■Mar, 1, 2017 



赤石隆明 Takaaki Akashi

Waste Park


2017. 03.05 Sun. – 04.02 Sun.

Talk event: 3.5 Sun. 16:00-17:30
Opening reception: 3.5 Sun. 18:00-20:00

G/P gallery is pleased to announce Takaaki Akaishi’s solo exhibition “Waste Park” from March 5th 2017. Akaishi garnered attention from his 39th Kimura Ihei Photo Award (2014) nomination and “Aichi Triennale 2016.” He is held in regard as one of the artists challenging the photographic medium – his work injects matter into the conventional layers in photography, and he is known for updating his works with other media.

From Akaishi’s earliest work he has incorporated photographs three-dimensionally into the exhibition space, as well as the work of friends into his own. In addition, for his solo exhibition “UBRM#000.** (2015) he captured a photograph his own artbook “UNBROKEN ROOM” (2013), which was reproduced by Akaishi’s two friends at his request. He presents works that ask questions about the combination of images, their connections, and the relationships between themselves and others.

This exhibition is a composition that provides an overarching look at the project “Waste Park” which began in 2010. Starting from a Red Stone (Power Stone), which was a gift from a friend, “Waste Park” is Akaishi’s attempt to keep updating his own work by repeating the conversion of images created regardless of genre, photo, sculpture, and performance, among others. It features a performance (2011) of exhibiting and destroying polygonal concrete lumps imitating the shape of Power Stone, a mass production of cushions (2012~) produced with fabric that transcribes the record of the performance, and “Flimsy Stele”(2015), where he projected several combinations of images in a pattern of polyhedrons on a stretch film with more than a hundred variations. In these projects, while shifting depending on the creative environment and the conditions of the artist, Akaishi make forms change and endure through persistent repetition. The installation presented at Aichi Triennale 2016 has been transformed into an enormous two-meter cushion, and a new work on the preservation of this installation will also be exhibited.

Continuity and Sociality in the Photographic Work of Takaaki Akaishi
Toshikatsu Omori (Art critic)

Since his early days as a student at Tokyo Zokei University, Takaaki Akaishi has been pursuing activities in the realm of photography under the influence of the likes of Masafumi Sanai and Shigeo Gocho. He would create works in which he emphasized the planar parts of photographs as solid objects, or amplified images by having someone else make copies of photographs, which he then assembled in installations and photographed again. His approach has been conceptual and practical first and last. What I can say for the moment about his creative work is that it constantly takes place against backgrounds defined by the influence of mobile devices on memory and visual environments, co-operation with others, or the institutional structure and circulation of art. Within such practice, what does the transit from images to spaces – by treating photographs as mediating agents – mean?

 Artist Hito Steyerl claims in her recent discourse on photography that the desire for a ”transition” from images to real spaces is something that was related to the process of ”primitive accumulation” in the post-cold war capitalist society. Simply put, this means that the political trends aiming at liberation from oppression and a reinforcement of labor unions up until the 1980s had ebbed away, and society had shifted to a freelance, ”project” oriented working style. It is a precarious contemporary labor society that has been referred to as a “connectionist world” (Chiapello/Boltanski) of sorts as it goes from one project to the next. Needless to say, the explosive spread of the Internet in the 1990s was a factor that further spurred this development. Such kind of social environment is described as “cognitarian”, which is in one way or another reminiscent of an artist’s work. In other words, there is something about the stance of an artist (or photographer) who intermittently builds his or her career by participating in exhibitions and art projects that is essentially similar to the fluid state of labor and employment in contemporary society.

