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“Fog makes visible things become invisible and invisible things—like wind—become visible’”—Fujiko NakayaFujiko Nakaya’s fog sculptures are made entirely of water. They challenge traditional notions of sculpture as they change at every moment depending on temperature, wind and atmosphere. “Fujiko Nakaya. Nebel Leben” is the first comprehensive survey exhibition of the visionary sculptor Fujiko Nakaya (b.1933, Sapporo, Japan) outside of Japan. Gaining prominence in the 1960s as a member of the New York-based collective Experiments in Arts and Technology (E.A.T.), she became internationally renowned for her immersive fog artworks, which defied traditional conventions of sculpture by generating temporary, borderless transformations that physically engage with the public and give shape to the surrounding environment. Driven by early ecological concerns, Nakaya’s work deals with water and air, mediums that have particular resonance in the face of the climate crisis. From the artist’s early paintings to her fog sculptures, single-channel videos, installations and documentation that reveal Nakaya’s cultural and social references, this experiential exhibition will offer an in-depth survey of one of Japan’s foremost artists. The outside sculpture Munich Fog (Fogfall) #10865/II on the eastside of Haus der Kunst as well as Munich Fog (Wave), #10865/I are a new pieces created for Haus der Kunst; conceived of as a performance in which fog, the space, and the public participate. Nakaya introduces water as both a sculptural element and a metaphor for endless temporal processes to link material realities and media-generated illusions. Her cross-disciplinary approach also becomes evident in the titles of her fog works: the sequence of numbers designates the nearest weather station, whose data informs the preparatory planning of each work.An entire room situates Nakaya’s work in a multiverse of historical events. It is dedicated to her early environmental awareness and the development of her work integrating aspects of both East Asian and Western art movements. The upstairs gallery delves into the contextualization of her work, showing a selection of educational science films from the Iwanami production company, founded by the artist’s father, physicist Ukichiro Nakaya. Alongside the artist’s early paintings and sketches, the room features documents from his research that has significantly influenced Fujiko Nakaya’s approach to the world, its matter and its mediation.Ukichiro Nakaya founded Nakaya Laboratory Productions in 1949. The following year, the science film studio was merged with the renowned and left-leaning publishing house Iwanami Shoten and was henceforth named Iwanami Productions. Employing new cinematographic and narrative techniques while focusing on the subjectivity of the portrayed, Iwanami developed its own style. Haden Guest, director of the Harvard Film Archives and curator of “Nebel Leben”, describes the style as “Japans Nouvelle Vague”. Iwanami Productions not only influenced Japan’s post-war film scene (particularly female filmmakers such as Noriaki Tsuchimoto and Susumu Hani); its work also impacted international documentary film. Nakaya’s paintings and drawings are proof of a transformed way of seeing, informed by observation, which the artist describes as the underlying principle of both art and science. Akin to abstract landscapes, they trace the artist’s interest in cyclical processes of decay and renewal. The painted clouds and biomorphic forms constitute an essential link to Nakaya’s moving image practice and her fog sculptures. The detailed observation of natural phenomena and seemingly small, everyday gestures plays a central role in Fujiko Nakaya’s oeuvre. Her videos often feature real-time recording and resemble experiments which challenge the patterns of perception. Nakaya used video as a means of subjective analytical documentation and direct communication. In addition to her video sculptures and installations the artist engaged in so-called “communication projects” in which she interviewed and documented local communities. In 1980, she co-founded the artist collective Video Hiroba and opened SCAN, the first gallery for video in Japan. Fujiko Nakaya is a game-changing artist whose practice not only is driven by early ecological concerns, but also stands out from the acknowledged trajectories of both East Asian and Western sculpture. Her work resonates with the history of her country without being subsumed to the movements Gutai and Mono-Ha nor to the Euro-North American lineage of Anti-Form, Process Art and Post-Minimalism. Blurring the borders of science, art, and technology, Fujiko Nakaya’s work invites us to rethink, by direct physical experience, human entanglement with the environment.at Haus der Kunst, Munich until July 31, 2022The Cinema of Transgression founded by Nick Zedd (Takoma Park, 1958 – Mexico City, 2022), has no cathartic function in itself. It doesn’t want to reveal something rough or inappropriate in order to reduce its subversive capacity. It doesn’t normalize transgression by defusing its explosiveness and making it less offensive. The images must spark a flame with their dangerous intensity, this can