Tokyo University of Arts, Graduate School of Global Arts,
Department of Arts Studies and Curatorial Practices

Sat. 18th March, 2017 - Wed. 5th April, 2017
Tokyo University of Arts, Graduate School of Global Arts,
Department of Arts Studies and Curatorial Practices

Foreword
Yuko HASEGAWA

This is a catalog for the exhibition “Seize

the Uncertain Day,” held at Tokyo University of
the Arts' Chinretsukan Gallery in March andthat was largely focused on photography, film, andFor viewers, my hope is that this exhibition

and growing up in the 2000s― been affected bytriggers a panoply of reflections on and

I-Documentary."

the echoes of the "uncertain" 1970s? How has thisinteractions with the organizers' perspectives,influenced their understandings of the present

beyond passive consumption of the ideas
presented.

April of 2017. This exhibition was organized byseven graduate students at the Department ofIn the prototypical Japanese "I-novel"

day? Chief Curator Seiha Kurosawa explains, "weArts Studies and Curatorial Practices at Tokyo(watakushi shosetsu), subjectivity is depicted in an

have never even been certain of what 'certainty'

University of the Arts' Graduate School of Global

intensely private manner, and yet derives its power

there is to be done away with." At the core of thisI think it is fair to say, from conception toArts, which was newly founded in 2016. Ranging

from expressing the universal. This ambiguity

exhibition, therefore, is a comparative practice ofinstallation, that this "Seize the Uncertain Day"

from photography, video, installation, drawing,

between exterior and interior, society and thecuration.

has been able to realize its potential as a physicaland more, this group show at the Chinretsukan

individual, self and other allows for new analyses

Gallery (spanning roughly 400 sq. meters) drewof subjectivity that, in short, are reflective of aover 3400 visitors during its three-week exhibition

certain distance from the self. This distance is whatstarting point, the students would ultimately

period.

distinguishes so many Japanese photographers

move on to their own curatorial iteration, andand videographers. Manifested and mediatedthe exhibition title "Seize the Uncertain Day" wasopportunity to express our thanks to the artists,

through the use of film and video, the artist's own

born.

collectors, galleries, and many others who madeThis was the Global Arts program's inaugural
student-curated exhibition; an immersive, one-sensibilities or emotions are projected onto theiryear practicum in exhibition-making. Under mysubjects.

supervision, the seven students were responsible
for selecting all artists and works, as well as thecoordination of external and internal logistics.

In the 1960s, this self-consciousness ―bornout of the devastation of World War II― would

exhibition. (There are more detailed accounts, ofWith these given thematic elements as a

Ranging from the 1970s to 2016, the featured

course, in each of the co-curators' articles.)Finally, I would be remiss not to take this

this exhibition possible. I would also like toartists explore the ambivalence and paradoxes of

convey my deep appreciation for the sponsors andattempting to "seize the uncertain" in their works.

supporters who kindly assisted in these young
curators' studies.

Shown in the framework of a "journey

approach its apex, a critical turning point. In

through one day," these pieces gain both

The act of curation ―of spatial composition

1968, the disintegration of the revolutionary ideal

conceptual depth and aesthetic breadth. Viewers

and incarnation of art― is reliant not only

can a group of students with no prior practical

coupled with a (nonetheless persistent) critique of

begin with the darkness and "night" of the firston aesthetic and intellectual sensibilities, but

curatorial experience begin the process ofcapitalist society led to a Japanese photographic

floor, then move on to the second floor's bright,

sensitivities to the world around us. We continue

researching and planning an exhibition? During

movement that advocated for an "Abandonment

naturally lit "daytime;" they observe the quiet

to promote curatorial practice because it isour first semester (April-July), my students beganof the Certain." Photographers became one with

anxieties of high noon and the reverberations

this sensitivity inherent to curation that canby analyzing the thematic structure of a show I

their equipment, nullifying the symbolism ofof tragedy, as if taking a walk in someone else's

empower it to transcend generational or cultural

was curating at the time: Japanorama: Nouveau

what was in front of them and cutting throughnarrative.

boundaries.

regard sur la création contemporaine (Japanorama:

the realm of the "real." By abandoning the notion

New visions on art since 1970) at Centre

of being able to ascertain any given object, theirPompidou-Metz in France. This helped them

practice reaffirmed self-existence within a wider"equipment" in their confrontation of presentdraw on our (the faculty's) global perspectives,

external world, foregrounded by the immanentrealities, yet still seeking the blessed and/or

while simultaneously honing in their research"magnetic field" of the social that compels sharedcelebratory (shukufuku) in a time of precarity, thewithin a Japanese context. Ultimately, it was

consciousness and community.

co-curators have fostered an exhibition space that

Our initial challenge was quite simple: how

decided that they would curate a show around one
particular section of the Japanorama exhibition02

all being born in the "lost decade" of the 1990s

documentation: "Super-Privatives, Subjectivity,

How have the student co-curators ―despite

Affirming a contemporary uncertainty withis truly of their generation.

