#osamu kanemura

[tokyo-camera-style]

Seen: Gate Hack Eden

Who: Osamu Kanemura

Where: Gallery Cave-Ayumi

When: Sept. 14 - Oct. 13, 2024

Mad-mash of prints, doodles, ten-images-a-second slideshows and a 1000+ page photobook. My full review is on PCT, here:

Exhibition Report:

Vol.35 金村 修｜Osamu Kanemura + ori.studio「Gate Hack Eden」

[lethatechnique]

[4eternal-life]

Osamu KANEMURA  /Japanese, b. 1964

from Spider's Strategy (without obi)

© 2023 Vincent Borrelli, Bookseller

[g00melo5-art-blog]

金村修｜Osamu Kanemura

[whanaukaretao]

Research: Osamu Kanemura 'Concrete Octopus' Photobook

4 March 2024

Osamu Kanemura's photobook has been on my to do list for a while. My supervisor gave it to me to look over - along with Akashi Homma's 'The Narcissistic City' photobook, which I've already looked at - because it's Japan-related.

I didn't resonate with it. It feels too dystopian for what I have in mind. (It's deliberately angled toward projecting a concrete, human jungle.) I am imagining a utopian world for my project.

There were a few images that I found interesting.

The first two images (which are the same image) include an anime image which drew me in. It's a heavily populated, very busy scene which might be relevant if I change to go down a dystopian track.

The last image has an image within an image (right hand side, a couple are framed within a frame), although it isn't so clear in this pic, and is set in quite dark surrounds. It doesn't seem immediately relevant to what I'm doing but caught my eye all the same.

[reijisaito]

50秒

昨年参加した「50秒」が恵比寿映像祭にて再上映されます。 東京都写真美術館1階ホールでの上映となります。会期中は毎日上映されますが、日によって上映時間が変わりますのでご注意ください。

『50秒』

参加アーティスト :青木真莉子、青木陵子、青崎伸孝、秋吉風人、麻生晋佑、荒川医、荒木悠、池崎拓也、イッタ・ヨダ、 伊藤存、江口悟、岡田理、片岡純也＋岩竹理恵、金村修、KAYA (デボ・アイラース＋ケルスティン・ブレチュ)、窪田隆之、COBRA、小松浩子、佐藤純也、 アーロン・ジェント、庄司朝美、髙橋耕平、たちばなひろし、田中和人、玉山拓郎、ナヴィッド・ヌール、 花代＋斎藤玲児、甫木元空、 細倉真弓、増本泰斗、サトミ・マツザキ、間部��合、南川史門、森田���彰

詳細：https://www.yebizo.com/jp/program/2454

＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿ The “50 seconds”  exhibition of video works by a total of 34 artists, which the Kyoto-based artist-run space “soda” around director TANAKA Kazuhito presented in November 2022, is once again repeated at the Yebisu International Festival for Art & Alternative Visions 2023.  127 years after the Lumière brothers unveiled their 50-second-long landmark film Workers Leaving the Lumière Factory in 1895, selected contemporary artists show works that are each just as long. The program at large explores new possibilities of the moving image as an art form.  Event produced by: TANAKA Kazuhito (Director, soda) Artists: AOKI Mariko, AOKI Ayako, AOZAKI Nobutaka, AKIYOSHI Futo, ASO Shinsuke, ARAKAWA Ei, ARAKI Yu, IKEZAKI Takuya, Ittah Yoda, ITO Zon, EGUCHI Satoru, OKADA Shizuka, KATAOKA Junya + IWATAKE Rie, KANEMURA Osamu, KAYA (Debo EILERS and Kerstin BRÄTSCH), KUBOTA Takayuki, COBRA, KOMATSU Hiroko, Aron GENT, SHOJI Asami, TAKAHASHI Kohei, TACHIBANA Hiroshi, TANAKA Kazuhito, TAMAYAMA Takuro, Navid NUUR, Hanayo + SAITO Reiji, HOKIMOTO Sora, HOSOKURA Mayumi, MASUMOTO Yasuto, Satomi MATSUZAKI, MANABE Yuri, MINAMIKAWA Shimon, MORITA

[pelomundodascidades]

Osamu Kanemura, Concrete Octopus, Tokyo, Japan, 2011.2013 http://kanemura-osamu.com/

[sesiondemadrugada]

Osamu Kanemura.

[de-salva]

From the book:

CONCRETE OCTOPUS / Osamu Kanemura

* Pierre von Kleist editions, Lisbon and Osiris, Tokyo, 2017 Edited by José Pedro Cortes, André Príncipe and Yoko Sawada

[yama-bato]

https://www.pierrevonkleist.com/products/concrete-octopus-by-osamu-kanemura

[circus-sonata]

by Osamu Kanemura / 金村修 Kein Machine Soul, 1996

[tokyo-camera-style]

Seen:  JCII Collection Exhibition

Who:   Everyone. 

Where: JCII Photo Salon, Hanzomon Tokyo (map)

When: December 3 - 25, 2019 (Open 10-5pm.  Closed Mondays)

Over its history the Japan Camera Industry Institute has amassed an incredible collection of prints by Japanese photographers. This exhibition presents 140 silver gelatin prints across two galleries in the JCII building and features photographs by Daido Moriyama, Nobuyoshi Araki, Issei Suda, Mitsugu Ohnishi, Kishin Shinoyama,  Hiroh Kikai, Hiromi Tsuchida, Kazuo Kitai, Yurie Nagashima, Osamu Kanemura- -  and so. many. more. 

