A pictorial record of the exhibition Japanese Photography 1930s, at Kanagawa Prefectural Museum of Modern Art, 1988, which collects photographs from the emerging photography of the era. Approximately 340 illustrations of the work of photographers such as Kiyoshi Koishi, Shoji Ueda, Ei-Q, Koshiro Onchi, Nakaji Yasui, Iwata Nakayama, Shinzō Fukuhara, Kineo Kuwabara, Terushichi Hirai amongst others.

*Please note this publication is secondhand and has some traces of previous ownership.

Produced on the occasion of Arakawa – Der Mechanismus der Bedeutung / John Cage (Kammerkunsthalle), at Kunsthalle Bern, 6 May–18 June, 1972. With text by Carlo Huber.

Produced on the occasion of the exhibition Sigurdur Gudmundsson, Recent Werk at Galerie Paul Andriesse, Amsterdam, 9 September–11 October, 1986.

*Please note this publication is secondhand and has some traces of previous ownership.

Working in proximity to US military compounds and naval bases in Japan during and following World War II, Tatsuo Ikeda composed a visual vocabulary that escaped order and realism. Primarily drawing and painting on paper, Ikeda creates surreal scenes where mutated bodies morph with nearly unrecognisable architecture set on backgrounds of swirling line drawings or empty gradients. Ikeda lived for almost a century and shaped his art career around the tumults that he experienced as a result of US and Japanese political affairs.

*Please note this publication is secondhand and has some traces of previous ownership.

Produced on the occasion of Diamond Stingily’s solo exhibition dead Daughter at Cabinet, London, 9 September–13 November, 2021.

Diamond Stingily addresses the materiality and mythology of identity and social class. Using everyday found objects such as hair, doors, or chains, Stingily negotiates personal and collective memories by relating them to social and economic questions.

In his work, McCarthy explores the dialectical relationships between subjects like city and citizen, friend and the stranger, and present and past. McCarthy’s work often testifies to the paradoxical emptiness experienced in a metropolis. Taking the city’s map as a metaphysical topography, the confluence of real estate, architecture, and urban planning become vocabulary for the construction of a self. Besides working with photography and text, McCarthy makes associative installations. His works appear to be images from memories, meeting viewers with a torrent of different emotions, ranging from amusement and admiration to aversion and fear. Designed by Lucas Quigley.

More information on the associated exhibition can be found here.