Yuko Hasegawa
Professor, Supervising Advisor
Tokyo University of the Arts
Graduate School of Global Arts
Department of Arts Studies and Curatorial Practices

03

“Seize the Uncertain Day ” - the Front of <now> can never be SeizedSeiha KUROSAWA

Seize the Uncertain Day: this title is“I have no definite point of reference to

Although we acknowledge the fear ofat precisely 14:46:18. By cognitively convertingday” meaning to live the present and the word

which I can revert. To me, if thereʼs anything

being misunderstood and the danger of vague

what happened at 14:46:18 into a full day, many

meaningful elsewhere, it is nothing very lofty.

generalizations, we would like to point out thatstories of ʻIʼs filled with uncertainty emerge withalong, infinitely, with myself.” ＊1

our generation might have not even experienced“pseudo-certainty” of any kind. Circulating

subjective concerns of the <now>. In-between thetitle simultaneously implies a certain irony andcomposed of the English idiom “seize the“uncertain” which shows precariousness. The

paradox in trying to capture an ʻuncertaintyʼ

which can fundamentally never be caught. As
such, this title signifies the paradox itself of seizing
an uncertain day, which mirrors our attitudes
towards living in the <now>. The exhibition
enables the physical experience of time withinsuch paradox. It is composed of three sections;“Day” (first floor), “Night” (second floor), and “theFault” (stairs and mezzanine floor) which does notbelong to neither “Day” nor “Night”. These three
sections express the uncertain day which would
exist in anyoneʼs life. It also makes use of theRather, it must be ʻthis momentʼ that keeps flowing

Doubting ʻcertaintyʼ relies on a strong
community spirit, however, as it was the case in
the 1970s. The longing for “pseudo-certainty”

resulted from the desire to suggest a “holisticknowledge of human and the world” ＊2. Therefore,
doubting ʻcertaintyʼ was a strategy to build a newbuilding built in 1929.

In 1970, the summary issue of provoke, theown physical reality, we superimposed ourshow plural and micro paths towards the future.

growing body unto the rapid development of theThis vision of the future differs from the extreme

internet and information technology. We havesubjective eye of the 1970s.

elaborated strategies to avoid confronting thefragility of our identity, which we have replaced

to physically or sensibly know such ʻcertaintyʼ, we
co-curators aimed to present various attitudes anddiffered from the foundation of modernism by

era is fragile. Nevertheless, it has been almost

artistic expressions exposing the self-reflecting

being aware of subjective consciousness, instead of

impossible to have an objective and critical gazegazes of the ʻIʼ . The exhibition also reflects aobjective methodology. Grasping uncertainty was

towards our own contemporary mind and bodies.

condition of precarious subjectivity throughachieved through the super-subjective expression.

Our surrounding human culture and society lostvisual modes of expression such as photography.

its substance. Again, it has been dismantled andAnother goal of the exhibition is to prompt

reconstructed simultaneously and too rapidly.

visitors to question the potentialities of extreme

Today, after half a century, we are clearly

private narrative. When artists practice their gaze

noticing uncertainty at every single level of our
natural environment, society, and cultural real

Therefore, we have developed complicated,world. From a local Japanese perspective, us,reversible, alternative techniques for an extremely

students who co-curated the exhibition, are fromsubjective and lonely narrative, called the ʻIʼ. We

the generation of the ʻlost twenty yearsʼ: the era

and left its mark on postwar Japanese photography

marking the end of the 1980s to the end of thehistory. The issue dismantled its own raison

2010s, which forged and shaped our sensible

Meanwhile, the gaze of surveilling ʻhopeʼ hasand physical characteristics. We were born rightbecome autonomous and has been internalized

Pseudo-Certainty. It included works by several

after the end of the Cold War and the collapse

altered the ʻIʼ from singular to plural, from reality

to fantasy. The ʻIʼ developed into unique forms.

in our bodies, functioning like Foucaultʼsphotographers present in this exhibition, such asof the “bubble” economy. In our childhood, we

Daido MORIYAMA and Takuma NAKAHIRA. It

experienced the Great Han-Shin Awaji Earthquake

the new ʻcertaintyʼ desired in the 1970s. Rather,

was an obvious provocation against the concept of(1995) and the sarin gas attack on the Tokyo

it questions how to face and compromise with anauthenticity widely prevalent in the 1960s, up until

subway (1995), which greatly affected 1990s

1968. ʻCertaintyʼ was a concept preserved under

Panopticon. This process is not aimed to achievealmost necessary and fundamental ʻuncertaintyʼ.