only take place on the margins of the mediatic empire while outlining a new, wild frontier. Invisible in its ineffability, this submerged form of cinema was produced in the ‘80s by a cluster of figures from the New York underground scene who were united by an imperative to fight against the dominating culture. However, some of these figures weren’t exempt from a process of being reabsorbed into mainstream culture which Zedd was strongly opposed to over the course of time, claiming a marginal position for himself despite the legendary fame that embraced him. It couldn’t have been otherwise. To affirm his inclusion in mainstream cinema as well as in radical film movements, would be a declaration of defeat towards an adversary who under the guise of hedonism seeks nothing more than to limit the possibilities in individuals, both today and in those instances. The qualities defining the marginality of Zedd’s filmmaking, are not only a result of his position in relation to the system. Typical constraints in amateur cinema dictated by limited equipment, aren’t just accepted but are elevated into a method, acquiring more and more distance from professionalized ways of producing as well as from aesthetics with little authenticity. Often in the films, Zedd himself appears in front of the video camera surrounded by characters who in coherence with the format, reflect an impulse to stay on the margins. Mutilated persons, losers, anonymous junkies, prostitutes and decadent rockstars live in his world and are likewise portrayed as the main actors. Here, the real heroines and heroes are those excluded from society and viewed as public threats, because they have more freedom they are truly capable of experiencing and provoking intense emotive states. Consequently, these dynamics are overturned since the antagonists are none other than the keepers of the institutions and the promotors of bourgeois culture who actually represent the obscene machine of oppression. Revealing themselves for who they are: violent enemies of freedom. Nick Zedd’s cinema is then a battleground where we consume the confrontation between oppressive law and bodies that desire, captured by the atrociousness of bodies and by unfiltered actions in all their brutal and ironic vitality. Bodies outside of the law, made out of secretions, perversions and ecstasy, they are untamable and ready to break into a spiral of violence, constantly violating the limits. In this sense, Zedd is a Sadean and a libertine par excellence, through constant transgression he reaches a transformation that frees the body from its harness and disperses it in a new state of things. The films presented for this occasion belong to a body of work produced between 1980 and 2001. In addition to his most famous works such as Thrust in Me (1984), Police State (1987) and Ecstasy in Entropy (1999), lesser known short films and behind-the-scenes extras from selected films will also be screened.at le vite, Milanuntil August 2, 2022Many photographs seek to document an experience, a person, an object, or a place. They succeed when they “capture” it, holding onto a fleeting moment and preserving it for posterity. However, a photograph also succeeds when it contains more than what it depicts: countless memories, anecdotes, and richly layered emotional registers remain invisible in the image itself and impossible to capture. A good photograph, in the words of the Hervé Guibert, is not necessarily one that makes a person or a place visible, but one that is “faithful to the memory of my emotion.”Better known for his portraits, Guibert also photographed interiors, inanimate objects, and empty rooms—an important body of work that remains relatively unknown. More laconic and reserved, these photographs offer an approach to portraiture where what counts is what is missing from the image: charged with love as well as with trauma, these interior spaces invite imaginative readings of the people who belong or once belonged there. His photographs expose the artist’s most intimate spaces while also maintaining the secrecy of private moments, with the protagonists kept safely (or tragically) out of the frame or at a distance. Instead of providing a sense of objectivity or “truth,” this exhibition points to all that is invisible in a photograph: memories, anecdotes, absences, and richly layered subjectivities. Guibert’s photographs of objects and domestic spaces are full of the ghostly absence of those who had inhabited them and left them behind. In that sense, this exhibition considers those “truths” that lie dormant within a photograph, invisible to the eye, and yet central to the image. It proposes images about what is absent from images. The Bay Area, where photographs are digital and omnipresent, provides a context for seeking a perspective and an evaluative distance from the many habits and assumptions that inform our everyday relationship with images today. Placed within this rich historical and cultural context, this exhibition pauses to reflect on what remains beyond the reach of photography: the emotional lives hidden behind its objects and the stories forgotten by its subjects.at CCA Wattis Institute, San Franciscountil July 30, 2022

Capital Knowledge in Art (CapitalKA)

by DHAdmann