Invisible Memories consists of images from two places—New York City, until recently my home, and Kawamata, Fukushima, where my grandmother has lived all her life.I juxtaposed scenes from the two locations with reference to both personal history and larger historical events, in particular the lingering uncertainty following the Fukushima Daiichi nuclear disaster. As the memory of that event fades, so do my memories of New York. Invisible Memories examines the parallels and differences between those forms of memory and probes their meaning on both a personal and a social level.
Invisible Memories carries this theme forward in an even more radical way. Images from New York and Kawamata are overlaid, creating a deeper sense of mystery and uncertainty within the individual pictures rather than simply between them. Each image appears twice combined with a different photograph. With repetition, some parts of the image are clarified while others that were previously visible can become obscured, inviting closer examination. Repetition can also summon a sense of deja vu—the uncanny feeling that the viewer has been to this place and seen this scene before. The figures and images may take on a strange familiarity that belies their varied origins and presentation.
2004 Graduated from The Nihon University College of Art
2015 New Japanese Photography / Doomed Gallery, London
2013 Lose/You / The Jane Hotel, NY
2013 Organix:Contemporary Art from the USA, Curated by Diego Cortez, Luciano Benetton Collection / Venice, Italy
2013 Space Cadet Actual Exhibition #2 / Turner Gallery, Tokyo
2012 The Wild & The Innocent / Clic Gallery, NY
2012 Reverberation / Bohemian, NY
2011 We Are One 2nd / Camel Art Space, NY
2011 We are One / Gallery 61, NY
2011 Expressions in Photography / Grace Institute, NY
2010 Self Published, Be Happy Exhibition/Library / Photomonth Krakow, Poland
2010 Salon Show / The Greenpoint Gallery
2006 Paper Life / Sundries, Tokyo
2006 SHISEDO from designers / Shiseido shiodome, Tokyo
2005 SHISEDO from designers / Shiseido shiodome, Tokyo
Kohey Kanno’s ‘Invisible Memories’ held my attention, keeping me curious with its intermingling of imagery from his recent home in New York, with his grandmother’s home of Kawamata, Fukushima. These dense and fragmentary images act as symbols of the ways in which our memories are continually recontextualized as we accumulate new experiences. I read once that when we recall a memory, it is repositioned in our neural network – it becomes a new memory, one that is reanimated by the continually additive way in which our minds and our imaginations process the unfolding of our lives.
Charlotte Cotton | Independent curator of and writer about photography
Since I came across Kohey Kanno’s zines years ago I connected with the queerness of his work.
I enjoyed the beauty and desires that his photographs emanated, mixing intimate portraits with symbolic images. I was charmed by his world suspended between Japan and the US and admired the experimental nature of some of his work.
In ‘Invisible Memories’ Kanno moves further into the sublime and a dream-like state layering photos of his past life in NYC and of the place where some of his family is from, to create quite a moving effect.
Bruno Ceschel | Self Publish Be Happy
In my work I look for beauty in scenes that evoke a sense of nostalgia and timelessness, two elements that I believe are fundamental to all photography.
Earlier this year I went on a day trip to a town in Upstate New York. While walking I saw a big house that reminded me of a doll house I used to play with when I was a small child in Japan. Much like when I was a child, I imagined the lives of people passing through this house, but now as an adult I also imagined all of the past and future lives that would play out in it through time. I experienced a strong sense of deja vu that seemed to stretch from my own present moment towards both my past and my future.
That experience inspired me to shoot this series. Following my trip to Upstate New York, I used Google Maps to plan trips to other small towns near New York City where I thought I would find similar houses. All of the photographs in the series were taken over several trips. I only used my camera to capture those houses that I felt I had seen before and that invoked in me a strong feeling of deja vu.
1985 Born in Fukuoka Japan
2006 Graduated from Tokyo Visual Arts
2012 Moved to New York
Sayuri Ichida’s images of suburban houses with porches and brick chimneys replicate an American aesthetic of perfect small town idealism. Shot from an outsider’s perspective, the work evokes a kind of ‘Nostalgia for the Present’, a memory of something that never happened and doesn’t exist outside of longing.
Ichida’s use of a warm filter and fixed composition add to the picture-postcard veneer, but visible electricity and phone cables, and side angle shots taken through bushes, elicit an eerie feeling of surveillance and pose questions of what lies beneath the surface of the facade.
Learning that she found these destinations on Google Maps, and took day trips to photograph the houses that elicited a feeling of deja vu in her, emphasises her displacement and adds another layer of meaning and interest to the work.
Melissa Dewitt | HOTSHOE
"Moss" (used under CC BY-SA) by anieto2k", "P8215098" (used under CC BY) by Martin Martinov
"Climbing Sequence 5 of 5" (used under CC BY-SA) by brewbooks
"Amazing Sarychev Volcano - as seen from space" (used under CC BY) by NASA Goddard Photo and Video
"Piz Boé - Cresta Strenta, matkalla ferratalle." (used under CC BY-SA) by wartime
"Peters Creek backcountry beneath Mt. Rumble. Chugach Mountains, Alaska" (used under CC BY) by Paxson Woelber, "East Iceland: I" (used under CC BY) by basheertome
"DSC_4846" (used under CC BY-SA) by dconvertini, "Blue Ice Climber" (used under CC BY) by snowpeak
"Point Wild, Elephant Island" (used under CC BY-SA) by Liam Quinn
"Sketchy on Elevator Shaft" (used under CC BY-SA) by Laurel Fan
"F1020028" (used under CC BY) by justicho
This work, "Climb on the contour line", is a derivative of some materials, used under Creative Commons (CC) license.