 Akaishi’s artistic perception is manifested in his practice exposing such turnabouts in labor, human relationships and visual culture in the post-cold war society in his repeated, thoroughly practical activities (updating his works through multiple reproduction/photographing) without any superficial concepts. For example, he exhibits cushions made of cloth printed with images of his previous photographic works (or subsequent photographs of those). Being themselves “photographs” of sorts, these cushions are sent back to the artist’s atelier or private room, where they pile up after the exhibitions. Akaishi stores them in futon vacuum storage bags, suspends them from the ceiling, or sends them to friends (all for space-saving reasons). In addition, he photographs these physical objects once again – albeit not for documentary purposes but considering their aesthetic qualities. Through such actions, Akaishi seems to be highlighting the essential problems of labor hidden in today’s cognitive capitalism, and the conflicting relationship between image and reality (whereas addressing the circulation and transportation of photographs as an immediate subject is one aspect he also shares with Walead Beshty).

 An even more interesting aspect in Akaishi’s work is that, from a certain point it began to focus on the allegorical meaning of ”ishi” (stone, rock) and the forms that rock can assume. Having discovered the coincidental connection between his name (literally meaning “red stone”) and a fake red power stone he was given by a friend, Akaishi crushed the stone, and used concrete to model solid objects after those stone fragments. A video documenting the demolition process of these concrete works was subsequently made into new photographic works, and as an additional “strategic move” (the Japanese expression for which combines the characters for “cloth” and “stone”) in his continued endeavors, Akaishi further modified his material’s configuration into ”cloth” in the form of cushions. What is elemental here is that ”stone” is a matter that by composition couldn’t be any more different from ”liquid”. This is exactly the subject that Jeff Wall discusses in his Photography and Liquid Intelligence (1989). According to Wall, being ”incalculable” is one of the characteristics of the image in analogue photography, which is attributable to the ”liquid” nature of developing solution. Even though involving working with liquid materials for inkjet printing, the fluid nature of digital photography (as embodied by a camera’s battery) on the other hand is absolutely based on ”solid” (dried) materials. In 2011, Akaishi was already addressing this non-liquid digital quality in a prophetic manner in his ”stone” motifs.

 This exhibition is a structural display of the continuity of Akaishi’s style creating works that transform into other works. After cleaning large cushion works exhibited at the Aichi Triennale 2016 in a washing machine because they were covered with concrete dust, Akaishi realized that the dust still wasn’t perfectly washed off, and eventually took this process a step further for this exhibition. Here the relationship between “liquidness” and “solidness” in photography that Wall pointed out is complicatedly shifted back and forth through the metaphors of laundry and dust. Keenly framing the quality of analogue and digital photography through spatial representation, Akaishi is one artist/photographer in the Japanese art scene today who continuously engages in highly unique artistic practice, and whose future activities promise to be all the more exciting. (Translated by Andreas Christian Stuhlmann)

G/P gallery では、赤石隆明の個展「Waste Park」を開催いたします。

初期の頃より、写真を立体や展示空間へと展開させ、友人の作品を自作に取り込むほか、2015年の個展「UBRM#000.**」では、2人の友人に依頼した自身の写真集「UNBROKEN ROOM」(2013年)の模写をカメラで再撮し、写真作品として展示するなど、イメージの組み合わせや結びつき、そして自他との関係性を問うような作品を発表してきました。

本展では、2010年より始めたプロジェクト「Waste Park」が俯瞰できるような展示構成となっています。「Waste Park」は、友人よりプレゼントされた赤い石(パワースートン)を起点に、写真、立体、パフォーマンスなどジャンルを問わず作り出したイメージの変換を繰り返すことで、自作をアップデートし続ける試みです。パワーストーンの形を模造した多面体のコンクリートの塊を展示し破壊するというパフォーマンス(2011年)、これらの記録写真を転写した布で大量生産したクッション(2012年〜)、多面体の組み合わせを数パターン撮影し、ストレッチフィルムにプロジェクションした100以上のバリエーションからなる「Flimsy Stele」(2015年〜)にみられるように、作家の制作環境や条件に左右されながらも形態を変化させ、執拗な反覆によって増殖を持続させています。「あいちにトリエナーレ2016」で発表したインスターレションでは、2メートルにもおよぶ巨大なクッションへと変貌と遂げており、同作の保存を問題にした新作も展示予定です。ぜひこの機会にご高覧ください。







