Frame and Scheme (CADAN Otemachi)
制作年份: 2026
材料或技法: 喷墨打印, 照片, 其他的
尺寸: 25 × 76 × 2.5 cm
版本: 有版
签名:包括
关于作品
- 制作年份
- 2026
- 材料或技法
- 喷墨打印, 照片, 其他的
- 尺寸
- 25 × 76 × 2.5 cm
- 版本
- 有版
- 签名
- 包括
- 销售
Ed.1,2
*Framed/ including framing cost
*Regarding Materials:The manhole card and Polaroid film included in each piece are original items used during the exhibition period (September 24 – October 10, 2026), making each edition a unique work.(e.g., Ed. 1/5 incorporates the actual materials displayed from September 24 to September 28, 2026.)
*Please note that the image shown is for illustrative purposes only. The actual artwork may differ.
- 画框
- 包括
- 作品证书
- 包括
- 艺术品分销商
- So TAKAI
- 发货区域
- 神奈川县
- 发送前的天数
- 大概一周
- 类别
- 混合媒体
- 风格
- 概念上的
作品详情
Inkjet print on paper, GKP-issued Manhole Card (A001) with printed adhesive film, Polaroid film
Framed
Ed.5 (A.P.1)
"Frame and Scheme (CADAN Otemachi)"
This work translates Jig for Seeing Made with a Photograph and a Manhole Card (CADAN Otemachi) into a different form. Within a black frame, I brought together the act of recording the floor of CADAN Otemachi through frottage and then reproducing the resulting image in print, the act of masking a Manhole Card with a photograph, and the Polaroid film actually exposed/used at the venue. While these elements serve as evidence that the work was "exhibited at CADAN Otemachi," they may also be complicit in a scheme to cut out the room, gather it into a single whole, and carry it away.
*Regarding the materials: The manhole cards and Polaroid film are the actual items used during the exhibition period (September 24–October 10, 2026). Each edition is a unique piece. (Example: Ed. 1 uses the actual items displayed from September 24 to 28, 2026.)
展览资讯
观赏摆饰在房间里的样子
购买方式
这件作品可供购买。
USD 262
*显示的为汇率换算的参考价格。结算将以日元进行。
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艺术家
Artist
Graduated from Tokyo University of the Arts, Faculty of Fine Arts, Department of Architecture. Completed the Department of Architecture at the same graduate school. Currently, he is enrolled in the Oil Painting Research Area doctoral program at the Graduate School of Fine Arts at the same graduate school. His practice takes the exhibition room—a site where the visual conventions of painting intersect with the spatial conventions of architecture—as its point of departure. He creates works that investigate how people look and move within a room. Defining his works as “Jig for Seeing”—devices that guide the viewer’s gaze within an exhibition space—he uses site-responsive installations to critically examine and redefine the spatial qualities of each site.
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