Ongoing since 2012, the Real DMZ Project interrogates the demilitarised zone (DMZ) between North and South Korea through annual, research-based exhibitions that bring together the works of Korean and international artists. Sunjung Kim, the independent curator behind the project, conceived the idea of exploring the DMZ while curating Japanese artist...
London's galleries and museums are gearing up for a lively October, with Frieze London and Frieze Masters running between 3 and 6 October 2019 at Regent's Park, along with 1-54 Contemporary African Art Fair, taking place across the same dates at Somerset House; and the tenth anniversary of the Sunday Art Fair, showcasing new and emerging artists...
Mark Bradford walks through Mark Bradford: Los Angeles Mark Bradford: Los Angeles at the Long Museum West Bund in Shanghai (27 July–13 October 2019) is the artist's largest solo exhibition to date in China. In this video for Ocula, Bradford and Diana Nawi, curator of the show, walk through selected works that convey the artist's concerns with...
Noboru Takayama has spent nearly half a century exploring themes of memory, the body, and the tension between opposing forces. Raised in the physical destruction and political unrest of post-World War II Japan, he most often related these concepts to the perils of modernization. In recent years, though, his work has transcended particular social and historical contexts in order to place viewers in a state of radical awareness of themselves, their environment, and the connection between the two.
In 1968, Takayama began using what has become his signature material: railroad ties. At the time, he saw them as sacrificial 'human pillars'—bodies destroyed by the changing personal and professional culture brought about by Japan’s postwar restructuring. In the 1970s, he began coating his railroad-tie installations in tar and creosote to add an olfactory element, augmenting the works’ presence beyond sight alone. Soon after, he sometimes began interposing the ties with other remnants of industry (such as concrete blocks and used motor oil) or signs of domestic life (such as beds or wheelbarrows) to provoke viewers even more directly: Rather than impersonal, apolitical abstractions, the installations came to 'confront' the viewer as much as the viewer confronted them.
Since 1983, Takayama has also explored his central themes in a series of works on paper called Emergence of the Memories. Primarily composed of graphite, aluminium powder, and casein, he considers these pieces 'performance drawings,' similar to Sho calligraphy. Each composition represents the artist’s spontaneous effort to capture the atmosphere and presence of a particular place when he enters it. In that sense, the works incorporate Takayama’s interest in the ways that memory, both personal and collective, informs our bodily experience in the everyday.
Noboru Takayama was born in 1944 in Tokyo, Japan. He earned a BFA and MFA from Tokyo University of the Arts, then later went on to professorships at the Miyagi University of Education, Sendai, and his alma mater, where he continues to teach today. He has exhibited widely in Japan and abroad, including at the Musée d’Art Moderne de la Ville de Paris, France, in 1973; P.S.1 Contemporary Art Center, New York (now MoMA P.S.1) in 1990-91; the Gwangju Biennale, South Korea, in 1997 and 2000; and the National Museum of Contemporary Art, South Korea, in 2009. His works resides in permanent collections throughout Japan, including the Tokyo Metropolitan Museum of Art, the National Museum of Art, Osaka, and the Museum of Contemporary Art, Tokyo.
Born 1944 Tokyo, Japan. Lives and works in Tokyo, Japan.
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