"Climb on the contour line" is licensed under CC BY-SA by Takeshi MITA.
-Climb on the contour line-
I have previously explored questions surrounding the concept of experience in my works. I created many of the works in this collection using pictures uploaded from around the world that can be modified and used commercially. I collected the images by searching various tags on photo-sharing sites and printed them on photo paper, which I then photographed. This raises the question of what sort of gaze could reflect our experiences in today's world? I suspect it is something multifaceted and discrete, not under the control of any specific individual or authority, much like the gaze inherent in an archive like a video-sharing or photo-sharing site. In these works, I attempted to characterize our experiences and gaze, as seen in an archive, within a certain nostalgia, using the figure of an adventurer who continued his travels while transversing direct and indirect experiences.
1979 Born in HIROSHIMA.
2016 “On the contour line” (Gakei gimlet SAAS・Kyoto)
2016 “The 3rd International Creative Art Disseminating 2016” (Silpakorn University・Thai)
2015 “Islands, and maps without islands” (H-art Beat Gallery・Tokyo)
2015 “Hyper-materiality on photo” (somerset house : UK, G/P gallery shinonome・Tokyo)
2014 “Explore on the contour line” (Hasu no hana・Tokyo)
2014 “Doubtful Island” (galley COEXIST TOKYO・Tokyo)
2013 “Climb on the contour line” (Shinpukan・Kyoto)
2013 “Impact - International Printmaking Conference” (Duncan of Jordanstone College of Art & Design・UK)
The picture is like a story layered in reality and fantasy, by using both the digital and analog methods.Its subject is scenery, but also stilllife. When people see it, they are forced to come and go between subjectivity and objectivity. It is very modern because it contains two contradictory elements. A strange three-dimensional impression generated by copying, adds a mysterious charm.
Ota Mutsuko | IMA
-SEPARATE HIDDEN RULES-
Bunches of living things are collected through the Internet.
Various living things are crossing over country borders for trade.
They are strange, too near to be really valued.
They are hidden so I extract them.
1979 Born in Chiba
2002 Graduated from The Nihon University College of Art
2016年 SEPARATE HIDDEN RULES / QUIETNOISE , Tokyo JAPAN
2016年 SEPARATE HIDDEN RULES / MEDIA SHOP , Kyoto JAPAN
2013年 Leucistic Doppelganger / Kinkan Gallery , Tokyo JAPAN
2013年 Schale / UPLINK GALLERY ,Tokyo JAPAN
2005年 Between Animals / no.12 gallery ,Tokyo JAPAN
2003年 Moment Intention / Contemporary Photo Gallery ,Tokyo JAPAN
2016年 THE TOKYO ART BOOK FAIR 2016, Tokyo JAPAN 9-16-19
2016年 EINSTEIN STUDIO ARCHIVES , I NeVer Read, Art Book Fair Basel , Switzerland
2016年 NEW JAPAN PHOTO ISSUE ,1 LAUNCH SPECIAL EXHIBITION , KG＋KYOTOGRAPHIE , Antenna Media , Kyoto JAPAN
2016年 NEW JAPAN PHOTO ISSUE ,1 LAUNCH SPECIAL EXHIBITION , MIDORISOU2Gallery , Tokyo JAPAN
2016年 NEW JAPAN PHOTO EXHIBITION, NEW CITY ART FAIR , New York USA
2016年 NEW JAPAN PHOTO ISSUE,1 LA ART BOOK FAIR , Los Angeles USA
2015年 HUNGRY issue.5 Sapporo Art Fair , Cross hotel sapporo , JAPAN
2015年 HUNGRY issue.5 Seoul Art Book Fair /Unlimited Edition 7 , Seoul KOREA
2015年 HUNGRY issue.5 Limited Edition , Arts Hostel Kumagusuku , Kyoto JAPAN
2015年 HUNGRY issue.5 Limited Edition , Tokyo Arts Gallery , Tokyo JAPAN
2015年 Beirut Photo Fair Beirut Lebanon
2015年 HUNGRY issue.4 I NeVer Read, Art Book Fair Basel , Switzerland
2015年 HUNGRY issue.3 STOCKHOLM ART BOOK FAIR , Stockholm SWEDEN
2015年 HUNGRY issue.3 NEW CITY ART FAIR , New York USA
2015年 HUNGRY issue.2 LA ART BOOK FAIR , Los Angeles USA
2014年 HUNGRY issue.2 FRUIT EXHIBITION , Bologna ITALY
2013年 『SHASHIN XX UTA』 UPLINK FACTORY ,Tokyo JAPAN
2009年 『depositors meeting 7』 art&riverbank ,Tokyo JAPAN
I was immediately intrigued by his ability to use light, color and composition – the basic principles of crafting photographic images – to create idiosyncratic pictures. One thing that particularly struck me about Makoto’s work is the way he addresses our western consumerism in a weird conjunction with living organisms. Makoto orders »the organism« – as he calls it – on the internet and »injects« them into his images. The images are showing excerpts of our daily surroundings. The fact that he takes a very interesting, often times close look already makes his imagery special. He uses still images that he neatly composes, but every image comes with a slightly surreal twist – you discover cocoons, broken eggs, moths, ants inhabiting Makoto’s images. As these »organisms« play an important role, they give the genre of »still life« a very interesting and individual reading.
Simon Karlstetter | Der Greif