21st century, Multiple Simultaneous Terrorism

The physical and mental environment

post-WWII Japan, and the provoke issue decisively

acts occurred in the United States. Moreover, infollowing the Great East Japan Earthquake

shocked photography critique at that time. It was a

2011, six years ago, as most of us were turning

Fukushima nuclear power plant is unnoticeably

message about the <now> from artists trying to ask

twenty years old, we experienced the Great East

coded as another sign, “3.11”. However, “3.11”

Japan Earthquake and the Fukushima Nuclear

should have been another chronic, time-specificPower Plant catastrophe.

experience defined in the <now>: an event whichof photography, reacting to the myth of modernity.
On this topic, MORIYAMA remarks as follows:of ʻIʼ in front of ʻuncertaintyʼ, they play a variation
between levels of past, present, and future awayfrom distinct phases of Japanese history ofphotography. Essays from each co-curator may
be found in this exhibition catalogue. Basedon each co-curatorʼs different points of view,
another significance of the exhibition is to provide
visitors with opportunities to look for their own
approaches to combine their own narratives ofthe ʻIʼ with ʻuncertaintyʼ, with the goal that thesetwo coexist. This includes the problem of ʻhopeʼ, avery simple emotion that has yet become invisible
and has sunk at the bottom of our bodies as aJapanese social history. At the beginning of thethe rapidly changing and reformative period ofquestions on “pseudo-certainty” via the medium

Through facing ourselves and our inability

with cynicism. We assume that identity in any

legendary photography magazine, was publisheddʼêtre with the title First Abandon the World of

04

concept of ʻuncertaintyʼ, such ʻIʼs narratives todaywith ambiguous fantasy and practices coloredalternative and comprehensive ʻcertaintyʼ, which

spatial characteristics of Tokyo University of theArts Museum Chinretsukan Gallery, a historicalparadox to live in the <now> and the underlying

between images of made-up reality and of ourconsequence of this process.

＊1── Daido MORIYAMA, KARIUDO (Hunter),

Chuokoron-Sha, 1972. p.118＊2── Provoke 1, Provoke-Sha, 1968. p.63

occurred in the afternoon of March 11th, 2011

05

06

07

08

09

10

P06-10 ─ Installation Views from the exhibition Seize the Uncertain Day
P11 ─ Opening Reception Views of the exhibition11

Night:Although having made a big impact with “Are, bure,boke (Rough, blurred, out-of-focus)” photographs

originally published in the journal Provoke (1968-

It is night in which variations of time grow and plurality of < I > appears. For
instance, there unfold passing moments in images taken by Takuma NAKAHIRA
and Daido MORIYAMA with their flash encounter with a city, and at the sametime the lasting time symbolized in gentle movement of the moon captured by TaroSHINODA. In addition, heaviness of accumulated time in drawings by Mayuko
YUGE, and wavering and intimate time that floats in the pictures of Nobuyoshi
ARAKI and his wife Yoko. Further, crossing time between the public like nationor history and the personal created by a point of view of Tomoko YONEDA, andtime of fireworks’ explosion that is festive and idiosyncratic gaudiness in Sayaka
SHIMADA’s video work. These various potential times not countable but sensible69) and his first photobook For a Language to
Come (1970), NAKAHIRA completely denied

these pictures himself in his critical essay “Whyan Illustrated Botanical Dictionary? ” in 1973. Heclaimed that the night, monochrome and the blurwere “a traditional art expression,” and merelya means to enforce “the possession of world bymyself.” “Why did I not choose daylight?”, he asked
himself. Nonetheless, these photographs indicate his
clearly logical will which is thoroughly different fromthe subjective. Most of the negatives do not exist
today as they were burned by the artist. [SUZUKI]

in night appear in records of very-subjective life, living such as each artist’s
attitude and view point towards the world. Through the records, we will face

中平卓馬

up to the uncertainty of < I > that is originally unidentifiable, without relying on
pseudo-certainty, and then can be aware of the ample energy the uncertain < I >
has.

