From Left to Right

Takumi Kushida
CEO of Kussy. Takumi Kushida founded Kussy in 2022 after working at Space Shower. He works on TV programs about music, online content, music videos, and other visual content.
Instagram：@kushida_takumi

Ryohei Kaneda
Art director and graphic designer. After working at groovisions, Ryohei Kaneda founded YES, a design studio, in 2019. His multidimensional career includes working on campaigns from top to bottom, branding, books, magazines, products, videos, and spaces.
nstagram：@kanedaryohei

Toshi Miyashita
The CEO of 8%, a creative studio-cum-agency that collaborates with, produces, and designs for artists, IP, music, art, spaces, and more.
Instagram : ＠setagayaboy

Ten to Sen
Owner and buyer of SOKKYOU, a secondhand store in Koenji. He also runs a clothing line, Daughter, online. Ten to Sen is the founder of DENPA!!!
Instagram：@10to1000

“DOME” Presented by DENPA!!!
Instagram：@dome.fest

DENPA!!!, a subcultural party that gained a cult-like following in the 2000s, came back as DOME ‘23. The party has been organized through various means in fashion, art, subcultural circles, and the club scene, such as the GEISAI stage in Taiwan hosted by contemporary artist Takashi Murakami, So Very Show by TAICOCLUB, a collaboration with MTV Japan, and so on. Ten years since their last party, DENPA!!! 2013, the first installation of DOME was held on two floors: Daikanyama UNIT and SALOON. 

In accordance with their statement, “We, the DENPA!!! team, have been working across different cultures and created a new event to manifest our long-awaited childhood dream,” ∈Y∋ opened the night. The braindance genius Bogdan Raczynski, who came to Japan after 20 years, lit up the dancefloor with euphoric breakbeats and four-on-the-floor beats in pitch darkness with no lights or visuals, akin to Autechre.  

Other experimental acts from abroad that performed were experimental glitch techno producer Grischa Lichtenberger and arguably the most crucial figure in China’s contemporary electronic music scene, Howie Lee. Additionally, there were domestic artists like aus, who released an album for the first time in 15 years, world’s end girlfriend, who released an album for the first time in seven years and eight months and performed live for the first time in three years and eight months, Cwondo, the solo project of No Buses’ Taisei Kondo, and BBBBBBB, who released their sophomore album from the American label, Deathbomb Arc.      

The party lasted for around eight hours and was a dreamy experience that didn’t require words; I realized just how amazing it was later on.  

Why did they return as DOME after ten years since their days as DENPA!!!? In the second volume, to understand DOME, we asked the members to share what they discussed before they made a comeback, their hiatus during covid, and how things started moving rapidly this summer. 

Going back to their origins and the change in being earnest due to the times  

–What made you want to make a comeback after ten years?

Ryohei Kaneda: The three of us were drinking in 2019 or so, and we were casually like, “Why don’t we throw a party after all this time?” That was the catalyst. We invited Kushida-kun, and it slowly started coming together. When we were like, “Let’s hit up some venues,” covid happened. 

Ten to Sen: The party ended in 2013 because the escapism I sought in clubs became a part of everyday life. The dreaminess faded away, and it turned into reality. It wasn’t a business, so I felt like something was off and quit at that point. Another reason is that similar events started popping up one after the other. 

I watched where people seeking escapism went next, and outdoor festivals became popular. A few years later, festivals became oversaturated, too. In part a reaction to this development, people started looking for a new space. Then, the Olympics came. There was this intangible frustration, and we were brought together again by a gravitational pull. We wondered if there was anywhere to go to in Tokyo, somewhere that wasn’t a club or festival. We got together knowing we had to do something, even though we only had a vague idea. 

Kaneda: That’s true. We were hungry to create a music event on our own again. My day-to-day job is mainly based on commissions from clients, so I don’t have a lot of opportunities to take the lead and create content from scratch. I started remembering how we were paving a new wave or way of being of culture through DENPA!!! 

Ten to Sen: Before I realized it, music was streaming-based, it became difficult to go outside, and we became physically distant; I was yearning to connect. When we got together, I knew that we wouldn’t do it in the future unless we did it then because I’m from a generation that knows that feeling. We had to do it while the passion and dreams we had in the past were still tangible. I was motivated to see what that looked like once more. 

–It’s like you returned to the fundamental motivation you previously had.

Ten to Sen: Whenever people take action, there’s a demand from society, which was ramped up because of covid. For instance, activists emphasize putting out a statement when they hold a big event. Of course, that’s vital, but I began to question how people would have events as a response to society. Initially, we were driven by our internal drive or, I guess you can call it sincerity, this feeling of “I want to do something like this” or “This is what I want to see.” That feeling boiled inside of me until DOME happened. 

I think “solidarity” is the keyword here. The interpretation of this word differs from person to person, but I questioned how people always clung to it. You hear this word over and over because reality doesn’t reflect it. Meaning it’s a manifestation of the structure of conflict between generations and ideologies.

Ultimately, solidarity, in the narrowest sense of the word, feels similar to cliquey vibes and in-crowd communities that I used to encounter at fashion parties. I held events to get rid of such borders. 

Now, more than ever, you’ll see similar artists, DJs, ages, and ways of thinking at club events. I understand the social situation in which people can’t protect their own spaces otherwise, but it’s different from the festival-like spaces I had carved out. 

Toshi Miyashita: DENPA!!! was really distinct and stood out. The lineup is essential, but that’s not everything. It played the role of something like a left-field music and culture trade fair that you’d want to be a part of regardless of who was performing.

Ten to Sen: True. We wanted to go back to our roots with DOME. The process started with reevaluating everything, including the fact that I used to like noise music and that everyone used to like WARP RECORDS. 

This is off-topic, but some people make fun of this demographic called “NewJeans Ojisan” (ojisan translates to middle-aged man), which refers to those who only recognize NewJeans and don’t follow preceding Korean artists. But that means some people can be called Aphex Kids. Most people know of Aphex Twin, Squarepusher, or Autechre but don’t know of Bogdan, who we invited to the party. By that logic, those people are the same as NewJeans Ojisan.

I believe each person starts liking artists according to their own timeline, and it doesn’t matter how they’re introduced to them. The impetus for booking artists for DOME was this intense desire to introduce artists who are still unknown. 

Bogdan, Grischa Lichtenberger, and Howie Lee are still not very well-known in Japan, but we invited them because we felt like their experimental spirit and our strong motivation spoke to each other. 

Toshi: Bogdan immediately told us yes. It wasn’t intentional, but a common theme for this party was that most artists don’t have an agent. I’m not saying whether having one is bad or good. We have people who make music independently and uniquely. Regarding booking artists, it was important for us to have a heartfelt approach. The same goes for how we promoted the event; it was an extension of the simple truth that we like what we like. 

Takumi Kushida: It’s the manifestation of sincerity. In a way, I’m the most on the outs, and my background is very different from the rest. DOME was fun in a different way from the first time I encountered the members of DENPA!!! The shape of sincerity is different. With DENPA!!!, I was simply surprised that there was a form of fun that I didn’t know existed, even though I knew they were doing something really alternative. Overlooking the fact that I was involved in booking the artists, DOME was distinct from the previous party in terms of emotion and purity, even if you were a customer.

A festival-like environment that became normalized

Ten to Sen: As for DENPA!!!, although it was hard to see, there was a decent amount of like-minded people—this is coming from someone who felt withdrawn and on the outskirts of society. This festival-like space was born because I tried getting rid of that wall, but because of that, the party became more normalized and neutral. 

DENPA!!! became the standard model to start an event at the time. That dream I had upon founding DENPA!!! materialized, but now it’s too visible; it’s too much. Our fundamental mindset is the same, but our approach to DOME differs from DENPA!!!

Kaneda: Nowadays, you can stream or listen to music on YouTube. You can also watch festivals at home, as they’re livestreamed. Things are more convenient now, but music used to be something you had to seek proactively. Now, we’re on the receiving end; it trickles down, and there’s less substance and weight to people’s stories of discovering music. It’s hard to create memories surrounding that experience. 

You would’ve had to dig through records or go to clubs and events to discover certain music. Today, you can quickly look up and listen to a song someone recommends online. Even if it feels like you’ve learned about that song, that moment is only brief and won’t last in your memory. The fact that discovering music became shallow made me feel apathetic and discontent. 

Ten to Sen: Usually, live shows have a fixed number of fans who know the performing act, and the vibe, including the age group, is usually established. I wanted to go beyond that. For example, BBBBBBB-san, who performed at DOME, messaged me, saying, “It was such a great experience, performing in front of a different age group than usual. I had a lot of fun.” I wanted people in their late 30s to 50s to listen to BBBBBBB because they probably didn’t have a lot of opportunities to do so. Cwondo-kun is in his 20s, and we also had legends like ∈Y∋-san. 

For us, it doesn’t matter what generation you are. We want to open up the space for people to listen to music freely without us having to tell them what category it belongs to. Compared to DENPA!!!, I was more conscious of that this time around. 

Kushida: We’re very earnest about music. Usually, you’d have something like fandoms. But we don’t have that. We put the focus on the music and clearly demonstrated that age doesn’t matter when it comes to the pure act of listening to music. None of us gets bored listening to songs, even if they’re from an artist we don’t know. 

Ten to Sen: Many circles prioritize the universal language of playing songs everyone knows, like people getting hyped up when DJs play hits. I’m more of the type that feels moved when people play songs I don’t know.

Kushida: I mean, we weren’t even informed of what Howie Lee planned to do.

Ten to Sen: Currently, information is increasingly being prioritized. What illustrates this is that it’s become the norm for virtually everyone to take videos for their Instagram at shows or clubs. Recording, posting, and sharing parties online is at the center now. Ill-Bosstino of The Blue Herb said a while back, “We have a professional cameraman here, so don’t worry about taking videos. You’re a professional audience, so please watch us live.” I thought that was cool! 

My generation seeks or feels moved by passion, groove, and witnessing things in the moment rather than documenting them. I’m not saying you can’t take videos, though. I do it at times, too. 

（Continued in Vol. 3）

Photography Masashi Ura
Translation Lena Grace Suda

The post The Legendary Subcultural Party, DENPA!!!, Returns as DOME After a Decade: Vol. 2 Committing to Being Earnest appeared first on TOKION - Cutting edge culture and fashion information.

(From left to right)
Takumi Kushida
CEO of Kussy. Takumi Kushida founded Kussy in 2022 after working at Space Shower. He works on TV programs about music, online content, music videos, and other visual content.
Instagram：@kushida_takumi

Ryohei Kaneda
Art director and graphic designer. After working at groovisions, Ryohei Kaneda founded YES, a design studio, in 2019. His multidimensional career includes working on campaigns from top to bottom, branding, books, magazines, products, videos, and spaces.
Instagram：@kanedaryohei

Ten to Sen
Owner and buyer of SOKKYOU, a secondhand store in Koenji. He also runs a clothing line, Daughter, online. Ten to Sen is the founder of DENPA!!!
Instagram：@10to1000

Toshi Miyashita
The CEO of 8%, a creative studio-cum-agency that collaborates with, produces, and designs for artists, IP, music, art, spaces, and more.
Instagram : ＠setagayaboy

“DOME” Presented by DENPA!!!
Instagram：@dome.fest

DENPA!!!, a subcultural party that gained a cult-like following in the 2000s, came back as DOME ‘23. The party has been organized through various means in fashion, art, subcultural circles, and the club scene, such as the GEISAI stage in Taiwan hosted by contemporary artist Takashi Murakami, So Very Show by TAICOCLUB, a collaboration with MTV Japan, and so on. Ten years since their last party, DENPA!!! 2013, the first installation of DOME was held on two floors: Daikanyama UNIT and SALOON.

In accordance with their statement, “We, the DENPA!!! team, have been working across different cultures and created a new event to manifest our long-awaited childhood dream,” ∈Y∋ opened the night. The braindance genius Bogdan Raczynski, who came to Japan after 20 years, lit up the dancefloor with euphoric breakbeats and four-on-the-floor beats in pitch darkness with no lights or visuals, akin to Autechre. 