1985年、静岡県生まれ。東京造形大学大学院造形研究科美術研究領域修了。主な個展に「UBRM#000.**」(G/P gallery、東京、2015)、「UNBROKEN ROOM」(G/P gallery、東京、2013)、 「Hyperplasia」(G/P + g3/gallery、東京、2010)。主なグループ展に「あいちトリエンナーレ 2016 コラムプロジェクト トランスディメンションーイメージの未来形」(岡崎シビコ、愛知、 2016)「漂流 – 安部公房へのオマージュ/写真とヴォイアリズム」(G/Pgallery Shinonome、東京、2016)「漂流 – ミシェル・ウェルベック『地図と領土』と写真と」(G/P + g3/gallery、東京、 2014) 、「国立奥多摩美術館- 13日間のプレミアムな漂流展」(国立奥多摩美術館、 東京、2014)など。2013年に写真集『UNBROKEN ROOM』(artbeat publishers)を出版。2011年「TOKYO FRONTLINE PHOTO AWARD」グランプリ、2010年「第 33 回キヤノン写真新世紀」佳作(佐内正史選)。シャーロット・コットン著『写真は魔術』(光村推古書院、2016)に紹介されるなど、国内外から注目される。


赤石隆明「Waste Park」

会期:2017年3月5日(日)-4月2日(日)12:00-20:00 月休

会場:G/Pgallery 恵比寿(東京都渋谷区恵比寿1-18-4 NADiff A/P/A/R/T 2F TEL: 03-5422-9331)





モデレーター: 後藤繁雄(G/P gallery ディレクター)







■Feb, 25, 2016


on the flow Ⅲ
Daisuke Yokota + Takashi Kawashima + Takaaki Akaishi feat.Taro Komiya
“Homage to Abe Kōbō / Voyeurism of Photography”

横田大輔+川島崇志+赤石隆明 feat.小宮太郎

2016. 3.12 Sat. – 5.7 Sat.
G/P gallery Shinonome

G/P gallery Shinonomeでは、アーティスト・ユニット漂流による写真展「安部公房へのオマージュ/写真とヴォイアリズム」を開催いたします。漂流は、横田大輔と川島崇志、そして赤石隆明という今最も注目される3人の写真家が、「写真の拡張」をテーマに2012年から開催する「実験的な合同展」、3回目の展示となります。

後藤繁雄(G/P gallery ディレクター)

横田大輔+川島崇志+赤石隆明 feat.小宮太郎
会期:2016年3月12日(土)-5月7日(土) 日月祝休
会場:G/P gallery 東雲 (東京都江東区東雲2-9-13 TOLOT2F)

G/P gallery Shinonome presents photography exhibition ‘Homage to Abe Kōbō / Voyeurism of Photography,’ by artist unit ‘on the flow.’ Three photographers, Daisuke Yokota, Takashi Kawashima and Takaaki Akaishi who all have gained notable attention formed ‘on the flow.’ In 2012, they held an experimental group exhibition, which was about expansion of photography. This will be their third exhibition together.

The exhibition will invite Taro Komiya as the guest artist; together the artists will be inspired by the prominent Japanese novelist Abe Kōbō’s world as the background and approach the expansion of photography. Excellent contemporary novels at times have surpassed contemporary photography critics in giving us prophetic hints. As examples, Richard Powers’ Three Farmers on Their Way to a Dance, W.G. Sebald’s AUSTERLITZ, are all gifts concerning the power that photography holds.
In the previous ‘on the flow’ exhibition, Michel Houellebecq’s The Map and the Territory was referred to as the extension point in the curation. For the third ‘on the flow’ project, the Japanese contemporary novelist Abe Kōbō, who was close to receiving the Nobel prize but unfortunately passed away in the 90’s will be referred to in the context of the photography to come. In Abe Kōbō’s notable works, The Woman in the Dunes, Secret Rendezvous, and The Box Man, the themes are the line of vision (voyeurism) in a managed society, on the self and the others, illegitimacy, which he delivers strongly. He also took on photography and played synthesizer, conscious like a convinced criminal of the images he earned through the machines. The most important aspect, which he himself quotes, is that his novels are not self-expressions of the novelist by hiding the metaphor and forging. But the opposite where the others look at the subject and create, which is exactly the eerie power which photography posses!
In this ‘on the flow’ exhibition, it will pick up the issues submitted prophetically by Abe Kōbō and form it as the extension point for the photography to come. It will challenge and experiment the new possibility of photography.
Shigeo Goto, G/P gallery Director