12

Takuma NAKAHIRA

Flash and Shimmering LightFor a Language to Come 1970

For a Language to Come 1970

Daido MORIYAMA森山大道

Taro SHINODA篠田太郎

SHINODA presents his movies of the moon taken from cities allover the world with a self-made telescope, as a video installation.
The moon, which quietly sails across the screen, appears blurred
or looks sharp depending on the condition of the atmosphere. The
moon also draws different paths according to latitudes and seasons.
The theme of this work, however, is not the lyricism which focuseson “I” seeing the same moon from various places, but rather “theglance of the moon” which eternally observes the changing activities
on earth from a higher perspective. This exhibition version contains
new parts shot in Sydney last year. [SUZUKI]

Lunar Reflection Transmission Technique

2007-

Shinjuku 2000-04/2004

In the late 1960s, MORIYAMA caught people ʼs attention with his
unique photographic style, often called “Are, bure, boke (Rough,blurred, out-of-focus)”, and since then, has been highly acclaimedin Japan and abroad. Out of the many works he has released sofar, this exhibition shows two works from the series Shinjuku(2000-04), the town which the artist has been deeply attracted tosince the beginning of his career as “a place with searing pains
that go straight to the heart”. One shows a parking lot after therain at night, illuminated by the brilliant lighting billboards
whilst the other shows an entrance of a building with a bizarre
mannequinʼs leg that shows its metallic but glamorous surface
shown in sunlight during daytime. The “lights” unique to each ofthem are depicted with mysteriousness of the town. [UTSUMI]
Shinjuku 2000-04/2004

14

Mayuko YUGE

弓削真由子

From the series Sentimental Journey

1971/2012

YUGE is a painter who makes
drawings and sketches. She depicts
different facets of human life by
mixing realistic representations
and imaginary landscapes. In the

荒木経惟

Nobuyoshi ARAKI

exhibited works, the artist made alife-size drawing of a tatami mat,which she actually had used in herroom, only using pencils. A hair,
TATAMI 2006

nail shreds, dusts and a coin – allfragments of life scattered on thetatami mat remind viewers of heavily
condensed time-ness and narrate
stories historizing the accumulationof repeatedly conducted everyday

From the series Winter Journey 1990/2005

lives. An idiosyncratic “sense ofimmorality”, stirred up by intensely

In 1971, when photography was slowly becoming recognized as an art form in Japan, ARAKI self-

minute and “private” ways, which

published the photo album Sentimental Journey, which was his debut as an “I-photographer”. The photos

through her depiction, emerge,

were taken during his honeymoon trip, when he took photographs of his wife, Yoko at hotels where

appealing to the viewersʼ own self-they stayed. The photo diary, Winter Journey, was recorded from around August 11, 1989, when Yoko

conscious state. Although the artist

was hospitalized because of malignant fibroid until the following year, on January 27 when she died.

literally does not exist in the works, a

The two series were compiled and published as a book Sentimental Journey - Winter Journey in 1991.

sense of her presence and gaze leaves

Although ARAKI depicts his personal world intimately and subjectively, the works obtain more acutely

intense impressions in the viewersʼ
minds. [MINEGISHI]

comprehended reality rather than authenticity apprehended objectively. [MIYAUCHI]TATAMI 200617

Tomoko YONEDA

米田知子

島田清夏

Sayaka SHIMADA

Freud's Glasses ̶ Viewing a text by Jung I 1998 From the series Between visible and invisible (1998-)

Hikage 2011

YONEDAʼs photography confronts humanʼs memories and
SHIMADA started her career as a professional pyrotechnist while

History as “The Grand Narrative”, and examines conflicts

studying at the Nihon University College of Art, and now creates her own

between the floating present and the framed past. Laying

art installations and video works in addition to designing commercial

weight on the neutrality of photography, YONEDA seeks

pyrotechnics. The exhibited work, Hikage (2011), is an edited version

for an absolute objectivity whilst inducing the possibility ofof the three minute eleven second duration piece for “The 3.11 Project”,

subjective thoughts. The series Between visible and invisible

which was organized by the group, Spread Videoart Project 2. This work

(1998-) present the lenses of glasses and the texts whichshows, not the vivid colors usually seen in fireworks, but the highly

belonged to famous intellectuals of the 19th and the 20thcontrasted glimmerings of black lights on the white background. By

century. The works trace their gaze whilst they read lettersreversing the negative and the positive images in the movie and cutting

and books that played a key role in their individual lives.