Other experimental acts from abroad that performed were experimental glitch techno producer Grischa Lichtenberger and arguably the most crucial figure in China’s contemporary electronic music scene, Howie Lee. Additionally, there were domestic artists like aus, who released an album for the first time in 15 years, world’s end girlfriend, who released an album for the first time in seven years and eight months and performed live for the first time in three years and eight months, Cwondo, the solo project of No Buses’ Taisei Kondo, and BBBBBBB, who released their sophomore album from the American label, Deathbomb Arc.     

The party lasted for around eight hours and was a dreamy experience that didn’t require words; I realized just how amazing it was later on. 

Why did they return as DOME after ten years since their days as DENPA!!!? In the first volume, we got Ten to Sen, who founded DENPA!!!, to look back on the party’s history along with Toshi Miyashita, Ryohei Kaneda, and Takumi Kushida.

A festival-like space born in 2007

–How did DENPA!!! first come about?

Ten to Sen: I was born in 1984 and am part of what you’d call the “Kireru 17-sai” generation (translates to “the 17-year-old that snapped,” and refers to youth around 17 years old, born between 1982 to 1986, who committed violent crimes around the year 2000; those born between those years were sometimes called the Kireru 17-sai generation). It was around when I was in upper elementary, and Evangelion was on TV. Kireru 17-sai became a social phenomenon, and hope, despair, and this mood that said, “It wasn’t supposed to be this way” spread in society. Our generation spent our youth in such times. We’re all two years apart, so we grew up under similar circumstances, but two of our members lived abroad before, so I’m sure they had time to look at Japan from a bird’s eye view. Or rather, they had a place of belonging outside of Japan.

On the contrary, I always felt like I didn’t have a place to belong in Tokyo. At the time, the music I listened to was ambient, electronica, noise, breakcore, and other underground genres that weren’t known in Japanese society. It was as though the music allowed me to escape somewhere else, and it saved me. I used to frequent Warszawa Records, which used to be in Shibuya. I was also in the fashion industry and used to swing by parties and events. But most of the music they played was hit songs, and people you’d call influencers today were the DJs. I used to be at the edge of the bar counter and feel out of place. For better or worse, there was a distinct cliquey-ness, and this feeling of “This place isn’t for me” bubbled up inside me. 

–It was also a time when the media was undergoing a huge change.

Ten to Sen: That’s right. It was also the dawn of this culture of getting your picture taken. When digital media gained more momentum than print media, party photos peaked, and the reason people went to parties shifted from listening to music to being about status. It was like the fact that you were there was important and worthy. This shift made me feel hopeless. Eventually, I felt this strong urge to be free from withdrawing within myself. That was the initial driving force to start DENPA!!! 

Takumi Kushida: Was DENPA!!! founded by you three? 

Ten to Sen: It was initially started by me, who had zero friends. When it came time to break through that locked-up feeling, I wanted to eliminate the idea of lumping things together by category or generation because I didn’t like it, like music, fashion, or whatever. I liked the culture nerds had, but I didn’t belong there either. 

So, I began wanting to run countercultural events that would remove those borders through music that wasn’t widespread in society. When I organized events with such challenges in mind, artists and customers of all kinds started coming. The fact that I was an amateur at booking artists and, therefore, was a mess played a part, but as a result, the dancefloor’s consciousness expanded, creating an altered state of mind. The borders melted away, and it felt good. It was like a dream; a festival-like space was born. That infectious energy spread far and wide. 

Toshi Miyashita: I happened to be in England then, and my close friend at language school was in a long-distance relationship with a Japanese girl who was an early member of DENPA!!! This might’ve only applied to my environment, but there was a lot of aggressive music, like breakcore and experimental music, in England at the time. Some parties played anime music and breakcore mashups. I had older acquaintances from the music label, 19-t, and I got into that kind of music. The girl in Japan was throwing a party where an artist called CDR was performing, and she said, “Don’t you like this artist?” I had never spoken about such music in Japan, so I said, “I want to meet the organizer when I come back to Japan.” And that organizer was Ten. 

Ten to Sen: This girl I wasn’t too close with said, “There’s a person that wants to meet you, so come over to my place” (laughs).

Toshi: Back then, mixi was popular, and you could get an idea of what kind of person was in the community, so you oddly felt close to people. We met and became friends, and I started joining them after their second party as a DJ and booker. 

Ten to Sen: People started getting together after I screamed over a megaphone to promote our event at the beginning of DENPA!!! when Gap still existed at the Omotesando crossing. I probably announced events on mixi too, and many people started coming to me, saying they wanted to help. Kaneda-kun shared a house with one of those people. 

Ryohei Kaneda: I lived with my best friend, one of the founding members of DENPA!!! Before we started throwing parties, those who were members at the time would come over to our house. I loved WARP RECORDS and Rephlex and listened to everything they released at the time. We all became close and naturally became a family. 

Leading up to 2013, when a new chapter was made  

Ten to Sen: From that point onwards, we saw a steady increase in people joining us. For instance, around midway [in our history], we were approached by Space Shower TV about a project called DAX, which combined music and video. We were cast on a TV show, like a welcome party for new employees in the video broadcasting department, even though we were barely informed about the content. 

Toshi: We were also on a weird episode about all of us at a cherry blossom viewing. There was a cherry blossom viewing set in the studio, and we were invited to this traditional tiered stage. 

Ten to Sen: The new employee for that project was Kushida-kun. We connected because we hit it off during commercial breaks; it was like we could talk in a common language.

Kushida: I’m from the Kansai region, so I consumed a different type of breakcore from the mentioned context. Kansai Zero Sedai, whom people called the children of Boredoms, was at the top of their game. Afrirampo, Oshiripenpenz, and ZUINOSIN were regarded as the big three; they were huge. With that said, it might’ve been a movement of a total of 1,000 people, but there were so many fun events. Looking at DENPA!!! from the chaotic breeding ground of Kansai noise and breakcore, they seemed different. They looked genuinely cool to me, as though they represented an ethos I was unfamiliar with. We then started talking to one another. 

Ten to Sen: Since the formation of DENPA!!! in 2007, we had our last event in 2013. Back then, Kushida-kun used to come to our events as someone who worked at Space Shower. He’d take photos and broadcast our events.

Kushida: I used to go as an AD. Sometimes, I’d shoot my older colleagues’ show. But it was fun. The audience, too. 

Kaneda: I started officially helping out around the third or fourth event. I helped out occasionally and started making flyers on my own. We lived in a house, so everyone would hang out every day. People would go home during the day and return to ours at night… they were basically at our place eight times a week. 

Ten to Sen: We never got together to strategize or discuss details.

Everyone: We didn’t.

Ten to Sen: We had events bi-monthly in 2007 and began to have them regularly by 2009. In my head, 2010 marked the end of one chapter. I thought I was done, but someone posted online without my knowledge there would be another party in 2011. I found out while sitting on a massage chair at a public bathhouse (laughs). But I became infected and driven by the members’ desire to hold a party and was drawn to that sort of power.

(Continued in Vol. 2) 

Photography Masashi Ura

The post The Legendary Subcultural Party, DENPA!!!, Returns as DOME After a Decade: Vol. 1 A Festival-like Energy appeared first on TOKION - Cutting edge culture and fashion information.

His creations are intuitive, detached from verbal or cerebral processes. While traversing diverse cultures, they resonate with the essence of a decadent 90s culture. He characterizes his work as “a culmination of everything I’ve believed in, from music and movies, U.S. toys, fashion, to DIY culture”. Currently showcased at the “Untitled II” exhibition, his drawings and 3D models construct a unique realm that seamlessly blends charcoal motifs and other indistinct colors together, provoking viewers and broadening their outlook. In this interview, we discussed everything from the roots of his creations to the inspiration behind his new work and approach to the ongoing exhibition.

Kensei Yabuno
Yabuno, born in Hokkaido in 1975, pursued Fine Art at Camberwell College of Arts in the U.K. His paintings and 3D models have graced exhibitions at notable venues such as Iimart, THE LAST GALLERY, and Isetan Shinjuku. His work has gained international exposure through publications like Idea, vice, and DAZED & CONFUSED. Notably, his creations adorned the textile design for Comme Des Garçon’s 2011 spring/summer collection. Among his recent exhibitions are WHY YOU (2019/HYSTERIC GLAMOUR SHIBUYA) with Shigekazu Onuma and solo exhibition Untitled (2022/KOMIYAMA TOKYO G).

“There are constantly two opposing personas within me”

– Can you elaborate on how you developed your simple yet genre-defying style that incorporates alien-like motifs, blending design and animation to create a distinctive worldview?

Kensei Yabuno: I began drawing in kindergarten. There wasn’t a specific event that led me to pursue art; it was the only choice for a dropout like me.
The black and white “Alien” marked my debut at the CLASKA solo exhibition in 2009. It was also the first time I showcased my work as a 3D model, having only presented 2D graphics before that.

Working at Omocha Spiral in Harajuku immediately after moving to Tokyo at the age of eighteen proved to be a pivotal experience for me. My fascination and understanding of U.S. toys blossomed, seamlessly guiding me through the transition from 2D to 3D.

I’ve been passionate about extreme music, film, and fashion since my teenage years. Perhaps that distinctive eccentric sensibility is reflected in my work.

– What principles do you adhere to when it comes to creating art?

Yabuno: Before executing my vision into tangible form, I consistently create mental images, updating them regularly. But that process only exists in my head; there is no step between conceptualization and manifestation. What’s important to me is the mental preparation, the physical act of putting hands to work, and confronting the task at hand.

– Do you experience fluctuations in your creative process or personal challenges, separate from external opinions and changes?

Yabuno: Absolutely (laughs). I’m aware that I’m someone who constantly experiences highs and lows, regardless of age. There are times when I lack the motivation, when things aren’t unfolding as I’d like them to, or when I’m grappling with a hurdle.

As I mentioned in my artist statement, there are two opposing personas that exist within me: one while asleep and one when awake. Jokingly, I refer to them as “Jekyll and Hyde”. The “Hyde” side harbors disdain and rejects everything. Maybe “Hyde” represents my true self (laughs).

“Expanding dimensions”: a new sensation

– Following last year’s “Untitled”, this marks your second exhibition. Can you highlight any new insights compared to the previous year?

Yabuno: Reflecting on last year’s “Untitled”, “Untitled II” aligns more closely with what I envisioned as a child. Back then, I felt restricted to turning only right, and now I find myself able to turn left. Unanticipated realizations unfolded as I transformedd the abstract yet concrete images in my mind into tangible expressions. I want to cherish this sensation through the fifth installation.

– In this exhibition, a plant-like color scheme has been introduced alongside your distinctive black and white 3D model creations. The light gold background color in your charcoal drawing was quite striking. How do you perceive the role of color in your work?

Yabuno: The significance of the 3D model evolves when infused with a color, whether a skin tone or a bronze hue. Introducing colors is intriguing as it alters the visibility of the work for me. To be honest, I find black and white most appealing, but the entire visual dynamic shifts with the addition of even a single color. This gradual broadening of perspectives may be the reason why I initially developed an interest in this artistic realm.

– How does the integration of seemingly contrasting elements hold significance for your present and future selves?

Yabuno: This may sound redundant, but what unfolds in dreams and what occurs in reality both happen to the same individual. The interplay between right and left, the coexistence of reality and dream, the difference between steady movement and a dynamic, direct one – all of these aspects contribute to the amalgamation of seemingly disparate elements. Merging two different components is akin to bridging the gaps on both sides. By incorporating previously unseen elements into your cultivated worldview, you can draw closer to your ideal. The sensation of expanding dimensions was a new revelation for me.

Yet, what I truly hold as a belief are the words of graphic designer Masayoshi Nakajo: “Masterpieces are coincidences”.

Trsanslation Mimiko Goldstein

The post “There Is No Step Between Conceptualization and Manifestation”: Exploring Kensei Yabuno’s Creations in “Untitled II” appeared first on TOKION - Cutting edge culture and fashion information.