<Exhibition Outline>
on the flow Ⅲ
Daisuke Yokota + Takashi Kawashima + Takaaki Akaishi feat.Taro Komiya
‘Homage to Abe Kōbō / Voyeurism of Photography’
Date: 2016. 3.12 Sat. – 5.7 Sat.
Location: G/P gallery Shinonome (2F 2-9-13 Shinonome Koto-ku Tokyo 135-0062 )
Cooperation:Kazuya Kondo, Shinochosha



■Feb, 2, 2016

2015年1月にG/P galleryでの個展『UBRM#000.**』の際に後藤繁雄さんに執筆いただいたテキストを掲載いたします。

For Takaaki Akaishi’s photography

From “UNBROKEN ROOM” to “UBRM#000.**”

Shigeo Goto

 写真は今、コンテンポラリーアートという分野において、 最もエキサイティングな分野である。それは写真がデジタル化によって、光のアート(フィルムと印画紙)から、大きな変化にさらされたことと強く関係している。写真が絵画とは根本的に異なり、機械が介在する「外」の芸術であるという始原を思い出させ、写真というアートフォームが根本から再編・新生されるチャンスを得ることになったのだ。また、web空間にイメージが高速で流出する中で、かえって写真がもっていた「モノ」としての性格が、写真に回帰したことも、事態を面白くしている大きな要因だろう。絵画は、すでに絵画というアートフォームの「内」へのレファレンスで出来上がるしかない限界に達している。それに対し、写真は「写真でないもの」という「外」へ向け、 写真というアートフォームをやみくもに拡張しようとする。当然のこと、保守的な立場の人々からは、「それは写真なんかじゃない」という声があがるが、その批判は、見当ちがいもはなはだしいといわざるをえない。メディアの拡張自体がクリティカリティの産物だという認識のシフトがなければ、対応できないだろう。写真メディアがPCや、 新たなマテリアルやモノとクロッシングし、衝突すること。 そのエクスペリメンタルこそが、新しいクリティカリティとしての写真を拓くのだ。写真の拡張を誰も止めることなどできないのである。

赤石隆明は、この大変動の中で、きわめて意識的な作家だ。彼は90年代的な写真(例えばホンマタカシ、佐内正史、 安村崇ら)からスタートし、今もそのテイストを愛してはいる。しかし、彼が先行者から受けた最も重要なことは、テイスト以上に、世界はもはや、すでに新しくなく、写真というアウトプットのみが世界を新しくできるという発見・発明であった。新世紀には、もはや新しさはないという発見。それはネガティブでもニヒルでもなく、すがすがしいまでのマンネリズムに、赤石をかりたてる。写真をつくるために世界をさまようのではなく、写真が唯一、写真 =世界を産み出す装置であるという認識。その時、写真は光や視覚の「発見」の道具というより「変換」の道具となったのである。