off sound, the spectacle and unity that the fireworks originally had

These photographs taken at the places where they weredisappears. Instead, they appear as individual explosions with theirbased question how contemporary subjectivity faces the past

trajectories and idiosyncratic gaudiness on the monitor. [UTSUMI]

through the lens. [SHU]
Chrysanthemums 201119

Osamu KANEMURA

金村修

The Fault

KANEMURA, who is known for his
monochrome film photos of sheer
townscapes, recently produced a seriesof still images and movies using a
digital camera. On March 24, 2011,
he accompanied and shot Takuma
NAKAHIRA, who, at that time, helda solo exhibition “Kirikae” at Commedes Garçon, Gallery Six (Osaka). The

In the stair hall where it vertically proceeds from night of the ground floor
to morning of the upper floor, layered time phases are exposed like strata.
Osamu Kanemura intermittently shot the scenes in shreds with a unique
technique and deconstructs the flow of time. The person who was filmed is
Takuma Nakahira, 40 years after the publication of For a Language to Come,
who had experienced a discontinuance of memory loss.
Takeshi Hyakutou swims in virtual and real alternately. He uses Google
Maps to find nice places to shot, then goes to the actual site, takes picturesand uploads it to his website. For this exhibition he made prints many of whichcontain motifs that correspond with the works of other artists.

video shot throughout the whole day,starting from NAKAHIRA leaving hishome in Yokohama, visiting the gallery,taking some photos in Osaka, ends withhis return to Yokohama. KANEMURA
intermittently shot brief cuts in succession
and the video was completed without any
editing. These chopped images create asupernormal feeling as if we can leap theflow of time, which synchronizes withtreads of NAKAHIRA, skipping staircases.
[SUZUKI]
Takuma Nakahira in Osaka, March 24, 2011 20112021

Untitled 2016

Morning - Daytime:
Circle and AwarenessThe space on the second floor implicates not only the beginning of a

百頭 た け し

Takeshi HYAKUTOU

day, but also the flow of circulating time. There lies an attitude in which strongly
appeals the breaths of people living the ‘present’, and at the same time, sharply
reconsidering our daily lives from a different angle. NARAHASHI Asako has shot
the quietness drifting on the waves and the eyesight that shakes the horizon
we take for granted. In the work of HISAKADO Tsuyoshi there we see repetitive
movements of a copper lead which creates a subtle look on the ‘time lag’. An
installation work by KIDO Miyuki gives a big impact on the venue. The rooftops
with pale colorings spin each story in people’s memory, which concord withmonochrome scenes full of energy cut by WASHIO Kazuhiko. The works by
HAYASHI Takanobu brings us a strange feeling that humans and animals wereUntitled 2014

somehow hung up in an empty space. On the other hand, the picture plane shotby KAWAUCHI Rinko, we could approach the artist’s insight towards ephemeral

HYAKUTOU began photographing snaps in the city around 2010, he has since mainly

life and death, which feels like a gaze through a kaleidoscope. The film, poems

photographed suburban waste plants and construction sites, looking for "landscapes which are

and drawings by KOMORI Haruka and SEO Natsumi intends to deliver us thenot ʻconsciousʼ of being seen." In such places, things that once composed parts of large cities‘songs’ of the stratified memories of the land and it’s people in the midst of

rush in, and form new contexts. He searches for such places with Google Map, visits the sites andchange after the earthquake and tsunami. The ‘voices’ which have been sent fromshoots unique layers of contexts emerging there. These photos are uploaded on his website as asingle entity, without being labeled with any titles nor being classified into any series. What makes
his works remarkable lies in their capability to narrate stories through associations of forms andthe work, resonate with the big colorful planes of KAWAKUBO Yoi, which were
tinged by radiation, both of which would echo as one sensational sound.

symbolisms of what were taken pictures of, without using any literal words. [SUZUKI]

23

楢橋朝子

Just after the Great East Japan Earthquake hit this country in
2011, both KOMORI and SEO left for the disaster area to workas volunteers. They started making records of the situations in
the affected areas through drawings, photographs, texts andvideos. Brand New Ground / Listening to Songs from Underground(2015) embraces the “new ground” generated by reconstructionin Rikuzentakata city and numerous imperceptible voices
underneath, through drawings by SEO and videos by KOMORI.
These works bring within the viewersʼ bodies the “songs” thatvibrate between the “collapse” and the “recovery”. [KUROSAWA]＋
Haruka KOMORI

