The 'Home Team' Will Win the Big Game
For football fans, this sports movie will show viewers the bonding between father and son as the son prepares for his big game.
The Rooms in the Photographs — Ko Nakajima’s Rooms
The Rooms in the Photographs — Ko Nakajima’s Rooms Directed by Ko Nakajima, Photography by Hitoshi Kubo and Yosuke Nakagawa. Edited by Hitoshi Kubo. Courtesy of Keio University Art Center Produced in 2019 in conjunction with the research and exhibition organized by Hitoshi Kubo of Keio University Art Center, The Rooms in the Photographs — Ko Nakajima’s Rooms strings together a series of photographs documenting his studio in Tokyo and Nakajima’s performance. Conceived in conjunction with the research into Nakajima’s 1,500 photo documentation of artist Yutaka Matsuzawa’s Psi Zashiki Room in 1969, the project is an invaluable record of Nakajima’s extraordinary work space where video equipments, films and videos, printed materials, amassed over the years function as a system for Nakajima’s memory keeping. Seemingly random and chaotic placement of objects produced an idiosyncratic formula for the artist to access certain information—the studio and his brain functioned as one.
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The Rooms in the Photographs — Ko Nakajima’s Rooms Directed by Ko Nakajima, Photography by Hitoshi Kubo and Yosuke Nakagawa. Edited by Hitoshi Kubo. Courtesy of Keio University Art Center Produced in 2019 in conjunction with the research and exhibition organized by Hitoshi Kubo of Keio University Art Center, The Rooms in the Photographs — Ko Nakajima’s Rooms strings together a series of photographs documenting his studio in Tokyo and Nakajima’s performance. Conceived in conjunction with the research into Nakajima’s 1,500 photo documentation of artist Yutaka Matsuzawa’s Psi Zashiki Room in 1969, the project is an invaluable record of Nakajima’s extraordinary work space where video equipments, films and videos, printed materials, amassed over the years function as a system for Nakajima’s memory keeping. Seemingly random and chaotic placement of objects produced an idiosyncratic formula for the artist to access certain information—the studio and his brain functioned as one.
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