Kyoji Takahashi
Born in 1960 in Mashiko Town, Tochigi prefecture. In the 1990s, his work was published in fashion culture magazines such as Purple as well as in advertisements. His main photo books include: The Mad Broom of Life (1994), Road Movie (1995), Takahashi Kyoji (1996), World’s End (2019), Ghost (2022), Void (2023), among others. His solo exhibition Void was held in Kyoto in May.

During these challenging times, photographer Kyoji Takahashi perseveres in capturing images, guided by his intuition rather than a deliberate attempt to conform or adapt. What lies at the core of Takahashi’s artistic expression, unrestrained by the confines of photographic categories? In part two, we embark on an exploration of various themes, starting from the inception of his career and his origins as a photographer in New York, delving into the intersection between commercial advertising and the pursuit of truth in both art and photography.

“Photography can be considered art – not as a medium, but as a form of expression”

– I have heard that you were taking photographs in Kyoto during the Void exhibition.

Kyoji Takahashi: I did take photos in Kyoto during the Void exhibition. Personally, I’m the type of photographer who refrains from conducting extensive research or scouting locations beforehand. I believe that the element of chance and the absence of preconceived notions add a sense of mystery to the process. That’s why the choice of location becomes significant. Upon returning to Kyoto after a considerable period, I was pleasantly surprised by the abundance of trendy shops and vibrant spaces. I spent a few days there, noticing an overall improvement in the quality of the surroundings. It evoked memories of my time in New York, where I created art with the intention of sharing it with others. That mindset felt more akin to journaling rather than traditional “photography.”

– What does the act of taking a photograph mean to you personally?

Takahashi: I’ve never really pondered on that question before. Like habits or the passage of time? I don’t have a specific habit of collecting things either. If I were to express it, I would say that taking a photograph feels akin to capturing a humorous moment to reminisce about in the future. It’s also comparable to the enjoyment of discovering various pictures while tidying up your childhood home. Even if those images don’t feature yourself, there’s a captivating sensation attached to them. Perhaps that sensation is the closest comparison I can draw.

– Have you ever experienced a sense of nostalgia or sentimentality when witnessing the evolving cityscape of the place you call home?

Takahashi: No, I don’t really feel that way. Even photographs themselves age and change. While I might be taken aback by the transformations if I were to revisit New York now, I don’t believe I would experience any deeper emotions beyond a sense of surprise.

– I’ve heard that New York was the city that sparked your interest in painting. It’s often said that photographers don’t engage in self-portraiture as much as artists do. Do you believe this suggests that photographers tend to direct their focus outward, while artists look inward?

Takahashi: As someone who began in the realm of art, the photographers who influenced me the most were (Christian) Boltanski and, prior to that, (Robert) Rauschenberg. What captivated me about Rauschenberg’s photography was his method of printing them on fabric, creating a sense of movement as if they were dancing in the wind. However, at that time, whether I painted or not didn’t seem to hold much significance. Even Warhol, for instance, primarily engaged in illustration as his medium, yet I find the parallels in his works to be enchanting. It transcends the boundaries between photography and other artistic mediums.

When I was twenty years old, I attended a retrospective exhibition of Ed Ruscha’s work at the Whitney Museum in New York, and it left a profound impact on me. Personally, the photographs didn’t feel realistic due to their black and white nature, but I found the unconventional compositions remarkable. While photography can be regarded as an art form, it goes beyond being just a medium and becomes a means of expression.

– I can see why your photographs have maintained their popularity and impact.

Takahashi: In the year 2000, I had the opportunity to participate in an exhibition curated by Elein Fleiss and Olivier Zahm at the Centre Pompidou. One of my photographs was chosen as the cover image for the catalog titled “ELYSIAN FIELDS,” which featured thirteen different covers and included a CD. It was exhilarating to see the posters featuring my work displayed on the streets of Paris. This experience was followed by a group exhibition called “Common Scapes” at the Miyagi Museum of Art, which showcased the works of esteemed photographers like William Eggleston, Seiichi Furuya, and others. Among all the exhibitions I have been a part of, these two hold a special place in my memory.

The power of expression that refuses categorization

– You took a break from advertising photography for a period of time.

Takahashi: Yes, while working in advertising and magazines provided me with the financial means to support my creative endeavors and allowed me to meet interesting people, I reached a point where I felt drained by it. I yearned to reconnect with the essence of my early days in photography.

– What are your thoughts on the current media landscape, where we are bombarded with an overwhelming influx of images, not limited to social media?

Takahashi: It is a significant challenge for those who are on the receiving end of this media saturation. I’ve been reading a book called “The Cognitive Apocalypse,” which explores the cognitive and sociological challenges posed by our technological society. It is unsettling to witness how certain topics can quickly spread and go viral on social media, often intertwined with commercial interests.

– The boundary between art and commerce, as well as the attitudes towards each, continue to be topics of discussion today.

Takahashi: There are indeed many contradictions surrounding the intersection of art and commerce, but the presence of these contradictions does not necessarily indicate a problem. The same can be said for the relationship between words, paintings, and photographs. It doesn’t matter what subject the photograph captures. I have photographed various subjects, including Buddha statues, portraits by Nan Goldin, Bjork, and Hikari Mitsushima. While the reasons behind photographing each subject may differ, whether commissioned or done on my own accord, the photographs themselves are not fundamentally different.

If we look ahead, we can argue that there is increasing pressure to categorize artwork. In this era of overwhelming information and media dominance, everything tends to be categorized. However, once an artwork is confined within a specific category, it becomes challenging for the audience to perceive its nuances, resulting in a lack of new insights and discoveries. Personally, I enjoy music that defies clear genre classification, such as bossa nova, jazz, or classical. Similarly, I seek out things that defy easy definition based on my mood. Although we may no longer be in the age of magazines, I believe interviews should strive to connect with readers who are music and art enthusiasts, rather than solely catering to experts.

■Void
Official Online Store: https://hadenbooks.stores.jp/items/6471cb11a89fa500326bfaad

Photography RiE Amano
Interview Yoshihiro Sakurai, Jun Ashizawa(TOKION)
Translation Mimiko Goldstein
Special Thanks to Kazuhiro Yasuda

The post Reflecting on Photographer Kyoji Takahashi’s Timeline Part Two: The Power of Expression That Refuses Categorization appeared first on TOKION - Cutting edge culture and fashion information.

Kyoji Takahashi
Born in 1960 in Mashiko Town, Tochigi prefecture. In the 1990s, his work was published in fashion culture magazines such as Purple as well as in advertisements. His main photo books include: The Mad Broom of Life (1994), Road Movie (1995), Takahashi Kyoji (1996), World’s End (2019), Ghost (2022), Void (2023), among others. His solo exhibition Void was held in Kyoto in May.

Photographer Kyoji Takahashi’s latest exhibition, titled “Void,” is currently taking place at Artro in Kyoto. Through this exhibition, Takahashi employs his beloved everyday camera, the Leica M8, to convey his personal perspective, capturing the scenes visible from the tranquility of his own room. In conjunction with the exhibition, a photo book has been published, combining evocative texts with the photographs that were shared on Instagram. How does Takahashi establish a connection between his images and the accompanying words? We delve into the journey of Takahashi, who has dedicated himself to the art of photography with unwavering consistency.

“It’s important to reserve time to not look at photos or listen to records”

– You posted on your Instagram that the theme for your current exhibition “Void” might be “darkness” or the “yin” in yin-yang. How did you land on this theme? Could you please clarify what you mean by the words ‘don’t cross’ and ‘darkness’ are also written at the end of your photo book as the text for the photo of traffic lights? It seems like you’re referring to the presence of these words in the photo book.

Kyoji Takahashi: I am not inherently inclined toward dark themes, and my photographs have never been particularly characterized by darkness either. However, considering the emergence of the COVID pandemic and the military invasion of Ukraine, we found ourselves in a period marked by a proliferation of distressing news. While I was aware of social media’s tendency to conceal negativity, there were moments when I experienced a sense of darkness within myself amidst it all. As a creative individual, it is not feasible for me to express only one polarized emotion, so I deliberately decided to delve into the deep recesses of that darkness.

– Why did you post all your work on Instagram?

Takahashi: Posting on Instagram felt like taking a shot in the dark because you never know who might be viewing it. I decided to experiment by sharing photos that conveyed a sense of negativity, just to gauge how users would perceive them. Surprisingly, I received messages from gallerists and staff members expressing their appreciation for a particular photo or expressing interest in exhibiting my work. This happened at a time when I had confirmed exhibition dates and the gallery venue, but the actual content of the exhibition was still undecided. It was a busy period for me, and I even fell a bit ill. The circumstances also left me with a sense of emptiness.

– The exhibition and the photo book share the title Void.

Takahashi: In my exhibition Ghost last year at LOKO GALLERY, I didn’t showcase a large number of pieces. Instead, I incorporated retrospective content and photos that I had collected since the start of my career. Alongside that, I had additional exhibitions to prepare for, which added to my fatigue during that period. Even my friends advised me to take a break, but I hadn’t fully recognized the toll it was taking on me. I was determined to persevere and push through it.

– The theme of “Void” revolved around capturing your personal perspective through photography, and the exhibition venue Artro had a room-like ambiance. In terms of composition, how did you approach it?

Takahashi: The venue layout was handled by the producer, Ken Kobayashi. Since we had a tight schedule for the flier, we entrusted the art direction to Christophe Brunnquell, who also worked on the photo book. The design for the flier was promptly delivered, but it featured a photo of Bukowski that wasn’t part of the exhibition. As for the photo book, my role was limited to determining the size and page numbers. Christophe took charge of the photo selection and layout.

What was amusing was that Christophe and Kobayashi had different selections, except for one photo. They viewed the pieces in separate locations and at different times. It may sound haphazard, but I believe that granting people the freedom to follow their own instincts can broaden possibilities. When attending an exhibition, you have the opportunity to physically observe the photos, but that is limited to the exhibition’s timeframe. Conversely, photo collections and books are akin to records in that they transcend time. Lately, I’ve come to appreciate the importance of setting aside time to refrain from looking at photos or listening to records.

– At last year’s “Ghost” exhibition, vintage prints from the early years of your career in the 1990s were displayed alongside your more recent flower photographs. There was a timeless quality to the exhibition; the images didn’t feel like mere records of a specific era or time.

Takahashi: The connection between time and emotions can impact our perception of linear time. For example, feeling anxious at night following an earthquake that occurred during the day exemplifies this. Time is not a constant entity. Books, being accessible for reading at any given moment, offer a different experience compared to viewing an actual exhibition. Unrestricted time can also affect the interpretation of specific pieces. For instance, in the case of “World’s End” released in 2019, Christophe initially suggested excluding text, but for “Void,” he later decided to include and design text.

– Is there anything specific that you considered or kept in mind when incorporating text into Void?

Takahashi: There wasn’t anything specific that I had in mind. The text included in “Void” is the same as what I posted on Instagram. We had the option to release the book with just the photos right before its completion, so the process of creating the book was quite flexible. Regarding the translation, we were unsure if we could meet the deadline after finalizing the printing process and bundling samples. However, since there were expected to be many overseas visitors for the KYOTOGRAPHIE program, it was important for the text to be readable. Photography researcher Kazuhiro Yasuda worked on the translation, and I’m grateful for his work because we ended up with double the number of translations compared to the number of works in the photo book.

A collage of image fragments weaves words

– I think the way your photographs complemented the text in “Void” was brilliant. It reminds me of Céline’s dismantling of literary style, an approach that goes against academic conventions. I’m curious about how these words and concepts come to you during your creative process.

Takahashi: I envision words in fragments and piece together a collage of these fragmented images, allowing me to establish connections between seemingly unrelated words. However, since social media tends to favor universal and positive emotions, it became important for me to incorporate negative and uncomfortable elements in order to break away from that pattern.

– Why did you shoot all the photos for “Void” on digital?

