Frame and Scheme (CADAN Otemachi)
製作年份: 2026
材料或技法: 噴墨打印, 照片, 其他的
尺寸: 25 × 76 × 2.5 cm
版本: 有版
簽名:包括
關於作品
- 製作年份
- 2026
- 材料或技法
- 噴墨打印, 照片, 其他的
- 尺寸
- 25 × 76 × 2.5 cm
- 版本
- 有版
- 簽名
- 包括
- 銷售
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.
- 畫框
- 包括
- 作品證書
- 包括
- 藝術品經銷商
- So TAKAI
- 發貨區域
- 神奈川縣
- 發送前的天數
- 大概一周
- 類別
- 混合媒體
- 風格
- 概念上的
作品詳情
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.)
展覽資訊
觀賞擺飾在房間裡的樣子
購買方式
這件作品可供購買。
USD 262
*顯示的為匯率換算的參考價格。結算將以日元進行。
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藝術家
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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