Publishing books as MCV MCV
Street Level Japan - blog about Japanese photography
dan at mcvmcv dot net
I made a new post on Street Level Japan. You can view it here: http://ift.tt/1z1TRC4
Image © PICA
Over a previous weekend I saw Hitoshi Toyoda’s slideshow NAZUNA at Yokohama Trienalle. He uses several projectors to project his ‘visual diaries’. Travelling to America and then to different parts of the world, including Japan, his documentation play out less like dry and factual but drama, the life of someone never ‘in frame’ but clearly close by. Some of the people he, and in turn we, follow either disappear or pass away.
Alone, each image tells of an incidental and ancillary moments when seen separately do little to prepare you for how they work when threaded together. When stitched together in the projector carousel, a theme rises albeit slowly to the surface. An accumulation over the years of reoccurring figures and vistas. Overgrowth surrounding the quiet structure of old buildings advances and then recedes through the reoccurrence of places photographed over and over again.
Toyoda works exclusively in slideshows. They are the only way of seeing his work. There are no books to speak of or shows to visit. You see them communally. With other people. The cinema is probably an easy example to draw in comparison but both are different with Toyoda, silently translating the slides that feed narrative structure intermittently giving particular context; the war in Afghanistan; The discovery of an Amish village in rural Japan. He swaps carousels when he needs to elevated above everything and everyone else but not in an authoritative sense, purely functional.
Whats particularly amazing is NAZUNA’s length. Filmic, they hold the attention from beginning to end, drifting here and there in the meantime. Each slide holds the attention as projector focus is pulled back and forth. Its clever in so much as your waiting for that moment, anticipating the on-screen shift as things wildly out of focus remain so and things nearly legible are vividly pulled back into view. The screen and the image, if only briefly, contain depth and the sense that your no longer looking at something flat but something alive.
He spoke at the end of how the timing changes each time. The decision he makes on how images get stitched together carry with them a resolutely personal narrative that is perhaps harder to unpick and makes sense of but then that is what makes his approach unique to him and how he decides upon the images he chooses. Its an intensely personal piece of work made pubic and the setting of theatre only makes that experience of tress-passing through the more intimate parts of someones past more affecting. With an intimacy and focus of using slide-film with a projector whose focal length is temperamental, the ‘traumatic’ is experience through the sobering lens of his camera.
I hope I get to see his other films soon.
I made a new post on Street Level Japan. You can view it here: http://ift.tt/1shVEEe
I made a new post on Street Level Japan. You can view it here: http://ift.tt/1mQaMF6
Kool & The Gang - Get Down On It (Rocco Raimundo Edit) by Rocco Raimundo http://ift.tt/xNnCqJ (autopost from Soundcloud)
Kate Peters - Selections from the series Stranger than Fiction and Home
Rinko Kawauchi, put through a filter of Americana.
As the world has slowly woken up to the genius of W.G. Sebald’s project there’s been an explosion of critical interest in his work, and the use of photographs in his work. I’ve read most of it and all I’ll say is that I’d much rather watch Max talk about it himself. Thank goodness for the existence of this very short clip, found and yanked out of the stream of history just like Sebald’s photos.
I made a new post on Street Level Japan. You can view it here: http://ift.tt/1xprlLO