Takahashi: The reason is quite simple. Lately, I’ve been primarily using digital cameras for my photography. The recent projects I’ve been working on, such as the “Namacha” ad and the Fujin Kouron series, were all captured digitally. However, when it comes to Instagram, I typically share photos that I’ve shot on film and then developed. As for the photo book, Void, I decided to shoot digitally and share the printed versions on my Instagram account. The background used for the duplicated prints is actually my carpet. During the process of duplicating the prints, the hired photographer and I experimented with various techniques and ideas on the spot.

– The flower petals in the photo book looked like a painting.

Takahashi: The carpet serving as the backdrop for the photo likely gave the impression of a picture frame. When I sent the duplicated prints, I intentionally left them untrimmed, if the designer would handle the cropping process, given the large quantity of photos. Surprisingly, the prints came back in the exact sizes I had sent. Christophe has a knack for adding a touch of uniqueness to his designs, and everyone involved is consistently impressed by the remarkable quality of his work. We didn’t have any meetings or provide him with any specific instructions, yet his final output was flawless.

– These unexpected events make me wonder, do you think incorporating others’ opinions can lead to a broader range of possibilities?

Takahashi: It varies from person to person, but I believe that is generally true. Personally, I find photography intriguing because I enjoy the element of unpredictability beyond my control. Whether it’s magazines, advertisements, or photo books, they all share the commonality that the artist’s name is prominently displayed, yet the entire process, from printing to distribution, relies on teamwork.

■Void
Official Online Store: https://hadenbooks.stores.jp/items/6471cb11a89fa500326bfaad

Photography RiE Amano
Interview Yoshihiro Sakurai, Jun Ashizawa(TOKION)
Translation Mimiko Goldstein
Special Thanks to Kazuhiro Yasuda

The post Reflecting on Photographer Kyoji Takahashi’s Timeline Part One: A Collage of Image Fragments Weaves Words appeared first on TOKION - Cutting edge culture and fashion information.

“Lee Perry was like a combination of all the artists I’ve photographed”

–What was the impetus for the publication of SUPER PERRY- The Iconic Images of Lee Scratch Perry?

Dennis Morris (Morris): First and foremost, it was important to create Lee Perry’s work. I had been listening to his music ever since I was a young man, just like I had been involved in photoshoots of Bob Marley. I actually got to meet him in 1976, and it was like we understood each other instantly, and we became friends right away. If you see the pictures taken back then, you can feel our friendship from that time.

–How long have you been following Lee Perry?

Morris: From 1976 to 2016.

–The subtitle of the book is “The Iconic Images of Lee Scratch Perry.” What do you think is Lee Perry’s iconic image?

Morris: Hmmm………. I think you can tell a lot about him through photos I took in the studios, which should directly relate to his image. Everything from instruments to equipment is all interesting to look at now, and the recording process was also fun. I remember how interesting it was to see what was going on at the whim of him.

–Is there any impressive moment that you still remember?

Morris: There are too many (laughs). When I was shooting in a studio, a lot of unexpected things happened. You can tell from the atmosphere of the studio in the pictures, right? He was moving around, jumping, yelling like “ho-ho-ho,” and randomly pushing buttons on equipment. I think of him as the (Salvador) Dali of music scene.

— As a photographer who has shot many artists, what do you find attractive about  Lee Perry as a subject?

Morris: He was like a combination of all the artists I’ve photographed. From reggae to punk to new wave, he had all the elements, and that’s important. As far as music is concerned, I don’t think there were any genre barriers.  

“I am always conscious of journalism, and all my photographs are reportage. “

–You began your career as a photographer with Bob Marley and then the Pistols. Since then, you have been exposed to pretty much all genres including reggae, dub, punk, new wave, and hip-hop. What do you think is the power of music for you?

Morris: The answer is simple. It is the power to bring everyone together across the boundaries. I think everyone knows that music can affect the heart, and it doesn’t matter what skin color you have or who you are, you can all come together as one. There is also “love,” “fun,” and “joy. When you are depressed, listening to a sad song will make you feel as if you have been salvaged. In a sense, music is like the “heartbeat” of human beings.

–How has music influenced you as a photographer?

Morris: All kinds of influences. I traveled to different places for each shoot, and I think I discovered something new each time. There are a lot of things that you get from going to see a show, and there are things that you can feel from the photos I shot. Music means a lot to me.

–I read in an interview that you originally wanted to be a photojournalist. Do you ever think about journalism when you take portraits?

Morris: I am always conscious of journalism, and all my photographs are reportage. I was once inspired by a battlefield photographer and wanted to photograph Vietnam War, but I was too young at the time.

Tim Page, a famous battlefield photographer, went to Vietnam after Jim Morrison of The Doors died. I didn’t get to go to the war, but I did get to photograph Bob Marley and the Pistols. In a way, I think this was my “battle.” Especially with the Pistols, the shooting was always chaos (laughs).

–Are there any episodes that stand out in your memory from your close association with the Pistols, such as the relationship between John Lydon and Sid Vicious?

Morris: Sid was depressed and extremely drunk during the Pistols’ UK tour. His hotel room in London was right next to mine, and the whole time I could hear something hitting or crushing against the wall (laughs). Then I went to his room, and there was a TV set smashed to pieces, and it was a complete mess (laughs). Of course, I took pictures of that. It was a time when I had heard several stories of people throwing TVs out of hotel windows.

–I have seen the scene in the Rolling Stones’ documentary film where Keith Richards throws the TV out of the hotel window.

Morris: Yes, yes (laughs)

” I am always conscious of ‘communicating’ with everyone I photograph. “

–I feel that many of your portraits have a relaxed atmosphere. What do you keep in mind when shooting icons?

Morris: I am always conscious of “communicating” with everyone I photograph. To do that, I have to be close, and I think that is an innate ability of mine. It is not something you can acquire through repeated rehearsals. It is very important for the subject to be relaxed during the shoot, and I think this exhibition will also allow people to see my work and get to know each other.

And everyone always wears a face mask. If they can connect with me, they can take off that mask. That’s when you can see their true face. Like with the Bob Marley photos, because he trusted me, I was able to capture his expression that he normally wouldn’t show.

–How did you develop the ability to “communicate”?

Morris: That would be nothing but a gift. Even though I have traveled all over the world and do not speak every language, I am able to communicate because language is only a communication tool. I don’t think words are necessary if we can communicate with each other from the heart.

If I could say one thing about it, it might be similar to the feeling of communicating with a baby. Babies cannot speak, but if they feel uncomfortable, they cry, and if they are comfortable, they laugh. It may be just like that.

— The same is true of music and photography in terms of communication that does not require words, isn’t it?

Morris: It really is. When you have an exhibition overseas, it often takes time for people to understand no matter how much I talk to them, but if they see a performance, they can immediately understand what I am thinking.

–There should be occasions where you shoot artists who tend to keep a certain distance from you, but how do you shorten that distance and subjects and bring out the natural expression of them?

Morris: Of course, there are techniques. Sometimes I act look like I’m playing with the camera when I shoot, and sometimes I use that process to bring out new movements and expressions. For example, when playing with children, it is important to be in their perspective. That way, they will find it interesting. I think the same can be said for anyone.

— Is there any musician who has been on your radar recently?

Morris: I think Jack White is interesting. He is very innovative and creative. I haven’t worked with him yet, but I would love to photograph him.

–Lastly, this year marks 11 years since the Tohoku earthquake and tsunami. I heard that you were in Japan at the time. Now it is also a crisis in a different sense due to the COVID-19. What do you think about the city of Tokyo and the people you saw in this situation again?

Morris: I was amazed at the sense of unity that the Japanese people have in creating one community. In other countries, I think it would have been even more chaotic. In other countries, there is a strong “Me” mentality, but the Japanese have a strong “Us” mentality. I was with my family, and I think our family’s love for each other was strengthened by that sense of unity of Japanese people. I was very much influenced by that.

Also, I would like to do more exhibitions in Japan. What I want to do is a different kind of photography exhibition. I also take photographs that are not related to music, so I would be happy to exhibit socially relevant documentaries as well.

Dennis Morris
Born in 1960, Morris met and toured with Bob Marley in 1973, and began photographing the Sex Pistols in 1977 as their official photographer. Since then, he has done artwork for P.I.L. and helped the launch of the reggae label of Virgin Records. His photography books include Bob Marley and A Rebel Life; The Bollocks, a photobook about the Pistols. In June, he published SUPER PERRY- The Iconic Images of Lee Scratch Perry, a collection of photographs of Lee Scratch Perry up to the last years of his life.

Photography Kazuo Yoshida
Translation Shinichiro Sato(TOKION)

The post Photographer Dennis Morris Looks Back on the Music Scene and the Relationship with His Departed Friend Lee Perry appeared first on TOKION - Cutting edge culture and fashion information.

From business to science, the number of situations where people advocate for the necessity of art is dramatically increasing. Although the world doesn’t look different under the influence of the pandemic, people’s minds are changing; under such change, how does everyone’s perception of art transform? Gallerists, artists, and collectors are now researching and predicting what kind of art will appear in the post-covid generation. 

The 11th installment is about NFTs. NFT art utilizing blockchain technology is breathing new life into the market both in cryptocurrency and the art world. But only a minority of people may have a firm grasp on the reality and function of NFTs. It’s not surprising, as blockchain technology and NFTs are still growing. The following is a conversation between Junya Yamamine, who demonstrates the social potential of art with the media and corporations using his experience as a museum curator, Taihei Shii, a contemporary artist and pioneer who commercialized the use of NFTs in art, and artist Sputniko!, whose iconic piece titled “Menstruation Machine – Takashi’s Take” was sold at 50 ETH (around 15 million yen at the time). The second part is about the potential of NFT art, explored alongside examples. 

The intrigue of a decentralized structure emerging and the context of value becoming rhizomatic

Junya Yamamine (Yamamine): Contemporary artist Simon Denny had an exhibition using the idea of blockchain in 2016. It was interesting because it had an ironic message, detailing and showing how ambiguity exists even within a structure where someone tries to gain profit through authority. The same goes for NFTs. While NFTs have this image of open opportunities, people suspect they’ll become like GAFA, the center of the world economy. The present state of NFTs is being updated. It’s turning into a space to create new value, so it’s critical to consider how to spread the word in Japan to make sure the discourse surrounding NFTs isn’t just about economics. More specifically, we need people to witness movements like what Pussy Riot’s doing and get suggestions on how to use NFTs. As a curator, I’m interested. 

Taihei Shii (Shii): I often feel there’s little hope for Japan to use technology as a tool for solving social issues. For instance, people once talked about how the most searched term on Wikipedia in Germany was the Holocaust, but in Japan, it was anime. I think it might’ve been Detective Conan or One Piece. I feel like people use technology for different reasons and purposes. In Western societies, I don’t know if I would say they’ve gotten control of technology, but it seems like they use it as a tool to accomplish things they couldn’t before. I’m sure it partially has to do with national differences, but, unfortunately, Japan hasn’t reached the understanding that technology could lead to problem-solving. It’s unique to Japan. 

Sputniko!: I wonder if such cultural differences play a part. There’s a new project and NFT collection called Astro Girls, and their goal is to have more women in the web 3.0 space. People who buy this NFT get the opportunity to join a community of female engineers to learn web 3.0. The idea of “how to use technology to overthrow existing systems”, as Shii-san mentioned, and hack the macho tech world is deeply rooted in web 3.0. The overwhelming majority in web 3.0 and the crypto space are white men. That’s why there’s a growing movement striving to empower minorities. In America, within the arts and culture in general, a new structure’s emerging in which people reflect on their predominantly whitewashed, male-centric history. That’s why efforts like Astro Girls exist, but I’m not sure about Japanese NFTs. 

