jonathan kemp

This page is read only. You can view the source, but not change it. Ask your administrator if you think this is wrong.
//bad places: crimes against the imaginary//, where potentialities are forced 'to exist at the limits of the earth, in other words in mud' ...(Bataille, The Notion of Expenditure) 

**1]** 01.01.2019 prospecting for the unmarked disposal site of the bodies of Ōsugi Sakae 大杉 栄, Noe Itō 伊藤 野枝 and his 6 year old nephew Tachibana Munekazu の橘 宗一, <html></br></html>
after their murder on September 16, 1923, said to be dumped in an old well somewhere in the grounds of the former 
[[https://en.wikipedia.org/wiki/Kenpeitai|Kenpeitai]] HQ 憲兵隊, Ōtemachi 大手町, Tokyo.



{{:screenshot_2019-01-04_16-38-30.png?500|}}<html></br></html> 
{{:screenshot_2019-01-04_16-39-14.png?500|}}<html></br></html> 
{{:screenshot_2019-01-04_16-39-43.png?500|}}<html></br></html> 
{{:screenshot_2019-01-04_16-40-15.png?500|}}<html></br></html> 
{{:screenshot_2019-01-04_16-40-42.png?500|}}<html></br></html> 
{{:screenshot_2019-01-06_16-08-58.png?500|}}<html></br></html>
{{:screenshot_2019-01-04_16-41-06.png?500|}} 



In 1998 Noi Sawaragi 椹木 野衣 wrote in Japan/Modernity/Art 日本・現代・美術 how Japan was a 'bad place' 「悪い場所」 and not only for 'critical art production',<html></br></html> 
but culturally because it is a place of repetition and forgetting - when problems happen they provoke outcries which are then forgotten until the next time,<html></br></html>  
but not as if nothing happened rather as if nothing sticks or accumulates, however often repeated.((In 2003 Sawaragi once found a 'good place' 「良い場所」 in being involved with the 'Korosuna' 殺すな, (do not kill) movement. Another 'good place' might be Rinsen-ji Temple in Hakone district (林泉寺  箱根) where 内山愚童 Uchiyama Gudō (1874-1911) was active)) In such conditions critical art cannot take root. <html></br></html>
03.11 put all of this in sharp relief where the postwar forgetting that a Japan dependent on nuclear power was also built on top of a landmass that constantly shakes <html></br></html>to which art was unable to respond. Once shaken cracks in this culture of forgetting produce a semblance of shame that registers acute dissatisfaction with the past <html></br></html> and an openness to the present's encrypted futures - sometimes these cracks can provoke collaborative acts of narrative disturbance that sometimes connect with <html></br></html>
some of the ever-present strands of dissent in Japan.
jonathan kemp

User Tools

Site Tools

Page Tools
