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...
Taka Ishii Gallery Photography / Film is pleased to present Architectural Apocalypse, an exhibition of works by Ryuji Miyamoto from May 11 to June 15. The exhibition marks Miyamoto's second solo presentation with the gallery, and features a selection of approximately 20 works from his representative series Architectural Apocalypse, for which he received the 14th Kimura Ihei Memorial Photography Award in 1989.
Photography is a construct of light and dark and photosensitive material. Whether photography does or doesn't go digital, I believe that basic rule still holds. Light passing through a lens or pinhole burns an image on photosensitive material kept in a dark space, fixing a set view of the world. The act of photographing is always an encounter between light and photosensitive material in darkness. As the dark underside of the city grows still deeper and darker, I'm sure we won't run out of further encounters between light and whatever photosensitive apparatus.
—Ryuji Miyamoto, 'Foreword,' Architectural Apocalypse, Heibonsha, 2003, p. 3.
After holding his first solo exhibition in 1977, Miyamoto engaged in exploring his own artistic approach as a photographer while working for architectural journals and pictorial magazines. In 1983, having been profoundly fascinated by the demolition site of Nakano Prison, he continued to photograph the process of its dismantling and deconstruction for over a period of half a year that followed. His works figuratively capture traces of light that filter into degenerate spaces where boundaries of interior and exterior have become obsolete, presenting the buildings themselves as autonomous existences liberated from their usage purposes and systems of meaning. Miyamoto further pursued his photography of building demolition sites, from the demolition of the Grosses Schauspielhaus in Berlin that he encountered while on a work trip to Germany, to the demolition of the theatres, horserace tracks, cinemas, as well as the pavilions of Expo '85 that had originally been built on the premise of being dismantled. These series of works that explore the essence of architecture as 'object' and turns a scrutinising gaze towards changes in buildings and the urban landscape, were first presented in his 1986 solo exhibition 'Architectural Apocalypse,' which featured the works photographed between 1983 and 1986, and later published in 1988 in a photobook of the same title. Miyamoto gained much acclaim for his oeuvre that demonstrated criticism through acts of photographing the demise of architecture that had once served as compositional elements of urban modernity, in addition to the straightforward manner in which he captured the transformation of space in the wake of demolition as opposed to presenting a narrative of loss and rebirth. He was awarded the 14th Kimura Ihei Memorial Photography Award for this work, along with his Kowloon Walled City series that was both exhibited and published in 1989.
The artist's unique perspective on the various problems that the city and architecture serve to connote forms a part of a major current in the world of his work, from Architectural Apocalypse to Kowloon Walled City in which he photographed the high-rise slums of Hong Kong, KOBE 1995 After the Earthquake that captures the disaster-stricken areas of the Great Hanshin-Awaji Earthquake, and Cardboard Houses that feature the makeshift dwellings of the homeless that had rapidly increased after the collapse of Japan's economic bubble.
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