Shii: Japanese men are also a minority, at least in the scope of the international art world. I don’t think DAOs, metaverses, and NFTs could completely fix that problem. For example, the data shows there’s a tendency even for LGBTQIA+ people to choose sperm from white men when they visit the sperm bank. Even for minorities, there’s a part of them that desires power and are stuck in this structure where that power could be the optimal solution. The same goes for DAOs, but even if we try to create a decentralized organization with all seriousness, it’s impossible to decentralize it completely. Someone has to make decisions and take responsibility, so I feel that a central power will inevitably exist. We’re simply going to go around in circles. I think we’re one step closer to human nature, but we haven’t resolved anything yet; we’ve just entered an age where that’s become a relevant topic. 

Yamamine: Everyone is talking about that duality. I’ve worked with exhibitions connected to activism and social issues, but museums are simultaneously symbolic and authoritative. I felt a contradiction in how artists, who create radical works, could hold authority. The act of “being radical” gets absorbed into creating the value of art. Another thing: when I was at the Venice Biennale, celebrities from across the world were there. Only a select few could go to Venice, one of the most prominent tourist spots worldwide. It felt weird because, through selected works, the cultural elites at the Biennale grieved and sympathized with disasters happening in the world. I was like, “Isn’t this wrong?” It was as if we were stuck in the world of deception and that people were doing something not to transform society but to make the global rich feel compassionate and happy with themselves. I quit working for museums because I thought the answer was there. 

Of course, I understand DAOs aren’t everything. Conversations are happening about how intermediary entities with authority—like what JA (Japan Agricultural Cooperatives) is to vegetables—such as museums and curators create power and exploit it. In terms of blockchain technology, if we could give each refugee a wallet, we would be able to get rid of the middleman and create an appropriate market. But there’s an immense amount of implementation issues. If the structure becomes more direct, a decentralized environment could be born, and the context of value could become rhizomatic. It’s confusing from my position, though (laughs). 

Shii: NFTs are infrastructural, so I’m sure it’ll be a positive thing for people, but it’s still unclear how we should move forward and how the world will ultimately look. The other day, it became possible to buy Ethereum directly from your credit card in Japan because Apple Pay integrated with MetaMask. In Japan, you had to go through a lengthy, complicated process: you would open an account with bitFlyer or Coincheck after going through KYC, buy crypto, and send it to a separate MetaMask account to be ready to purchase. It’s possible to access your wallet now because the capital giant, Apple, expanded the number of compatible services. I believe the world will continue to progress; people could be empowered through their computers or gain the courage to leave an organization. Looking at the recent war and pertinent issues, many people must feel like it’s wrong to have a social structure that makes citizens lose their lives because they’re tied to the state. 

Yamamine: The war in Ukraine is markedly different from the past because critics sent out a message that spread throughout the globe, which galvanized politicians to take action. The power and narrative driving that sort of thinking became visible to us. I feel like we can finally consider the environment to be ready if a DAO that wants to save others and ultimately democratize economics is born. 

A system that connects DAOs, NFTs, and real-life cultures to preserve core cultural values

Sputniko!:  I want you, Yamamine-san, to try starting or joining a DAO too. 

Shii: That would be interesting. “Yamamine DAO.”

Sputniko!: Current members of many DAOs are mostly from the technology world and not so well-versed in art history. We need people with knowledge like yours.

Yamamine: Something about talking to people online on Discord everyday makes me deflated (laughs). There’s so much I want to do. I want to create a space where artists who’ve had a hard time getting into the market could take action. I want to support these people by using a DAO as a medium and turning projects and by-products born from that process into NFTs and selling them. 

One more thing: there are many Japanese architectural heritage sites and industrial arts that could be turned into intellectual property. Whether that’s a sword or armor, artists could use that to make spin-off artwork. If we could make sure people could use those NFTs in other metaverses, then Japanese culture would spread globally and be reinterpreted by others. It could create an interesting secondary distribution unique to its online form. I want to preserve core cultural values by connecting DAOs, NFTs, and real-life cultures. 

Shii: That’s extremely important. Many DAOs are run in a gray area, legally speaking. Among those who quickly jump onto a fundraiser on a blockchain, some do it to launder money or get involved with anti-social organizations, making regulations inevitable. Despite it being a system with so much potential to improve society, there aren’t a lot of cases of social significance. But serious people won’t take the lead and will regulate it as something suspicious instead. So, if people think of an apt problem-solving idea for society, I want them to take action. 

Yamamine: I have ideas, but there are issues after implementing the technology. It would be fun if we could do something together. You put art into practice, Spu-san, so you must gain a lot of information. 

Sputniko!: One key is language. The geographical barriers like living in New York, London, or Tokyo, are starting to disappear in the age of NFT and web 3.0. But there’s a language barrier in Japan, so it’s difficult for a project to develop into something big unless people communicate in English. My friend Emi Kusano-san founded Shinsei Galverse, an NFT Collection based on Japanese anime from the 80s. I have a Shinsei Galverse profile pic too. 

Shii: I have Zombie Zoo Keeper (laughs).

Sputniko!: It’s cute and fun with a great vision of creating the first Anime from NFT. When they launched, many online influencers used Shinsei Galverse as their profile picture on social media. Emi-chan speaks English and has created and gifted some profile pics to prominent influencers. I think they are a great team and they’ll become more and more popular. Even if you’re in Japan, your project can grow if you speak English. It’s essential to have communication abilities for this new era like Emi-chan.

Yamamine: While I think you can make it as an artist, not everyone can talk about their work, and it’s hard chatting online for a long time.

Sputniko!:  I’m also the type of person who has difficulty chatting for a long time on Discord or Twitter (laughs).

Yamamine: I mean, it’s a full-time commitment. Much like an auctioneer in charge of slamming the gavel to liven up the mood at an art auction, I hope somebody could manage to communicate and solve the issue of language differences. Also, if cultural assets become intellectual property, then the artist won’t be there, so someone needs to talk on their behalf. It’s a prerequisite for that person to understand the excitement of the online space. 

Sputniko!: I can speak English too, but I don’t think I have enough time to manage a Discord group. In Japan, a company called TART shares artists’ works in English on their behalf and makes it easy to reach and sell to influencers. 

Shii: They’re amazing. They’ve been doing blockchain-related work and making art since 2019. They do cool stuff, like their marketing for Generative Masks. Their NFT project about developing a depopulated area is interesting too. 

Yamamine: I found it interesting when I heard from an acquaintance that residents of a particular apartment complex use DAO to communicate with a union so that the value doesn’t decrease. It’s a project that creates an environment where those with similar issues could exchange incentives. I once got consulted by a prominent figure from Hokkaido, saying they wanted to bring a town back to life with art. The town’s nature is beautiful, and the food is good, so I thought an artist could have a residency there, and word about it would spread. But the issue was about how to connect with people who became fans. I thought about making the depopulated town a second home DAO, somewhere people from out of town could consider it their second home, and digitalize content from there. It’s similar to the idea behind their depopulated-area project. 

Sputniko!: I’m sure you could create a community with NFTs with the depopulated-area project, and maybe you could organize an event on a metaverse. When the topic of Apple Pay integrating into MetaMask came up, it reminded me that Apple has that sort of power too. NFTs might become suddenly accessible because of new services or device. 

Shii: You can make so many things. And it matches Apple’s branding of keeping personal information private.

Sputniko!: That would make it easier for Japanese people to try and use web 3.0.

The necessity to discuss environmental issues

Yamamine: Also, even if your exhibition is about various environmental issues, the exhibition itself could merely be symbolic. There’s a contradiction, like, “You’re using a lot of energy costs for that?” It begs the question: does showing something symbolically, even if it’s short-lived, inspire actions that lead to solutions? People say art is postmodern, but we haven’t been able to escape from modernism. It’s not about paying attention to certain tricks, like subdividing methodologies and artists and creating stereotypes like being a “revolutionary” with a revolutionary vibe rather than truly bringing about change. It’s about what we can do. I hope discussions about creating DAOs to solve environmental issues could progress. 

Sputniko!: Rather than rejecting or judging this from the outside, I want to make the system eco-friendly from the inside. But we should remain critical, and thanks to that, NFTs and Ethereum, in general, have partially been updated. It’s been said Ethereum will move to Ethereum 2.0, where there will be a dramatic decrease in using energy thanks to PoS (Proof of Stake). There have been developments to create something friendlier to the environment through system design, like how Rarible, an NFT platform, introduced a button that removes the carbon footprint generated by the NFT you purchased. 

Shii: When gas prices rose, I migrated to Polygon. But many people who wanted to issue NFTs, which are assets, wanted it to be Ethereum-based, and because Polygon is making efforts to reduce various processes through Proof of Stake and such, it crashed a lot and became less reliable than Ethereum. It’s not like we use Polygon because it’s good; we use it because it has the foundation and trust factor of Ethereum. It’s a problem concerning humanity as a whole. We have to create better solutions by engaging with such things. 

Yamamine: Right. We all eat meat and produce a large amount of waste. As long as we’re around, including museums, gray areas will always exist. I have doubts about discussing things only after we categorize matters into what we’re conscious of and otherwise. Many people talk about content and business schemes, but in reality, we also need to talk more about energy-efficient hardware, efficient engineering, and infrastructure. 

Shii: Of course, you’re right. We can also reduce transaction costs by reducing source codes as much as possible. There’s this law called the law of accelerating returns, and it’s said when the world improves its technological abilities for a goal, geniuses always appear, and ultimately, technology evolves rapidly. The spread of the internet has sped up the collection of training data, which has accelerated the evolution of artificial intelligence. I believe this will continue to happen at the hardware and protocol levels.

Sputniko!: In any case, times of change are so interesting. I have a desire to challenge norms and conventional methods. It’s fun to jump into mayhem and move around precisely because there are twists and turns. I want to support movements trying to include more women in the NFT space, like Unicorn DAO and Astro Girls, and I want them to push forward. I’m excited to see your DAO, Yamamine-san.

Yamamine: Regarding the NFT infrastructure, marketplaces are appearing in Japan. But intellectual property like cultural assets, architecture, and anime must connect with a foreign audience who likes Japanese culture. mixi did come out of Japan as a social media platform, but Facebook became the standard. One strength of platforms is that they can dominate globally, but it’s difficult for the first Japanese social media platform to compete. But Japan can win with content. Content owners need to remain resilient on platforms in the marketplace. If a particular metaverse is gone, the corresponding metaverse content shouldn’t disappear. We should have a universal situation where you could use said content on another metaverse. Because of the language barrier, I feel like Japan won’t be able to compete against the world in terms of infrastructure, but we have a lot of cultural assets, so it’s about how we utilize them. 

Sputniko!: I feel like Nintendo’s an ideal Japanese company. It’s like they could dominate the world with the power of their content. 

Shii: This is a big subject, but Takashi Murakami-san’s art career has that element. There’s a bottom-up aspect to Japanese culture supported by many people, whereas abroad, it’s top-down. Art is often marketed with phrases like “Queen Elizabeth-approved” or “MoMA’s permanent exhibition.” Murakami-san is in an interpreter-like position between bottom-up and top-down cultures. His movement, Superflat, applies to a hierarchy-free information society and the “superflatness” of NFTs. It’s imperative to understand his body of work because this will be a keyword when Japanese artists go out into the world. At the same time, many trendsetters within the NFT market are in America, but it’s not like the center is always there. The market is spreading worldwide. People say the marketplace in Japan isn’t exciting, but to summarize, NFTs aren’t just a technological movement, as it’s a new infrastructural revolution. We should seriously engage with this information society. No matter how it develops, nation-states and communities will always exist, and we can’t cut off our physical selves. The question will be about how we can negotiate. 

I don’t have a clear answer, but what I mean by a missing piece being born within this information society, which I said at the start, is that the creative field has finally entered the internet age, full-on. In the past, artists had to foster a community to sell their work, but only about 30 people, at most, could physically access them. I wonder if physical restrictions are gone because of this information society, and the denominators for people to access works from all over the world have just increased. In that case, the essence hasn’t changed much. I feel like informational tools will only remove the physical walls we had. But pushing that dynamism is important. I want to keep being involved. In my conversations over the past couple of years, I haven’t been able to talk about what we did today. I had a lot of fun. 

