
Nel 1980 pubblica “ Vedute di Napoli” dove Jodice avvia una nuova indagine sulla realtà, lavorando alla definizione di uno spazio urbano vuoto ed inquietante di metafisica memoria.
Questa ricerca segna una svolta nel suo linguaggio : le sua fotografie saranno sempre più lontane dalla realtà e sempre più immerse in una dimensione visionaria e silenziosa.
Nel 1981 partecipa alla mostra “Expression of Human Condition” al San Francisco Museum of Art con Diane Arbus, Larry Clark, William Klein, Lisette Model.
Di seguito le sue personali più importanti vengono presentate:
Memorial Federal Hall, New York 1985 ; Musée Réattu, Arles 1988; Philadelphia Museum of Art, 1995; Kunstmuseum Dusseldorf, 1996; Maison Européenne de la Photographie, Paris 1998 ; Palazzo Ducale di Mantova, 1998; Museo di Capodimonte, Napoli 1998; The Cleveland Museum of Art, Cleveland 1999; Galleria Nazionale di Arte Moderna, Roma 2000; Castello di Rivoli, Torino 2000; Galleria d’Arte Moderna, Torino 2000; MassArt, Boston 2001; Wakayama, Museum of Modern Art, Japan 2004, The Museum of Photography, Moscow 2004; MASP – Museu de Arte de Sao Paulo, 2004; MART – Museo di Arte Moderna e Contemporanea di Trento e Rovereto, 2004; Galleria d’Arte Moderna, Bologna 2006 ; Spazio Forma – Centro Internazionale di Fotografia, Milano 2007; Museo di Capodimonte, Napoli 2008; Palazzo delle Esposizioni, Roma 2009; Maison Européenne de la Photographie, Paris 2009; Museo del Louvre, Parigi 2011;

Nel 2003 l’Accademia dei Lincei gli ha conferito il prestigioso premio ‘Antonio Feltrinelli’ per la prima volta dato alla Fotografia.
Sempre nel 2003 il suo nome è stato inserito nell’Enciclopedia Treccani
Nel 2006 l’ Universita degli Studi Federico II di Napoli gli conferisce la Laurea Honoris Causa in Architettura.
Oggi Jodice è una figura centrale di riferimento per le nuove generazioni che riconoscono nel suo lavoro una sensibilità ed una capacità unica nel coniugare sapientemente innovazione e raffinatezza classica.
http://www.mimmojodice.it/

Luigi Ghirri

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Luigi Ghirri

Sam Taylor-Wood

Sam Taylor-Wood
Spankers Hill, 1994

Sam Taylor-Wood
Falling VI, 2004

Sam Taylor-Wood
After Dark (With Unicycle)
White Cube

SOLILOQUY III.1967Sam Taylor-Wood

Sam Taylor-Wood
Third Party – Ray and Pauline

Sam Taylor-Wood, Sustaining the Crisis, 1997, Projektion auf zwei Bildschirmen mit Ton, Two screen projection and sound, Dauer : 8 min. 55 sek., Courtesy the artist and Jay Jopling/White Cube (London)

Sam Taylor-Wood, Sustaining the Crisis, 1997, Projektion auf zwei Bildschirmen mit Ton, Two screen projection and sound, Dauer : 8 min. 55 sek., Courtesy the artist and Jay Jopling/White Cube (London)

Sam Taylor-Wood, British (1967 – )

Sam Taylor-Wood was born in London in 1967. At the age of sixteen, she enrolled in an art school in Hastings, later moving back to London to attend Goldsmiths College. After graduating in 1990, she worked as a bartender and as a dresser at the Royal Opera House; this latter experience would influence her work’s unabashed theatricality. Originally a sculptor, she began working in photography, film, and video in the early 1990s. Her first film, 16mm (1993), consists of an isolated female figure gyrating to a steady beat. She explored similar intersections between video, dance, theater, music and film and video in subsequent works, including Killing Time (1994), in which seemingly bored actors wait their turn to lip-synch the lines of different characters from Richard Strauss’s Electra. Her photographic work also finds points of intersection with other mediums. The title of Five Revolutionary Seconds (1995–98), for example, refers to her creation of a panoramic image by rotating her camera around a room over that period of time; the resulting image has a narrative quality despite being a static image. In recent years, Taylor-Wood has engaged ideas of celebrity culture in her work. Third Party (1999–2000), a seven-screen video installation at the Hayward Gallery in London, featured pop singer Marianne Faithful and actor Ray Winstone in different one- and two-person scenes of flirtation and ennui, suggesting a party taking place throughout the gallery. Equal parts pathos and humor, the two-minute film Pietà (2001), in which the artist attempts to suspend the Hollywood actor and hard-living icon Robert Downey, Jr. in her arms, also evokes art history.

Since her first show, Killing Time at the Showroom in London in 1994, Taylor-Wood has had solo exhibitions at White Cube in London (1995 and 2001), Kunsthalle Zürich (1997), Hirshhorn Museum and Sculpture Garden in Washington, D.C. (1999), Museo Nacional Centro de Arte Reina Sofía in Madrid (2000), Centre National de la Photographie in Paris (2001), and Musée d’Art Contemporain de Montréal (2002). In 2002, the Hayward Gallery in London held a mini-retrospective of her work. Her work has appeared in Information Dienst at Kunsthalle Stuttgart (1993), Brilliant! New Art From London at Walker Art Center in Minneapolis (1995), Istanbul Biennial (1997), Johannesburg Biennale (1997), ICA Biennial of Independent Film and Video at the Institute of Contemporary Arts in London (1997), Venice Biennale (1997), Carnegie International (1999), and Valencia Biennial (2001). Her film Expanding Pictures (1997) was broadcast on BBC2 in 1997. Also in 1997, she received the Illy Café Prize for Most Promising Young Artist at the Venice Biennale. She lives and works in London.