It’s the kind of show that international museums would have loved to share with their cities- this being Tokyo, and it being a cold rainy December Saturday when I stopped by, I was the only person in the place. 

[scannersphotoinfotokyo]

佐久間里美写真集『○△□』（POETIC SCAPE ）

　私たちは三次元の世界を両眼で見ている。五感で空間を認識し、現実感覚を得ている。

　写真は視覚によるイメージの認識に特化している。写真プリントや印刷物は写真がモノであることを示しているが、とくにそ��が強調されない限りは四角いフレームの中に意識が集中する。そのとき私たちは写真プリントや印刷物の手触りは忘れている。眼に見えるイメージからそこに写っている場所やモノ、人物に触れようとする。眼だけを使って。

　佐久間里美の写真は純粋にイメージを追求している点に特徴がある。撮影対象は現実だが、どこにあるどんな場所かは明示しない。場所の情報を省き、場所が持つ意味をそぎ落とす。結果的に見えてくるのは線と面、そして色である。また、もののかたちにも視線が誘導される。すべてではないが、ほとんどの写真は平面的。隣り合う色面同士が奇妙なハーモニーを醸し出す。奇妙な、というのはつまり見慣れていない、違和感があるという意味だ。

　写真は一般的に四角いフレームで提示される。絵画も多くは四角いし、写真以降に生まれた映画も四角だ。四角いフレームは私たちの眼が横に付いていることと関係があるはずで、パノラミックな広がりは目に心地いい。風景を見るときに私たちは快感を感じるのと同じだ。 　だが、佐久間の写真では四角いフレームの四角、つまり、４つの角が90度ピッタリに曲がったフレームがイメージに強い影響を与えている。佐久間によって現実の風景が四角い画面にフレーミ��グされるとき、線と面が露出する。 　私たちの眼は三次元空間を捉えているがゆえに、実は見えていないものがある。佐久間の写真はそれを掘り起こしているように感じる。露出というより出土と言うべきかもしれない。

　三次元の視覚に巧妙に隠されていた線と面、色とかたちを四角（フレーム）によって発見する。掘り起こす。発掘する。そこには視覚のはざまに埋もれた埋蔵金がある。この写真集はその黄金のごく一部を報告したものだ。

[4eternal-life]

Osamu Kanemura  /Japanese, b. 1964

from the book  ‘Concrete Octopus’

© Pierre von Kleist

'It would be strange and misleading, though obviously not wholly inaccurate, to call these photographs “images of the Japan of the present time.” Though they might perhaps have much to say to the social historian, their documentary function is circumscribed by the interest in exploring a visual universe too disunited and incomplete to be recognizable as a cultural or historical form. In these images, the world presents itself with great purity and without provocation or seduction, as though poised in the interval before the repetition of an already forgotten catastrophe.' Chris Fujiwara

[g00melo5-art-blog]

金村修｜Osamu Kanemura

[whanaukaretao]

Supervisor hui 1

Takashi Homma 'The Narcissistic City'

21 February 2024

Today's main takeaways from my first supervisor hui with David Cowland:

Apply for Whitecliffe Tech Hub courses in Human Figure drawing (Julia Teale) and also Print (Matt Dowman). Preference is given to year 2s but apply and see how I get on. The drawing will help me understand human movement and assist with my manga and photography. Treat it as fun and be upfront with the lecturer that I'm not really a drawer.

Create a mind map grid on paper of the different areas of my project I'm currently tossing around ideas about. eg Skills (drawing, print, illustrating on tablet, etc skills acquisition), Picture Library (reference images, shoots, etc), Manga, Immersive, etc because I have a lot of ideas/things going on. Make sure to be working on each of these areas as I explore.

Photograph movement on my shoots in a continuous sequence (eg. a person crossing the street or walking into a store) as this will help with my manga. Also experiment with wide shots and then 'violent' close ups as this will also help with the manga.

Study Akashi Homma's photobook 'The Narcissistic City' as it has some overlaps with how I'm considering depicting K Rd. Also, Osamu Kanemura's 'Concrete Octopus'.

Look at if Māori have a particular order of story telling narrative. This followed me showing Dave a manga book and the particular order Japanese manga follows.

Talk with Roman Mitch at Whitecliffe and also Matt Dowman about my futuristic Māori ideas.

Be aware of Dall-E AI Image generator and AI video generation technologies. nofilmschool.com recently published an article about it.

It's legitimate for me to be using AI in my image and video generation so continue to explore this.

Learn about AR (Augmented Reality) as this could assist with my immersive ideas for my project.

Google Photoshop and illustrator for manga learning. Also, look at LinkedIn Learning to help with my skills acquisition.

Check out Dave's Tumblr accounts - photo urbanism and architecture sound images.

Have a look at Afro-futuristic movement as it deals with alternative visions to colonialism. eg. Lee Scratch Perry.

Look at Pacific artist Luca Macioce's video that's used the Sopranos opening sequence to depict Auckland.

Consider adopting a grid format for my Tumblr as it will help show the interconnections between my work and ideas.

The Design department has some tablets for illustrators and it may be possible to use one to help me with my learning. Alternatively, Photo Media may look into getting one.

It's legitimate for me to use Japanese manga and anime as an artistic device in my project as it's an inspiration from my recent Japan travels. So it's unnecessary for me to use demographic projections as a justification (suggesting a much larger Asian population in Auckland/NZ in 2040 and beyond).