Junya Yamamine
Junya Yamamine is a curator and representative director of NYAW. After working as a curator at the Tokyo Photographic Art Museum, the 21st Century of Contemporary Art, Kanazawa, and Art Tower Mito’s Contemporary Art Center, Junya Yamamine became involved in managing projects for ANB Tokyo in Roppongi. He also organizes and oversees the Meet Your Art Festival by Avex and art projects by the media and corporations. Yamamine’s notable exhibitions include The World Began without the Human Race and It Will End without It. (National Taiwan Museum of Fine Arts).

Taihei Shii
Contemporary artist. Representative director of Startbahn and Art Beat. Taihei Shii spent his childhood in America. He graduated from the University of Tokyo Graduate School of Interdisciplinary Information Studies. After completing the Tama Art University Painting Course in 2001, Shii began creating art based on the concept of art in the age of the internet. He shows his works at galleries and museums today. He conceptualized Startbahn in 2006, earned a patent in the US, and launched it while being in grad school. Shii became the representative director of Art Beat in 2020 and has given speeches at various lectures and panel discussions.

Sputniko!
Sputniko! is a multi-media artist and filmmaker creating works on themes of technology, gender and feminism. Her work has been exhibited at the MoMA, Centre-Pompidou Metz, V&A, the Cooper Hewitt, Mori Art Museum, and she was awarded Vogue Japan Woman of the Year in 2013. Sputniko! taught at the MIT Media Lab as an Assistant Professor and was the director of Design Fiction Group from 2013 to 2017. She is currently an Associate Professor at the Tokyo University of Arts. Sputniko! has also been selected as a TED Fellow and gave her TED Fellow talk in TED 2019. She was also selected as one of the Young Global Leaders by the World Economic Forum and moderated sessions in Davos 2020. To date, she has had her works included in the permanent collections of museums such as the Victoria and Albert Museum (UK) and the 21st Century Museum of Contemporary Art, Kanazawa (Japan).

Translation Lena Grace Suda

The post Investigating the potential of NFTs: a conversation between Junya Yamamine, Taihei Shii, and Sputniko! (part II) appeared first on TOKION - Cutting edge culture and fashion information.

Along with his musical practices, Eno has been incorporating “generative music” techniques into his visual creations. He has continued to expand the realm of art by advocating the notion of “generative art,” a spatial art form in which sound and light are synchronized and continuously change without interruption. He has shown his installations and held exhibitions in a variety of locations around the world, including at the Venice Biennale. This exhibition is Eno’s first large-scale exhibition in the world to be held after the outbreak of COVID-19 pandemic.

The entire building of 92-year-old former welfare center of the Kyoto Chuo Shinkin Bank is used for the exhibition, with works displayed on the first through third floors. In addition to three of Eno’s representative works, 77 Million Paintings, The Ship, and Light Boxes, the exhibition includes his new work, Face to Face, which is shown for the first time in the world, and The Lighthouse which can be experienced through the sounds from Sonos speakers placed throughout the venue including hallways, stairways, and restrooms.

On the first floor is the ENOSHOP where visitors can purchase Eno’s artworks and merchandises, and in the corridors and staircases are bonsai trees and stones cultivated and selected by Hitomi Kawasaki, a Kyoto-based bonsai researcher.

“By allowing ourselves to let go of the world of which we have to be a part every day, and to surrender to another kind of world, we’re freeing We’re freeing ourselves to allow our imaginations to be inspired.”

This message is what the concept of the exhibition is all about. The following is a brief introduction to each of the exhibits.

1.77 Million Paintings

77 Million Paintings, the largest of the exhibits, is an installation that synchronizes continually generated and changing lights and sounds. The number “77 Million” in the title refers to the number of visual combinations this system can produce Since its world premiere at Laforet Museum Harajuku in 2006, the work has been repeatedly updated and exhibited 47 times around the world before being shown in Japan for the first time in 16 years.

The room is set up with several wooden pillars and a conical pile of sand, and four different images projected on the central screen slowly and continuously change with the passage of time, in response to the trembling, echoing music. Viewers can experience the vast number of automatically generated visuals and sounds with their entire bodies as they lean back on sofas.

2.The Ship

The Ship is the culmination of Eno’s music and installation efforts. The music that played in the space is “The Ship,” released in 2016, and “The Sinking Of The Titanic” by Gavin Bryars, produced by Eno in 1975 and released on his own label, Obscure Records.

The Ship does not deal squarely with the sinking of the Titanic. Rather, it connects the sinking of the Titanic with World War I and takes human arrogance and paranoia as its conceptual starting point.

A dimly lit audio set is placed in a dark space which is dotted with various speakers surrounded by sofas. Various sounds intermingle, including the sounds of the ocean, human voices, and church bells, and viewers can either listen to the sounds or walk around and feel the changes in the texture of the sounds. Walking toward the objects placed at the back of the room, there are moments of silence, allowing viewers to enjoy a variety of acoustic experiences depending on how they move and where they are positioned. The curated playlist, which climaxes with the Velvet Underground cover “I’m Set Free,” is also exceptional.

3. Face to Face

On the same third floor as The Ship, visitors can view Face to Face shown for the first time in the world. The starting point for this work was a single photographic image that is made up of 21 portraits of real-life figures. With special software, it changes and syntheses the portraits constantly. As the face of one person slowly changes pixel by pixel into the face of another, a chain of nonexistent people with a robotic texture appear. The work is capable of creating 30 new faces per a second, resulting in more than 36,000 new faces in total. Interestingly, it includes Eno’s own youthful and recent faces.

4. Light Boxes

Light Boxes is a fantastical work in which three light-emitting boxes change color at an exquisite speed. Three translucent boxes emit light using LED technology, and the light emitted from them continues to change slowly in parts over time.

The changing colors, synchronized with music, shine brightly yet gently. The changing combination of lights allows viewers to see the work in different ways, even if they are viewing it from the same place, and to discover its individual meanings.

5. The Lighthouse

The Lighthouse, an audio work that is shown for the first time in Japan, seamlessly connects the entrance of the venue, the exhibition spaces of Light Boxes and Face to Face, and even the restrooms.

The Lighthouse is about an archive channel that can only be heard on Sonos Radio HD, a streaming radio service that Eno has started in 2021. The music from that radio service functions as a musical work that is played in the hallways and restrooms of the venue through Sonos speakers.

The philosophy of Brian Eno glimpsed through his spatial art

This exhibition, which brings together his masterpieces and new works on view for the first time in Japan, is a highly receptive space that did not limit the viewer’s involvement with Eno’s works. The exhibition spaces, where sound and light are constantly changing and synchronized, were filled with the sound experiences that can only be felt at that moment, and of ingenuities that resonate with the thoughts and feelings of each viewer. If you read Eno’s message at the entrance after viewing the exhibition, you may feel that you have understood a part of it. In the lounge, there is a notebook where you can write your message to Eno, so why don’t you write your thoughts about this special viewing experience?

■BRIAN ENO AMBIENT KYOTO
Dates: Open until August 21
Venue: Former Welfare Center, Kyoto Chuo Shinkin Bank
Address: 113 Karasuma Nishiiru, Shichijo-dori, Nakai-cho, Shimogyo-ku, Kyoto City
Hours: 11:00 – 21:00 (Admission until 30 minutes before closing)
Admission: Weekdays: ¥2,000 for adults, ¥1,500 for college and university students, ¥1,000 for junior high and high school students
Weekends and holidays: ¥2,200 for adults, ¥1,700 for college/university students, ¥1,200 for junior high and high school students
Ticket purchase site: https://www.e-tix.jp/ambientkyoto/
*Pre-ordered tickets are recommended, as same-day tickets may be sold out on the day of your visit.
*Up-to-date information on congestion will be posted on the official SNS.
Official website：https://ambientkyoto.com
Twitter：@ambientkyoto
Instagram：@ambientkyoto
Facebook：@ambientkyoto

Photography Mayumi Hosokura

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From business to science, the number of situations where people advocate for the necessity of art is dramatically increasing. Although the world doesn’t look different under the influence of the pandemic, people’s minds are changing; under such change, how does everyone’s perception of art transform? Gallerists, artists, and collectors are now researching and predicting what kind of art will appear in the post-covid generation.

The 11th installment is about NFTs. NFT art utilizing blockchain technology is breathing new life into the market both in cryptocurrency and the art world. But only a minority of people may have a firm grasp on the reality and function of NFTs. It’s not surprising, as blockchain technology and NFTs are still growing. The following is a conversation between Junya Yamamine, who demonstrates the social potential of art with the media and corporations using his experience as a museum curator, Taihei Shii, a contemporary artist and pioneer who commercialized the use of NFTs in art, and artist Sputniko!, whose iconic piece titled “Menstruation Machine – Takashi’s Take” was sold at 50 ETH (around 15 million yen at the time). In the first part, they talk about the potential of NFT art based on examples. 

The sudden appearance of a crucial missing piece in the age of information

Sputniko! : I’d like to hear from you, Shii-san, about the current state of NFTs. 

Taihei Shii (Shii): This might sound aggressive, abstract, and holier-than-thou in a way, but I felt like there was a demand in the art world for a market or distribution system that’s appropriate for this age of information. I saw signs of it but felt frustrated because it didn’t go mainstream for 15 years. Here’s my summary: regarding the virality of NFTs in the age of information, I feel like a crucial missing piece suddenly came out of nowhere. Those who ask why people buy NFTs are the type that questions the very act of buying art, while for those of us who regularly do that, NFTs are relatively easy to understand. I’ll say that art in the coming age of information has arrived. But of course, I sometimes feel wary that art has quickly become popular. 

Junya Yamamine (Yamamine): I stopped working for art museums around the beginning of the pandemic, and there was a phenomenon in which the number of Japanese art collectors suddenly increased. When it comes to the connection between the market and academia, not museums, art has partially become commodified while the base of art is supported and nurtured because of the birth of a new marketplace. Because society’s interest in it has increased, the anticipation of diversified works has become too high, which does cause some confusion. But I think people will become reasonable with time. 

I try to view NFTs objectively, and many people consult me, but all the practical things are yet to come. Instead of NFTs being a separate thing as they are now, I hope we’ll see a cycle of not dots but tangible actions so that they’ll merge with real-life contexts that were always there. 

Sputniko!: As an artist, I had always felt like something was missing in the art world. Today, more and more people discover and view my works online, and I work and communicate digitally more than otherwise. Until now, though, whenever I wanted to sell my artwork, everything happened in the traditional galleries and art fairs in the physical, offline world. I felt a little uncomfortable about that. So, I think “a crucial missing piece suddenly came out of nowhere” is an apt description. Like a sudden storm, NFTs emerged in 2021 and resolved all problems. 

Last fall, I sold “The Moonwalk Machine” at Shii-san’s SBI Art Auction, and it felt revolutionary. Like Yamamine-san says, the art world is in a period of chaos. Much like the dot-com bubble, an unknown entity came out of nowhere, and although there’s a lot of speculation, it was the missing piece. There’s no doubt that the way art exists will change in the future thanks to this new infrastructure where people could collect works online and exhibit them in a metaverse. I can’t speak to the current instability of the NFT market, but the internet has grown for sure. It hasn’t picked up in Japan yet, so compared to America, I feel like curators and artists alike are just getting started. It’s like we’re both waiting to see what will happen. I’m sure some artists and galleries don’t want to make mistakes, but I want to keep exploring. 

Shii: It was valuable for me to experience Spu-san’s mentality and be there when artists presented their works at the SBI Art Auction. I realized once again that people with a mentality like hers pave the way for the future. Spu-san has a cautious side and does a lot of research, but she also dares to take risks and make a move at the right time. 

Sputniko!: Thank you so much. Shii-san, you work with many artists and view art objectively, so I always wanted to talk to you about the circumstances surrounding art and NFTs. I’m also not sure about the word “risk”. I want to be careful and do my research, but I didn’t consider working in the NFT space as a risk. It was just a crucial decision.

Shii: I agree. 