赤石は、友人がプレゼントしてくれた「赤いパワーストー ン」の破片が、自身の名前(赤い石)に偶然一致することに興味を持ち、「変換」のモチーフにすることに出会う。 考えついたのでなく、まさに、出会ったのだ。パワーストー ンの破片を写真に撮るだけではなく、オブジェとしてつくり、そのオブジェを撮り、壊し、写真=世界を増殖・拡張させる。写真集『UNBROKEN ROOM』に付録としてつけられた、「UPDATE HISTORY」は、この10年間、赤石の写真がどのような「変換」によって生み出されたかという系譜図であった。この作業は、「視覚の系譜図」と思われがちだが、実はある種のコンセプチュアル・アートの成果と言うべきだと思われる。例えば、初期のコンセプチュアル・アートにおいて、コスースらが、「コトバとモノ」「文字と意味」などの「関係性」を問題にしたことと似ている。ここにおいては、 極論すれば「関係性」という関数こそが作品と言えるものであった。赤石の写真においても、写されているモノには意味がなく、「変換」こそが作品であり、そこにおいて「拡張される写真」と言ってよいと思われる。

今回の個展『UBRM#000.**』は、写真集『UNBROKEN ROOM』を制作した時の「束見本」(写真集と同じサイズで同じ紙でできている)を、作風のちがう2人のペインターに発注し、自分の写真集の写真と同じ大きさ、同じレイアウトで模写させることから始まっている。そして赤石のねらいは、描かれたページを再度、撮影(写真化)し、また「新たな写真」を増殖させるという作業である。作品 『UBRM#000.**』は『UNBROKEN ROOM』の次なる「変換」形として「UPDATEされている」というわけなのだ。ここにおいてあきらかなように、赤石の写真は昨今のダニエル・ゴードンやルーカス・ブラロックの、「写真の立体化」=「拡張化」とは、ずい分「似て非なるもの」に向かっていると言ってよい。この意味において、赤石隆明の作品の重要さ、ユニークさが逆に浮かび上がってくるだろう。また今回の展覧会では出展されていないが、国立多摩美術館で発表された、写真がプリントされた40メートルの布を編んでつくった「網」状の作品なども、また異なる「変換」のヴァージョンとして注目すべき作品だと指摘しておきたい。さて、このような写真の「変換の旅」がどこへ向かっていくのか? それを問うても、赤石は人ごとのように「どこでしょうね?」と軽く笑い、そして次の瞬間、虚空をみつめ、シリアスと明るさが入り交じった表情で、また写真についての次なる作業にとりかかるのにちがいない。


Today, photography would be one of the most exciting areas in the context of contemporary art. It is intimately linked to a drastic change that photography has freed itself from art of light with film and developing paper owing to the digitalization. This change reminded us of the fact that photography is originally an art of “outside”,so to speak, which needs a machine as a medium, and also gave photography a chance to be primary rebuilt or reborn. What makes the situation even more interesting is that photography regained its original character as an “object” due to the today’s circumstances surrounding the Internet in which the images flows out in online space immediately.Paintings, for example, have already reached its limit in a sense that they can only exist as references of the history of itself, in other words, “inside” of its art form.Photography, on the other hand, is wildly trying to expand itself even to a field of non-photography as an “outside”. I would have to emphasize the irrelevance of conservative but inevitable criticism to these attempts like “it is not at all photography”. You cannot deal with this drastic change without the realization that expansion of the media is itself a product of criticality. It is the intersection and clash between photo-media and PC and other new materials that opens up a new horizon of photography as a new criticality. Nobody can stop this expansion of photography.

Above all, Takaaki Akaishi is a quite sensical artist in the midst of upheaval on photography. He started photography by following the styles of Japanese 90’s photography represented by the photographers like Takashi Homma, Masafumi Sanai and Takashi Yasumura and he still loves them. However, the most important thing he got from them is not the way they take photographs but the discovery that the world is no longer a new and nothing but photography can renew it.The discovery that there is no longer a novelty in the new century does not drive him into negativism or nihilism but total mannerism. He does not wander the world around him to create photographs but he got a realization that photographs are the only mechanisms that can reproduce photographs as a world. In that sense,photography is not an implement for “finding” things like the light or vision but rather one for “transforming” them.

