Friday, 4 March 2011

Sohei Nishino - The Diorama Map Series 24.02.11 - 02.04.11

 
Diorama Map London
© Sohei Nishino courtesy Michael Hoppen Contemporary/EMON PHOTO GALLERY

http://www.michaelhoppengallery.com/exhibition,current,2,0,0,1565,103,0,0,0,_diorama_map_london.html

Sohei Nishino is one of the rising gems of contemporary Japanese photography. Discovered in 2008 by Michael Hoppen, 28 year old Nishino’s extraordinary photographic dioramas, monumental in size, map out the artist’s personal impressions of the world’s major cities in several thousand intimate details.

Nishino’s collages are not precise geographic recreations, but an imperfect mix of landmarks and iconic features conceived from his personal ‘re-experiencing’ of a city. Never before exhibited outside of Asia, Michael Hoppen Contemporary will present the Diorama Map series for his inaugural European show, featuring ten of Nishino’s most striking collages as well as his latest creation: the map of London.

When photographing London, Nishino walked the entire city on foot for a month, wandering the streets and recording from every possible angle, from building tops to get an overview of the Gherkin, to shooting in step with the Queen’s Guard marching on the Mall. In total he used over 300 rolls of black and white film and took over 10,000 pictures.

In the following three months Nishino selected some 4,000 of these photographs, hand printed in his own dark room, which he then meticulously pieced together with scissors and glue in his Tokyo studio. The result was an aerial view of London, which was then reshot as a completed collage to produce a final image in photographic form. This lengthy and painstaking process, all done by hand, only allows for the creation of three maps per year. Nishino’s re-imagination of a city presents a convincing record despite its geographical inaccuracies, a map embodying the intricacies of a city through the eyes and recollection of an outsider.

Nishino’s process began during a portfolio review when studying at Osaka University of Arts, when he realised he was far more interested in the mass of photographs not selected, than the few that were actually chosen to be displayed. For him, the whole selection was more of a true representation than the refined final edit of one photograph. This, together with his love of walking and the influence of 18th Century Japanese cartographer and surveyor Inō Tadataka, led to Nishino’s creation of the first diorama map of his hometown of Osaka.

In addition to the Diorama Maps, Nishino has also created two colour works using the same process, ‘i-LAND’ and ‘Night’. These collages are composites of images taken in multiple Japanese cities, photographed and recreated in the studio as fantastical urban landscapes.

In 2005, Nishino received the top award in the Canon New Cosmos of Photography competition for his first five Diorama Maps. Since then his work has continued to receive critical acclaim, particularly for appearances at this year’s Hong Kong International Art Fair, Seoul Photo and South Korea’s Daegu Photo Biennale.

Ruins in Twentieth Century British Art and Fiction

CONFERENCE - Organised by the Institute of English Studies and the French National Association of English University Professors and Senior Lecturers (SAES).

http://ies.sas.ac.uk/events/conferences/2011/Ruins/index.htm

As opposed to the Gothic labyrinths of vaults and broken palaces or shattered abbeys, in the nineteenth century the picturesque legacy grew into a passion for sublime ruins as crystals of time, suffused with melancholy pleasure. From Romantic hubris (and the fascination for Troy or Pompeii) to Turner's luminous visions or Hardy's carved windows and stone coffins, ruins offered dwindling points of aesthetic stability as well as symptoms of mutability in a changing world stamped by Darwinian ruthlessness.

This conference proposes to analyze the hybrid function of ruins as they shift from sublime metonymies to broken hints of shattered times and troubled consciousness, focusing not only on the visual motif of ruins but on the function of citation as an attempt to include the ruined pieces of bygone art and cultural systems, whether the purpose be to "shore fragments" against ruin, as in the case of Modernism, or to challenge and deconstruct present exhaustion and past master discourses, as in the case of post-modernism. The postmodern emphasis on remains, from Ackroyd to Ishiguro or Stoppard, on textual experimentation with broken fragments, the function of architecture and visual motifs will be of interest, showing that twentieth-century British art and fiction revisit ruins not only as the broken pieces of a vanished past, but as artificial to begin with. Emphasis on architecture will necessarily include cultural context, and moments of acute fragmentation such as the Blitz, the British equivalent of the Twin Towers, faultlines leaving not only the smell of smouldering remains, but a division between before and after, an intense sense of the collapse of ideologies and promises. The ultimate negotiation of the bankruptcy of meaning may lead to repetition and elegy or parody, or to the intense attempt to create an ephemeral art retaining the traces of a glorious past but displacing them, leading to brief presences and vanishing points, as residue becomes resistance and art articulates waste.

Please send abstracts of 300 words (certainly no more than 500) plus a biographical note or CV to Catherine Lanone by 15 May 2011 at: catherine.lanone@univ-tlse2.fr.


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General Enquiries & Registration: Jon Millington, Events Officer, Institute of English Studies, Senate House, Malet Street, London WC1E 7HU; tel + 44(0) 207 664 4859; Email jon.millington@sas.ac.uk.

The School of Advanced Study is part of the central University of London. The School takes its responsibility to visitors with special needs very seriously and will endeavour to make reasonable adjustments to its facilities in order to accommodate the needs of such visitors. If you have a particular requirement, please feel free to discuss it confidentially with the organiser in advance of the event taking place.

http://ies.sas.ac.uk/events/conferences/2011/Ruins/index.htm

General Enquiries & Registration: Jon Millington, Events Officer, Institute of English Studies, Senate House, Malet Street, London WC1E 7HU; tel + 44(0) 207 664 4859; Email jon.millington@sas.ac.uk.

The School of Advanced Study is part of the central University of London. The School takes its responsibility to visitors with special needs very seriously and will endeavour to make reasonable adjustments to its facilities in order to accommodate the needs of such visitors. If you have a particular requirement, please feel free to discuss it confidentially with the organiser in advance of the event taking place.