Sputniko!: It doesn’t feel like I’m taking a risk. 

Shii: Innovator is the apt word. The commanding officer of making the leap.

Sputniko!: Right, you don’t know anything until you make the leap.

Shii: The first digital NFT we worked on was with Ryoji Ikeda-san. He’s not a part of the market and is uninterested in the NFT bubble, but when he saw the technological paradigm shift and said, “I want to take the plunge before everyone starts using NFTs,” I felt that he was very aware. There’s a feminist activist art collective called Pussy Riot. They gained attention because they raised funds for their activism by selling NFTs on Foundation, an NFT marketplace. Ikeda-san said he felt the potential of NFTs when he saw what Pussy Riot was doing, and I think that overlaps with what Spu-san does. I believe the foundation of NFTs could be built the more artists with discerning taste utilize NFTs. 

Sputniko!: I’ve always loved Pussy Riot. They’re a radical, feminist art collective and are also musicians. They’re cool. They recently launched Unicorn DAO, a DAO (decentralized autonomous organization) that supports women and LGBTQIA+ artists, and I became one of the curators. Right now, Pussy Riot is a central, symbolic figure among NFT artists, but they were previously quite distant from the conventional art market. 

Shii: They became famous after barging onto the field during the World Cup, right (laughs)? 

Sputniko!: I’ve been a fan of them since they were arrested for their anti-Putin performance in 2012, but perhaps the World Cup was when they became famous in Japan. Through Foundation, which you brought up, they raised funds by selling works and donated part of the profits to a shelter for women who are domestic violence survivors. In an interview, they said that artists with political statements are able to raise funds via NFTs. If some people are biased and think NFTs are just for business, I want to tell them that’s not the case.

Shii: If anything, it has a real anarchist essence. 

Yamamine: That hasn’t been acknowledged in Japan yet. Here, people picture the NFT bubble and think it’s tied to the economy within the art scene. I feel like that makes people feel unsure. But I see its potential. In terms of DAO and anarchism, an authoritarian structure preserves the art world, which determines the value and distribution of art. Overseas, buying and selling are at the core, so as someone with a background in filmmaking, I’ve felt that it’s difficult for artists working with social and political issues to thrive in the conventional art market.

Sputniko!: I’m so happy you understand (laughs)! 

Yamamine: There are many opportunities for artists because through anarchism, an ideology about being liberated from central authoritarian powers, people built a community and created an ecosystem. It’s great how it’s possible to make a community, but I hope more people in the country could see the precedents it took to get here. 

Sputniko!: Yeah. To share an example, Unicorn DAO was founded by a group of collectors who share a mission to collect and promote art by LGBTQIA+ and women artists as an antithesis to the patriarchal world of technology and crypto. I love all the artists supported by UnicornDAO. There’s an artist duo who creates art that looks like female genitalia with clay, and 200 of them are sold out now on OpenSea.

Shii: I like it. Maybe I should buy it. 

Sputniko!: UnicornDAO is trying to collect art from LGBTQIA+ and women artists to get more attention to their works and raise their value. Artists can make money from NFTs now, but it’s not like they’re trying to take advantage of the situation out of self-interest. If anything, they’re trying to distribute their profits. 

Shii: Is the mechanism like, you use the DAO to raise funds and decide what to buy by voting? 

Sputniko!: The members of the DAO decide what to buy. UnicornDAO believes if they buy art, the community could feel empowered. 

Yamamine: I didn’t know there were different types of NFT artists like those who make physical ceramic art or activists who perform.

Sputniko!: I also wonder what sort of people will join the DAO. I want more people to know about this movement. 

Creating a space where people can get together through common interests regardless of region 

Yamamine: I want to ask your thoughts, Shii-san. I assume many socially significant artists had a tough time selling their works upon creating a community. They couldn’t carve out their own space. We should be talking about people like that. Artists at the Venice Biennale may have the ability to say something about society, but it’s hard for them to sell their work within the market, so things were hard for a while. It looks like they buy NFTs to share a narrative and space where they could get together with others with similar values, thoughts, and attitudes. I think that’s where artists who have struggled thus far will emerge. Also, thanks to the digitalization of cultural assets, we’re bound to be able to preserve tangible things. I can see so much potential, like NFTs being the solution to many things. It’s about how we view DAOs, NFTs, and metaverses and what we can do within those relationships. 

Shii: I think there can be a scenario where artworks unappreciated by the marketplace could be at the forefront through DAOs and metaverses. I spoke about how NFTs came onto the scene as a solution to the information society. The trigger was covid. I touched on that first because although NFTs are just a form of technology, what you valorize is imperative. I believe you can create a rhizomatic society where people appreciate diversity in an information society. But looking at the data about the art market pre-covid, close to 80% of sold art by Black artists was by Jean-Michel Basquiat, and I heard that if Yayoi Kusama weren’t a woman, her art would’ve been dealt at a different price. 

This is slightly off-topic, but an intelligent person predicted that a massive social issue related to discrimination would occur right after the covid breakout. Just like they predicted, the BLM movement happened. After that, a Black person became the chief curator of the Guggenheim, and people started talking about whether they were off the hook if they hired Black people for everything. This applies to #metoo, but anti-discrimination movements are closely related to an information society. This information society progressed due to covid, and the social structure, which has a synergetic relationship, made itself visible too. What I thought was interesting in this sort of situation is CryptoPunks. 60% of the 10,000 characters are male, and 40% are women. Nine characters are AlienPunks, and a few have hats on. Unlike the real world, in the CryptoPunks ecosystem, the value of the male characters is the lowest even though they’re the majority. That way of thinking stands out on DAOs. Rare things, not popular things, are seen as valuable and powerful. I reached out to Spu-san when we were having our first NFT sale at the SBI Art Auction because it was when international male entrepreneurs were going to the moon. When I was organizing the event, I felt that “The Moonwalk Machine,” in which Sputniko! leaves her footprints behind on the moon, was in tune with the times. More than anything, she matched the statement of the sale. Her post-human ideology was timely too. Even before NFTs became popular, Spu-san was a good match because there was an underlying potential of NFTs in her concepts. That struck me. In general, I think her kind of world goes well with DAOs, NFTs, and metaverses. 

Yamamine: There is the issue of language, but communities that can speak English could create a space where like-minded people could get together beyond national borders. It’s interesting to cross countries, regions, fields, and other boundaries we couldn’t prior. We can expect the economy to follow. 

Sputniko!: Until today, patrons of the arts and culture were the rich during times like the Renaissance and Industrial Revolution. These past two decades have been the era of technological innovation, but I think there wasn’t a sufficient infrastructure for tech billionaires to support the arts. NFT feels like a platform that solves some of that problem. But from the perspective of the conventional art world, it might seem like the tech world has come to exploit it. Platforms like Napster, YouTube and Spotify made the previously CD-dominant music industry struggle. The new technology of NFT might create a paradigm shift in the art world. 

Junya Yamamine
Junya Yamamine is a curator and representative director of NYAW. After working as a curator at the Tokyo Photographic Art Museum, the 21st Century of Contemporary Art, Kanazawa, and Art Tower Mito’s Contemporary Art Center, Junya Yamamine became involved in managing projects for ANB Tokyo in Roppongi. He also organizes and oversees the Meet Your Art Festival by Avex and art projects by the media and corporations. Yamamine’s notable exhibitions include The World Began without the Human Race and It Will End without It. (National Taiwan Museum of Fine Arts).

Taihei Shii
Contemporary artist. Representative director of Startbahn and Art Beat. Taihei Shii spent his childhood in America. He graduated from the University of Tokyo Graduate School of Interdisciplinary Information Studies. After completing the Tama Art University Painting Course in 2001, Shii began creating art based on the concept of art in the age of the internet. He shows his works at galleries and museums today. He conceptualized Startbahn in 2006, earned a patent in the US, and launched it while being in grad school. Shii became the representative director of Art Beat in 2020 and has given speeches at various lectures and panel discussions.

Sputniko!
Sputniko! is a multi-media artist and filmmaker creating works on themes of technology, gender and feminism. Her work has been exhibited at the MoMA, Centre-Pompidou Metz, V&A, the Cooper Hewitt, Mori Art Museum, and she was awarded Vogue Japan Woman of the Year in 2013. Sputniko! taught at the MIT Media Lab as an Assistant Professor and was the director of Design Fiction Group from 2013 to 2017. She is currently an Associate Professor at the Tokyo University of Arts. Sputniko! has also been selected as a TED Fellow and gave her TED Fellow talk in TED 2019. She was also selected as one of the Young Global Leaders by the World Economic Forum and moderated sessions in Davos 2020. To date, she has had her works included in the permanent collections of museums such as the Victoria and Albert Museum (UK) and the 21st Century Museum of Contemporary Art, Kanazawa (Japan).

Translation Lena Grace Suda

The post The missing piece that NFTs brought to the art world: a conversation between Junya Yamamine, Taihei Shii, and Sputniko! (part I) appeared first on TOKION - Cutting edge culture and fashion information.

The Hong Kong protests were reported daily around the world in 2019. It was the largest series of demonstrations since the return of Hong Kong to the People’s Republic of China in 1997, with the aim of achieving five goals, the “Five demands, not one less” including the “complete withdrawal of the extradition bill from the legislative process” and the “implementation of universal suffrage”. As the clashes between citizens and police forces intensified day by day, photographer Michiko Kiseki continued to shoot the demonstrations in which protesters clashed with police and the young people who took action and appealed for freedom and democracy. Kiseki held a photo exhibition named “#まずは知るだけでいい展 [#You only need to know first]” in December 2019 to show the truth she had seen during her eight-month long stay in Hong Kong, which received a great response. She also published a photo book “VOICE Hong Kong 2019” in February this year.

Although these are reportage photos, they convey the reality of Hong Kong in a different approach from that of documentary or news photography, as is typical of Kiseki, who has been photographing famous musicians and the world of entertainment. Why did she suddenly start photographing Hong Kong protests? We sought the answer through Kiseki’s words and her powerful body of works, which definitely makes us think, “All you have to do first is to know.”

As I repeatedly asked myself why I was taking photographs, I realized that Hong Kong, my roots, was the place for me then.

–What are the components of your solo exhibition “The Place” in Kyoto, which opens on April 28?

Michiko Kiseki (Kiseki): I am planning to exhibit photographs taken in Hong Kong in 2019 and 2021, as well as a works that were shown at Gallery Niepce in February. I’m still working on the layout, though. Until now, I have not been able to exhibit the photos taken in 2017 in the other parts of Japan than Tokyo, so I made the decision this time because it will be during the KYOTOGRAPHIE, which is a perfect timing.

— There were two kinds of speculation on the internet as to why you decided to stay in Hong Kong for an extended period of time to do a series of shootings in Hong Kong in 2019. One was that you had some kind of change of heart while working on fashion and commercial photography in Japan, and the other was that you wanted to re-examine yourself.

Kiseki: Both of them are interrelated. I used to live in Hong Kong, but I grew up and became a freelance photographer without recalling it because it was a memory from my childhood. Thankfully, I was getting a good amount of work, but there was a time when I lost my mental balance while working so busily. I kept vaguely thinking about my work, my relationships, and repeatedly asking myself what I was doing photography for. Around that time, in 2016, I accompanied an artist on a tour of Hong Kong, and when I walked the streets alone during my free time, memories of my past living in Hong Kong came back to me suddenly. That made me want to remember what kind of place I lived and how I grew up, so I went back to Hong Kong in 2017 to take photos.

–Was that an extended stay?

Kiseki: Three days and two nights. It was just a light-hearted idea to go there for now.

— Was it like going to your alma mater casually when you went back to your hometown, or did you suddenly have a question when you had achieved some results in your career?