One day, Akaishi was given a broken piece of “red power stone” (a stone with a healing power) by a friend and got interested in the fact that the name of this stone coincides with his own name (Aka-ishi means Red-stone in Japanese). This experience let him come across this piece of stone as a motif of his photo-study of “transformation”. He literally came across it, not came up with it.As well as shooting this piece of stone itself, he made objects from it to shoot and destroyed them later. For him, it is an act of cultivating or expanding photographs as a world. The appendix called “UPDATE HISTORY”attached with his photobook “UNBROKEN ROOM” was a genealogy documenting how his photographs have been produced by the “transformation” in a last decade.

This work tends to be seen as the “genealogy of visual perceptions” but in fact would be a result of a sort of conceptual art. For instance, it would be of a work quite similar to those of American conceptual artist Joseph Kosuth that questioned “relation” between things like “words and things” and “letters and meaning”in the early stage of conceptual art. Here, one could go so far as to say that it was the “relation” as a function that let the objects exist as an artwork.

Same as Kosuth’s works, it is not too much to say that the shot objects in Akaishi’s photo work do not have any meaning but the act of “transformation” is a core of his work which would make itself a “expanded photograph”. The photo exhibition “UBRM#000.** ” was started from when he gave a copies of dummy of his photobook “UNBROKEN ROOM”, which was made in the same size and with the same papers as the real one,to each of two different painters and asked them to copy out all the photographs in the same size and layout in it.The aim of this project for him was to re-photograph these paintings and to allow the “new photographs”grow again. Therefore, the “UBRM#000.**” is an updated version of “UNBROKEN ROOM” as a next form of “transformation”.

As you can see, Akaishi’s work goes in a similar but quite different direction as the works by Daniel Gordon and Lucas Blalock do, which can be characterized as “multilayerization of photographs”=”expansion of photographs”. This fact would inversely reveal the importance and the uniqueness of Akaishi’s work.In addition, I would like to note that his reticular work recently installed in National Museum of Art, Okutama, is also remarkable as a different version of the work of “transformation”, which had been knitted out of 40-meter-textile on which his photographs were printed, not exhibited in this exhibition unfortunately though. So, where is this “journey of transformation” of photography going? Even If we ask him so, he will just smile unconcernedly and say, “I don’t know, where do you think? ” and next will gaze into nothing. Then he must be beginning his next experiment in photography with a look of seriousness and lightness.





2014年9月5日(金)20:15 – 21:45
登壇者:横田大輔 × 川島崇志 × 赤石隆明 × 野崎歓(フランス文学者/東京大学文学部教授)× 後藤繁雄(編集者/京都造形芸術大学教授/G/P gallery ディレクター)




Optional Art Activity: summer school
2015年7月17日(金) - 7月31日(金)
— summer schoolとは、空間的・時間的に限定された場である。
この未完の場に集められた思考の断片は、それぞれの仕方で読まれ、語られ、運ばれるだろう。 —
この企画は参加者による普段の思考や実践から生まれたアイディアや、未だ実現されていないアイディアを、展覧会という空間 を通じて応用・実践する企画です。会場内にはアイディアに基づいたシルクスクリーンが展示され、観客が思い思いに印刷し持ち帰ることがで きます。「サマー スクール」というタイトルには、「スクール」という教育的・制度的な枠組みから逸脱した場における思考や実践の可能性が含まれており、本企画は展覧会とい う形式をとりながら、敢えて参加者の思考の過程を提示することで、観客がその思考を受け継ぎ、各々の方法で読み解き、自ら応用・実践する ことを目的としています。
企画:後藤桜子、良知 暁
参加者:赤石隆明(アーティスト)、榎本浩子(アーティスト)、杉田 敦(美術批評 / オルタナティブ・スペース art & river bankディレクター)、シャウバ・チャン(「waterfall」、「NOT TODAY」編集・発行人)、趙 純恵(キュレーター、リサーチャー)、羽鳥嘉郎(演出家 / けのび代表)、平倉 圭(芸術理論)、山本 圭(政治学、政治理論)、吉田和貴(アーティスト)、CAMP、Run Amok