Asako NARAHASHI

Brand New Ground / Listening to Songs from Underground 2015

Atami 2001 From the series half awake and half asleep in the water

we normally take for granted when we look at two-dimensional
our vision. In the series entitled half awake and half asleep inthe water (2000-), she shot landscape from water surface invarious locations inside Japan. In this series, despite having
gathered numerous places, both the waterfront and the groundoverwhelm viewers with immense energy which would almost
engulf and extinguish the specificity and diversity of the sites.
There, what disappears and then reappears are our own bodies
and gazes. Confronting NARAHASHIʼs works, which shakeour five senses and intelligence, viewers are encouraged toreconsider our positions in the world and the state of the worldthat our eyes perceive. [SHU]
Brand New Ground / Listening to Songs from Underground 2015
Installation View

小森 は る か ＋瀬尾夏美

works and they turn over ideas about a horizon and fields of

Natsumi SEO

Photographic works by NARAHASHI stimulate senses which城戸 み ゆ き

Rinko KAWAUCHI

Miyuki KIDO

川内倫子

Untitled 2001 From the series UTATANE (2001)

26

I don't remember what I forgot. 2011

KAWAUCHI published three photo

KIDO focuses on things and phenomena

books in 2001 – UTATANE, HANABI

which may have been dismissed in ourand HANAKO, which led to herdaily life and makes installations using

memorable debut in Japan and abroad.

materials familiar to us. Numerous

The series UTATANE (2001) unfolds

rooftops floating in the air, each of

the scent of “death”, which subsists inwhich was made with folded paper,

daily life, or in reverse, it shows someconjure up a subtly fluttering landscape.

sense of “life” that is momentarily

A prototype of his artwork was made inpeeped through “death” like a flash of2010 on the occasion of the artistʼslight. The objects that we see anywhere

stay in South Korea, and the work was

in real life – carps, fried eggs, arecreated for an art festival in Aizu city,

washing machine, a dead pigeon or a

Fukushima prefecture in the following

little girl – enables the viewer to see

year. The wavering landscape thatsomeoneʼs “private scenery”, shifting

reacts to even the smallest vibration

faintly inside an anonymous memory.

of air suggests that our memories are

It is something that cannot be gained

uncertain just like ripples and winds.

by simple binaries – such as life andWhat would “I” of today touch with “my”

death, conscious and unconsciousness,hands, by scooping up from an invisible

city and nature, human and animal, orworld expanded beneath the rooftops?

the world and yourself. [KUROSAWA][MINEGISHI]

27

are pictures taken at the Ueno Zoological Gardens, which form part of his representative series ofwork ZOO (1986) that were shot in zoos mainly around Kanto area. The hints of breathing of animals
quietly reside inside monochrome tranquil pictures evoking in viewers ʼ minds their childhood
memories in which they spent time with animals. Furthermore, the works weave up intimate
relationships between the viewers through being overwrapped with our own mental landscapes,
which have been left behind in the void of our memories. The artist ʼs calm gaze permeating thepicture frames brings little and warm aftertastes which cannot be swept off by the uneasy atmosphereof our time that creeps up to us from somewhere unnoticed. [MIYAKAWA]

Tsuyoshi HISAKADOHAYASHI has been mainly working in the field of fashion photography. The four works shown here

久門剛史

Takanobu HAYASHI

林隆喜

Practice of Spiral 2013-17

Ueno Zoological Gardens, Tokyo 1986/2016 From the series Zoo (1986/2016)

HISAKADO utilizes commodities
such as light bulbs, buckets or clocks
within his installation works. Rather
than dealing with a broad subject,
he tries to realize the minimum“differences” that gradually change

inside the repetitive phenomena of
dairy life. In Practice of Spiral (201317), the copper lead simply goesround on the spiral slope. The copper
lead drops down on a bump that ison the slope, and starts drawing thecircle again. The work designates the
movement to receive “the resolutionof perception” which enables us to
see the micro phenomena, such as
those minute “differences” connotedin circular time. [KUROSAWA]

Ueno Zoological Gardens, Tokyo 1986/2016 From the series Zoo (1986/2016)29

Yoi KAWAKUBO

From the series To the Sea

2013-2016

川 久 保 ジョイ

If the radiance of a thousand suns were to burst at once into the sky I, II and III

1998

鷲尾和彦

Kazuhiko WASHIOWASHIO has been taking photographs of the landscape near the sea and people living on the coastline since

KAWAKUBO started his career as an artist when he quit his job as a day-trader in 2008, and since then, has been exhibiting

