An Opera for Animals was first staged at Para Site in Hong Kong between 23 March and 2 June 2019, with works by over 48 artists and collectives that use opera as a metaphor for modes of contemporary, cross-disciplinary art-making. The exhibition's second iteration takes up a large portion of the Rockbund Art Museum (RAM) in Shanghai (22 June–25...
Moving across installation, painting, drawing, and writing, Malaysia-born and London-based artist Mandy El-Sayegh explores the political, social, and economic complexities of humanity, using a mosaic of information—from advertising slogans and pornographic imagery to newspaper articles—that she subjects to processes of layering,...
Get Up Stand Up Now: Generations of Black Creative Pioneers at Somerset House in London (12 June–15 September 2019) surveys more than half a century of black creativity in Britain and beyond across the fields of art, film, photography, music, design, fashion, and literature.Curated by Zak Ové, works by approximately 100 intergenerational black...
Hitoshi Tsukiji was born in 1947 in Kanagawa prefecture and graduated from the Tokyo Junior College of Photography (currently Tokyo Polytechnic University) in 1967. In 1975, he self-published Vertical,(DOMAIN) and formed the group, 'CAMERA WORKS', together with the photo-critic Ryuichi Kanekoand the photographer Shinzo Shimao in 1979. The group was founded to seek new styles ofphotographic representation and published magazines camera works tokyo (from 1979 to 1995) as aplatform for the artists called 'independent photographers'.
Since his debut, Tsukiji has shown a keen sensibility to the influence of the images which can arouse our imagination beyond what we have seen, and he regards photography as a place where the imageitself arises, instead of where the image is subordinate to the subject.
Consistently turning his gaze towards the urban environment and the architecture, Tsukiji observes carefully the transformation of cities. In his series 'Shashinzo' (1984), he explores the reality of urbanstructure in a minimalist manner and captures its beautiful but homogenised design, destined that it willsoon go out of date. Vertical, (DOMAIN) series collects Tsukiji’s hard-edged snapshots which betray apredilection towards clearly defined forms and shapes. The series became his lifelong work, Tsukijiholds numerous exhibitions under the same title. He pursues vigorously the essence of photography byexploring a bundle of moments that he captured.
His solo exhibitions include Shashinzo 1984-1986, Picture Photo Space, Miyako Gallery (Osaka, 1987); Vertical, (DOMAIN), Mole (Tokyo, 1992); MONAD, ZEIT-FOTO SALON (Tokyo, 1993); Objects, Faces and Anti-Narratives – Rethinking Modernism, Tokyo Metropolitan Museum ofPhotography (Tokyo, 1995).
His works are included in the collection of the Tokyo Metropolitan Museum of Photography; Kawasaki City Museum; The National Museum of Modern Art, Tokyo; Tokyo Polytechnic University ShadaiGallery; Princeton University Art Museum. Tsukiji is the recipient of the Photographic Society of Japan Newcomer’s Award (1985) for Shashinzo.
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