Takehito koganezawa biography of william
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Motion Pictures
Archive
At dusk in Berlin, where he lived for many years, Takehito Koganezawa would watch flocks of birds circling in the distance. From a rooftop, he filmed them. He wondered how they maintained their distance from each other and how each bird knew how to fly in concert with its fellow travellers. While he knew there was no leader in a flock, he was mesmerised bygd their swooping.
Motion has always interested Koganezawa. Though he’s long been fascinated bygd the action painters of the 1960s and sees some of his work as something of a homage to them, his own interest has steadfastly remained with drawing: he hasn’t the skill, he says, for painting. “I try sometimes on the canvas, by myself,” he says. “It never works. Really awful.”
Gaze, then, at his extraordinary film and drawing- based works, which have a propensity to entice you into their reveries. While he has been making the moving- image w
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“Super 8”
Super 8 is an artist-curated video art exhibition organized by the Los Angeles-based Christopher Grimes Gallery. The exhibition first opened at the gallery in July 2011, then traveled to Yerba Buena Center for the Arts, San Francisco, CA (January – June 2012) and Künstlerhaus Bethanien, Berlin, Germany (in two parts, March and August 2012). The Museum of Modern Art, Rio marks the final institution for this exhibition.
Eight artists from eight different cities across the globe were invited to present their own videos and, in addition, invite four other artists from their respective cities to present works as well. A total of 40 artists from Berlin, Dublin, Lisbon, London, Los Angeles, Rio de Janeiro, San Francisco, and Tokyo are represented in the project.
A unique feature of Super 8 is that this collection of diverse work in one-, two- and three-channel formats, selected through a peer-to-peer curatorial process, accumulates into a serial format ex
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Mira Gojak and Takehito Koganezawa: The Garden of Forking Paths
It's almost impossible to imagine the influence four small volumes of less than 60,000 words each by the great Argentine writer Jorge Luis Borges exerted on Western culture throughout the latter part of the 20th century. Compiled from a selection of short stories and essays originally written in Spanish in the 1930s and '40s, Fictions and Labyrinthes first appeared in French in 1951 and 1953 and then as Ficciones and Labyrinths in English in 1962.
The great post-War generation of French philosophers all adored and attempted to channel him. (There is a wonderful photograph of Derrida meeting his hero for the first time and looking like a nervous schoolboy.) The whole group of American meta-fictionalists—Robert Coover, John Barth, Donald Barthelme—were all absolutely inspired by him. The Conceptualists drop his name incessantly in their writings. (The recent Robert Smithson show at MUMA featured Smiths