1998. Since the Great East Japan Earthquake in 2011, he has continued to photograph images of the ocean as

photographs and installation works. The exhibited works show “something invisible to the eyes” imprinted on thea place directly connected to peopleʼs everyday lives. To the Sea is his photographic book published in 2014,

photosensitive films, which the artist buried temporarily under the ground in the Okuma town where the Fukushima Daiichi

which compiled both the images before and after the Earthquake. However uncertain and overwhelming the

Nuclear power plant is located in 800 meter ʼs distance. The works show vivid gradations of three different colors - yellow,

ocean is, people do not stop their activities in and around the sea. What monochrome photographs in thisgreen and purple –that appeared depending on the site and duration of each burial. The title of the works came from texts

series depict is this simple and powerful fact. Children play in tidal waves coming with random rhythm andin the Hindu sacred book Bhagavad Gita, which Dr Robert Oppenheimer recalled on the occasion of the humans ʼ first-everadults send their heart out beyond the horizon. Peopleʼs elastic attitudes to live with the unseizable ocean

atomic bomb experience conducted in the US in 1945. [UTSUMI]

are recorded in the artistʼs works. [UTSUMI]
31

The List of the Exhibited Works

Section 1 ｜ Night: Flash and Shimmering Light中平卓馬

For a Language to Come

Projection of the images from the photobook, For a Language to Come, 1970.

篠田太郎

Lunar Reflection Transmission Technique 2007-

Taro SHINODA
森山大道

Shinjuku 2000-2004/2004

Single channel video installation 48min.

© Daido Moriyama Photo Foundation / Courtesy of Taka Ishii Gallery
Gelatin silver print 150x100cm

From the series Sentimental Journey 1971/2012

Nobuyoshi ARAKI

Gelatin silver print

2013

Type C print, wood. acrylic 71×101.3x4.2cm

小森はるか＋瀬尾夏美

Brand New Ground / Listening

Video(24mins) Painting, drawing, text Dimension variable

Haruka KOMORI

to Songs from Underground 2015

© Komori Haruka + Seo Natsumi Courtesy of the artists

川内倫子

Untitled From the series UTATANE 2001

城戸みゆき

35x43cm

Type C print 30.5x25.4cm© Rinko Kawauchi Courtesy of the artist

I don't remember what I forgot. 2011/2017

Miyuki KIDO

Gelatin silver print 27.7×35.5cm© Nobuyoshi Araki Courtesy of Taka Ishii Gallery

From the series Winter Journey 1990/2005© Asako Narahashi Courtesy of the artist

Rinko KAWAUCHI© Daido Moriyama Photo Foundation / Courtesy of Taka Ishii Gallery
荒木経惟

Type C print, wood. acrylic 93.2×138.3x4.8cm

and half asleep in the water 2003

+Natsumi SEO

Gelatin silver print 150x100cm

Shinjuku 2000-2004/2004

Momochi From the series half awake© Asako Narahashi Courtesy of the artist© Taro Shinoda Courtesy of the artist and MISA SHIN GALLERY

Daido MORIYAMA

Type C print, wood. acrylic© Asako Narahashi Courtesy of the artist

Towards the Mountain© Gen Nakahira Courtesy of Osiris

Takuma NAKAHIRA

93.2×138.3x4.8cm

Beppu From the series half awake
and half asleep in the water 2003

2011/2017

Installation© Miyuki Kido Courtesy of the artist

林隆喜

Ueno Zoological Gardens, Tokyo from the series Zoo

Gelatin silver print 40×51cm

Takanobu HAYASHI

1986/2016© Takanobu Hayashi Courtesy of the artist

久門剛史

Practice of Spiral

Brass, lead, movement, paper, wood

© Nobuyoshi Araki Courtesy of Taka Ishii Gallery
弓削真由子

Pencil on paper 90×180 cm

TATAMI 2006

Mayuko YUGE

Tsuyoshi HISAKADO

Dimension variable© Mayuko Yuge Courtesy of the artist
Pencil on paper 90×180 cm

TATAMI 2014

© Mayuko Yuge Courtesy of the artist
島田清夏

2013-2017© Tsuyoshi Hisakado Courtesy of the artist and OTA FINE ARTSHIKAGE 2011

鷲尾和彦

1： Hayama, Kanagawa. 2013.

From the series《To the Sea》 1998-

Kazuhiko WASHIO

2： Hayama, Kanagawa. 2013.

Gelatin silver print

3： Hayama, Kanagawa. 2013.

© Kazuhiko Washio Courtesy of the artist

4： Hayama, Kanagawa. 2013.