Kiseki: Yes, I didn’t go looking for answers to the questions I felt in 2016, but I guess I wanted to fill a void in my heart with something. In fact, I got a tremendous amount of power from the local people when I was shooting all over the city. Despite Hong Kong being an economic powerhouse, there is a clear gap between the rich and the poor. Even so, I was inspired by the vitality of all the people. When I began to wonder what these people are feeling in their lives, I realized how small my problems are and how small the world I had been living in is. The following year, in 2018, I was more motivated to shoot more closely into their lives, so I went to Hong Kong again. As a result, I decided to take at least six months off work and stay in Hong Kong, because I didn’t think a short stay would clear everything up. In that sense, it was due to both a change of heart and a motivation to re-examine myself.

–I visited Hong Kong for the first time in 1998, and I remember being similarly surprised by the gap between the rich and the poor. People living in high-rise apartments and people selling meatballs and other food at street stalls were all living in the same area. But what was impressive to me was that everyone was so powerful, and I could feel their “lives” in the raw.

Kiseki: I had the same feeling. At that time, I was devasted, thinking that I wanted to end my life, but I realized that it was no big deal.

— I’m sure there were many reasons for the inner conflict you had, but what exactly were they?

Kiseki: Everything and anything (laughs). It related to work and relationships. I really enjoyed shooting of the live shows and the artist photo shoots. But sometimes people would say, “Any kind of photo is okay as long as subjects are captured,” which stressed me out and made me vaguely wondered if it didn’t have to be me. I guess it was also due to a tight schedule I had at the time.

–Being freelance is not “free,” is it?

Kiseki: Yes, it really is (laughs). So, I had a moment when I felt like I was doing the work with no passion. I had always loved photography, which is why I became a photographer. Although I was not necessarily able to give 100% to everything I did, but I had a strong feeling of hesitation toward “doing something without passion,” and above all, it was disrespectful to the artists.

–Triggered by the feeling “I don’t want to hate the photographs I have been faithfully dealing with,” you reset everything once and settled yourself down in Hong Kong to renew yourself mentally, right?

Kiseki: Yes, that’s right. There were also a lot of constraints, and it is true that it was a time when those feelings were piling up.

The meaning of taking photographs has changed at the protest in Sheung Wan

–You went to Hong Kong in 2019 to get rid of those feelings. According to the official announcement, the Hong Kong Protests started on June 9, 2019, how did you spend that day?

Kiseki: I was in Tokyo that day. I was somewhat aware of the situation in Hong Kong through the news, including the enactment of the “Fugitive Offenders and Mutual Legal Assistance in Criminal Matters Legislation,” but I was extremely busy with work arrangements and visa issues before I left Japan for six months, so I was not able to do any solid research. I knew that I had to go there and see it with my own eyes.

–I thought that the demonstrations became more active around the time you started shooting.

Kiseki: I entered Hong Kong about a month after the protests started, but there is no doubt that it was a chaotic situation. Immediately after my arrival, I was attended by a private local guide in Hong Kong. As we walked and talked, I gradually got a grasp of the reality of the situation, and then he asked me, “Would you like to come to the demonstration on Sunday?” By witnessing it firsthand, I gradually understood what was going on.

— At the time, could you have anticipated that you would be taking such in-depth photos of the demonstrations?

Kiseki: The demonstrations were peaceful in the early days after we arrived, but the situation was becoming serious day by the day. The first demonstration I saw was in Sheung Wan on July 28, and at that point it had become quite radicalized. Tear-gas granades were flying everywhere, and the area was a complete mess. I witnessed young people being beaten and arrested right in front of me. Anyway, it was shocking. The smoke from the tear gas made it difficult for me to breathe, and I had to be rescued by an aid person. But I started working on more in-depth shooting.

–In that context, you were unexpectedly plunged alone into a serious vortex of protests. But when I read the text on the belly band of the photo book VOICE Hong Kong 2019, I got the impression that you were taking photographs in response to the words you heard from the people you met. Naturally, the tension must have increased, and I think the meaning of shooting changed as well. Am I right?

Kiseki: I myself was born and raised abroad, but I don’t speak English. So during my stay, I went to an English language school in the morning and went out to shoot demonstrations in the afternoon. But with the language barrier and the frequent demonstrations, the first month was a totally mess.

The demonstration in Wan Chai on August 31st was the one that changed my mind about shooting. I will never forget it. At that night, in the midst of many police officers and protesters, a boy next to me grabbed my arm just as he was being arrested and shouted, “Help!” But I couldn’t do anything. At that time, journalists had to ask for names and Hong Kong IDs of those who were arrested to see if any of those people would be later released. I really felt my helplessness. All I could do was to shoot and transmit the information, but since then I started to wonder what it would bring and what help it would lead to. While I was asking around to Japanese media and acquaintances, a friend of mine from elementary school sent out an SOS. At first, the two of us spread the hashtag “#まずは知るだけでいい [#You only need to know first]” on Twitter and opened a new Instagram account to pick up the words of each and every person in the area.

–What were you doing during the clashes between protesters and police at the Hong Kong Polytechnic University on November 17, 2019?

Kiseki: There was a big clash at CU before that, and I couldn’t go because I was far from home, but I had heard some Hong Kong Polytechnic University students saying that they would defend their university, so I knew something was going to happen. The demonstration was a standoff with the police force, bordered by a bridge in front of the University, and when a fire bottle thrown by one student hit an armored car and caught fire, the Hong Kong police issued an order to arrest everyone on campus for “riot” charges. I didn’t understand the language and local information was not immediately available to me, but I received tons of calls and emails from friends telling me to leave immediately if I was at the Polytechnic University, so I rushed to the exit and was released after the most rigorous checks imaginable.

Deep-rooted social issues and complexly intertwined local sentiments.

— It’s an unbelievable situation. In your photo book, I think what you want to convey is tied to the words of the local people, what kind of interactions did you have with them?

Kiseki: There were not always violent clashes going on in the streets or on campus, so I walked around and talked to all kinds of people and picked up their words.

–Are there people with whom you have become more connected because of the demonstrations?

Kiseki: Most of my friends in Hong Kong now are people I met at the demonstration, and we still keep in touch.

— Can you tell us about the most dangerous moment during your stay in Hong Kong?

Kiseki: When I was leaving the Hong Kong Polytechnic University, I was worried that I might be detained and when I was hit by a tear-gas granade.

–The fear of being detained is immeasurable.

Kiseki: Yeah, I strongly felt my life was in danger.

–Although you have lived in Hong Kong for some time, you were not a party to this issue, were you? I wondered what motivated you.

Kiseki: I saw young people being beaten up and arrested, which is something I have never seen before, but the actual problem is much deeper than that. In addition to their harsh living conditions, as exemplified by their housing and labor problems, they also complained about the lack of respect for their identity as Hong Kong people. I don’t want you to get me wrong, but as a photographer, I honestly wanted to know the background of this issue and my curiosity was aroused. I also feel that I was motivated by their feelings more than that.

Another thing was that I was confronted with the fact that I had been living in ignorance and indifference until then. While I felt a stronger desire for Japanese people to know about Hong Kong, I also felt that I had found the significance of photographing the people living in Hong Kong who are doing their best to preserve their lives.

“I don’t want to give out specific answer for photography, and I still want to take photographs that are not consumed.”

–I know your photo book the STRONG will in Hong Kong is all in color. Could you tell us why VOICE Hong Kong 2019 is in black-and-white?

Kiseki: I had made all my works in black and white except for client work, so the STRONG will in Hong Kong is my first photo book in color. The reason is simply related to the power of information transmission that color photography has. In contrast to the documentary aspect of former, in which I wanted to convey the current situation, I think of VOICE Hong Kong 2019 as “memory.” Photography is a medium that can contain both memory and record, and recently I feel that color photographs are about recording and black-and-white photographs are about memories. I chose to use black-and-white for all the photographs to preserve the memory of Hong Kong, an event that happened two years ago. Because black-and-white photographs contain less information, there is more room for the viewer to ponder, pause, and imagine. I can also learn from their imagination. In that sense, I think my experience in Hong Kong even changed my expression as a photographer. Color is better for those who want to convey detailed information accurately, but in this work, I did not want to give an answer as much as possible. I would be happy if, as you look at the photos, you could imagine the color and location of something in the images, rather than the story completing itself on its own. I want people to just get to know it first, and beyond that, I want to leave it up to the viewer to decide what he or she thinks about it.

–You also stayed in Hong Kong at the end of 2021. What kind of changes did you feel from the photographer’s point of view after COVID-19?

Kiseki: Everything that we couldn’t see had changed. Of course there were changes due to the impact of COVID, but I hear that there are people living in Hong Kong now who cannot move overseas due to economic or language reasons. I was overwhelmed by the power of people who remained positive while accepting the current situation.

–The text in the photo book says “struggling.” Is this word “struggling” synonymous with the “living”?

Kiseki: I think so. However, it is not literally “fighting.” There are various non-violent ways to struggle. There are those who use words to struggle against something, and there are those who struggle for enduring something without showing it.

–Anyway, continuing to live is also a struggle, isn’t it?

Kiseki: It really is. In that sense, that sort of realization must have been the source of the power of the local people I felt in 2016 and 2017.

–Like the issues in Ukraine, I think that even if people take action against unreasonable power, it is mostly the citizens who suffer the backlash or have a hard time. What do you think photography can do and what do you think is the power of photography under such circumstances?

Kiseki: First of all, what I felt from my experience in Hong Kong is that history repeats itself. I think it is important to archive the facts and pass them on to future generations. While there are a variety of mediums with different characteristics as a means of conveying information, photography should function as a medium that remains in the memory without being consumed, rather than transmitting vast amounts of information one-sidedly.

–Video footages can be arranged in arbitrary sequences, making it easy for the creator to guide the viewer. Photographs, on the other hand, capture what happened in a moment as it happened. You can make it arbitrary by adding captions, so it’s basically the viewer’s thing. In the sense that it can show the facts of the past, I think photography is an excellent medium.

Kiseki: Photography has a documentary aspect, but I think memory is a major factor of it. Various people imagine the thoughts of the subjects, and the memories from when I photographed them overlap with them. When I talk with visitors to my exhibitions, I feel helpless, but I am also encouraged by the fact that I was able to give them an opportunity to think about such things. I believe that the repetition of these acts is a meaningful experience for me.

–What kind of activities do you hope to pursue in the future?

Kiseki: I will probably shoot in the context of commercials, documentaries, and journalism, and there may be food and animal photography there. A lot of my past client work has been music-related, and I have a lot of experience being helped by music. Music is great. Certainly, my experience in Hong Kong may have been a turning point for me as a photographer, but it increased my experience in photography up to that point. I still don’t want to give out specific answer for photography, and I still want to take photographs that are not “consumed.” Also, I don’t want to categorize my photos into any kind of types. I want to be honest about my original desire as a photographer, which is to take pictures of what I want to take pictures of.

Michiko Kiseki
Born in Belgium, Kiseki later spent time in Hong Kong and France. Graduated from Nihon University College of Art, Department of Photography, she worked at a photography studio and as an assistant before going independent. She has worked as a portrait photographer for various artists including Brahman, The Yellow Monkey, and Sonar Pocket. For 8 months from July 2019, she stayed in Hong Kong to work on her series of works, and in February 2022, she published a photo book VOICE Hong Kong 2019, which captures a series of protests that continued for about 6 months, triggered by the proposed amendment of the ” Fugitive Offenders and Mutual Legal Assistance in Criminal Matters Legislation,” and the people living there. Since returning to Japan, she has continued her activities as a freelance photographer, focusing on music and documentary photography.
www.kisekimichiko.com/

Photography Michiko Kiseki
Interview Hiroyuki Watanabe

■VOICE Hong Kong 2019
A photo book by photographer Michiko Kiseki that captures the frontlines of Hong Kong protests in 2019 and the people living there. Price: ¥6,600.
www.kisekimichiko.com/shop

■The place
Dates: April 28 – May 8, 2022
Venue: Gallery Main
Address: 2F, 543 Shimourokogata-cho, Gojo-agaru, Fuyacho-dori, Shimogyo-ku, Kyoto-shi, Kyoto
Hours: 13:00-19:00 (18:00 on the last day)
Official website: https://gallerymain.com/exhibiton_michikokiseki_2022/

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