EIKON #67

Editorial Content Order

Authors | Michiko Kasahara | Elisabeth M. Gottfried | Peter Kunitzky | Patricia Grzonka | Naoko Kaltschmidt | Olga Kronsteiner | Ursula Hentschläger | Edgar Honetschläger | Emil Brix | Petra Noll | Michael Haider | David d´Heilly | Mariko Takeuchi | Ivan Vartanian | Mika Kobayashi | Adrew Phelps | Karina Karadensky | Georg Oberhumer | Florian Halm (Redaktion/Grafik) | Amrei Thaler (Redaktion/Anzeigen) | Elisabeth Greinecker (Redaktion)

Artists | Nobuyoshi Araki | Hiromi Tsuchida | Eikoh Hosoe | Daidoh Moriyama | Andrew Phelps | Shizuka Yokomizo | Mika Ninagawa | Tomoko Sawada | Maya Yonesho | Daito Manabe | Alvaro Cassinelli | Ryoji Ideka | Exonemo | Ryuichi Sakamoto | Shiro Takatani | Masaki Fujihata | Naoya Hatakeyama | Rinko Kawauchi | Midori Komatsubara | Lieko Shiga | Yoko Asakai | Yumiko Shiozaki | Takashi Yasumura | Ryota Kuwakubo | Saso Sedlacek | Laura Skocek

Focus| Eyes on Japan
Languages| german / english
Format | 210 x 280 mm
ISBN | 978-3-902250-48-3
80 pages

Price: € 14,00 (incl. 10% VAT)

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Content

Eyes on Japan

Myopia
Edgar Honetschläger

Preface
Emil Brix, Michael Haider

Editorial
Elisabeth M. Gottfried

Media Art in Japan: All Tomorrows Parties
David d´Heilly

Reflections on the truth: new photography from Japan
Mariko Takeuchil

Contemporary Japanese Women Photographers
Michiko Kasahara

In a limbo state: Photo books
Naoko Kaltschmidt, Ivan Vartanian

Photography training in transition: Schools and competitions in Japan
Mika Kobayashi

Bringing Japan Nearer
Andrew Phelps

Coded Cultures: Exploring Creative Emergences
Patricia Grzonka

Japan at Ars Electronica 2009
Ursula Hentschläger

Student Page

Laura Skocek
Virgil Widrich

Art market

Olga Kronsteiner

Reviews (German only)

Place of no roads
Karina Karadensky

Hubert Blanz: Slideshow
Petra Noll

Das Wesen der Fotografie – Stephen Shore
Peter Kunitzky

The Helsinki School: Young Photography by TaiK – Vol. 3
Georg Oberhumer

Editorial

‘European Eyes on Japan’ is the title of a project that invites photographers from all over Europe every year to document their view of Japan. This year an Austrian, Andrew Phelps, is among the four chosen artists. You will find a selection of his works and of his characteristic vision in this 67th issue of EIKON, which uses the Austria-Japan Year 2009 as a pretext for taking a look at the artistic practices of our Asian partner country. Our partner in this project is the Foreign Ministry of Austria, whose extensive support has made the production of this compendium possible. For the selection of the contributions on this theme, our particular thanks go to Ferdinand Brüggemann, a specialist in Japanese photographic art, whose consultation has enabled us to bring together prestigious authors in this special issue.

A long-term exchange between Austria and Japan has taken place in the media art sector in particular. We have been able to persuade David d’Heilley to engage critically with the development of this much-discussed art form and to explain why, in his opinion, Japanese media art is stuck in a crisis. Mariko Takeuchi, guest curator of the Japanese special section at the Paris Photo 2008, makes historical links visible and illustrates the current tendencies and interests of a young generation of photographers by means of a selection of outstanding works. Publications, and in particular the photobook, play one of the most important roles in Japanese photography. Fresh on the market is a volume published by Aperture, which investigates the history of the Japanese photobook from the 1950s to the 1970s. Naoko Kaltschmidt spoke to the author of this book, Ivan Vartanian, and summarised the conversation for EIKON. The fact that the proportion of women in the Japanese art business has risen in the last 15 years from approx. 10 percent to over 50 percent has prompted Michiko Kasahara, Chief Curator at the Tokyo Metropolitan Museum of Photography, to examine issues surrounding gender roles in Japanese society. She shows our readers her investigations by means of selected female photographers. In another essay, we pursue the question of what the training situation is for prospective photographers, and have commissioned Mika Kobayashi to pursue this issue in her own country.

The Forum is this time dedicated entirely to the relationship between Austria and Japan. Among others, Ursula Hentschläger reports on Japanese projects at this year’s Ars Electronica Festival in Linz, while Patricia Grzonka has visited the Coded Cultures Festival in Vienna for EIKON, which will be continued in October in Yokohama. Even the Art market is this time entirely under the ‘rising sun’.

We have invited Edgar Honetschläger, to whom EIKON recently dedicated a comprehensive main contribution, to be our guest commentator. His views as an Austrian who has chosen to live in Japan can be found right at the beginning of this issue, and parallel to that in the current exhibition in our display window, the EIKON SchAUfenster: the location in the Vienna Museumsquartier where EIKON draws attention to its print issues. Directly next door Asifa Austria, the platform for innovative animation films, was showing a Video work by Maya Yonesho this summer. The Japanese artist began her ‘hitchhike’ three years ago in Vienna. Extracts from ‘Wiener Wuast’ and ‘Kyoto Mix’ can be found on pages 6 and 7, as well as here beneath this text.

We wish you happy reading! Your EIKON team

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