Single channel video 03:11

Sayaka SHIMADA

5： Hayama, Kanagawa. 2013.

© Sayaka Shimada Courtesy of the artist

米田知子

Freud's Glasses̶Viewing a text by Jung I

From the series《Between visible and invisible》

Tomoko YONEDA

1998-

Gelatin silver print 120ｘ120cm

6： Hayama, Kanagawa. 2013.
7： Kinkasan, Miyagi. 2011.
8： Shirahama, Chiba. 2013.
9： Yamamoto, Miyagi. 2013.

© Tomoko Yoneda Courtesy of the artist and ShugoArts
Chrysanthemums

From the series《Cumulus》 2011 Type C print

2011

10： Fukue, Nagasaki. 2013.
11： Tsujido, Kanagawa. 2010.

83 x 65 cm

12： Zushi, Kanagawa. 2014.

© Tomoko Yoneda Courtesy of the artist and ShugoArts

13： Chigasaki, Kanagawa. 2000.
14： Kamakura, Kanagawa. 2000.
15： Hayama, Kanagawa. 2012.

Section 2 ｜ The Fault

16： Kamakura, Kanagawa. 2010.
17： Kamakura, Kanagawa. 2013.

金村修

Takuma Nakahira in Osaka, March 24, 2011 2011

Osamu KANEMURA
百頭たけし

19： Yamamoto, Miyagi. 2013.

© Osamu Kanemura Courtesy of the artist and COMME des GARÇONS
Inkjet print 29.7×42cm

Untitled 2010-2016

Takeshi HYAKUTOU© Takeshi Hyakutou Courtesy of the artist

Section 3 ｜ Morning – Daytime: Circle and Awareness32

18： Hayama, Kanagawa. 2015.

video 33min.

楢橋朝子

Atami From the series half awake

Type C print, wood. acrylic 138.3×93.2x4.2cm

Asako NARAHASHI

and half asleep in the water© Asako Narahashi Courtesy of the artist

2001

20： Iwaki, Fukushima. 2015.
川久保ジョイ

If the radiance of a thousand suns were

Pigment print 190x150cm

Yoi KAWAKUBO

to burst at once into the sky I 2013/2016© Yoi Kawakubo Courtesy of the artist

If the radiance of a thousand suns were

Pigment print 190x150cm

to burst at once into the sky II 2014/2016© Yoi Kawakubo Courtesy of the artist

If the radiance of a thousand suns were

Pigment print 190x150cm

to burst at once into the sky III 2014/2016© Yoi Kawakubo Courtesy of the artist

永山祐子蔵

永山祐子蔵

永山祐子蔵

33

Seize the Uncertain Day ― ふたしかなその日（ Futashikana sono Hi）
Chief Curator: Seiha Kurosawa
Co-Curators: Junya Utsumi, Seiha Kurosawa, Lily Shu, Yohji Suzuki, Yuuka Minegishi, Mei Miyauchi, Midori Miyakawa
Supervision: Professor Yuko Hasegawa (Tokyo University of Arts, Graduate School of Global Arts, Department of Arts
Studies and Curatorial Practices)
Period: Sat. 18th March, 2017 - Wed. 5th April, 2017
Venue: Chinretsukan Gallery (The University Museum, Tokyo University of the Arts)
Opening Hour: 10:00- 18:00 (30minutes before closing)
Closed: Mondays (* Open on 20th March, and Closed on 21st March)
Entrance: Free
Organizer: Tokyo University of Arts Graduate School of Global Arts, Department of Arts Studies and Curatorial Practices
Special Sponsor: Culture Vision Japan Foundation Inc.
Catalogue Texts

Authors: Yuko Hasegawa, Seiha Kurosawa, Junya Utsumi, Mei Miyauchi, Yuuka Minegishi, Lily Shu, Midori Miyakawa,
Yohji Suzuki
Editing: Eri Kawade and Midori Miyakawa
Photograph: Ryohei Tomita
Lily Shu
Design: Yoichiro Uchiyama (Tokyo University of the Arts, Graduate Course of Fine Arts, Department of Design)
Publisher: Tokyo University of the Arts, Graduate School of Global Arts,
Department of Arts Studies and Curatorial Practices
URL: http://seize-the-uncertain-day.tumblr.com
Printing: GRAPHIC Corporation© 2017, Department of Arts Studies and Curatorial Practices, Graduate School of Global Arts, Tokyo University of the Arts
無断転載複写禁止 All rights reserved.