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Box of Niepce / left
Events
Written by In the document   
Published: November 09 2009

Courtesy of CASHI

Exhibiton of three young photographers called "Box of Niepce/right" and "Box of Niepce/left". The exhibiton will be by two composition.

"Niepce dreamed that photograph as machine for spirit capturing."

There is a theory that Nicephore Niepce, one of the inventors of photography[2] and a pioneer in the field, dreamed the following tings the principle of the photograph.

Niepce thought the light is something like a ball which bounds when it touches various object, as "a fluid = a spirit".

He tried to capture this "a fluid = a spirit" by photograph, fix the marks with avoiding its rebounds.

 

The act of pressing shutter is exactly same as the act of capturing. Photographers have been confine and fix various things like remembrance, air and light. If the things they can capture was something like spirits, how wonderful and romantic it is. To prove Niepce's idea of the photograph as machine of capturing the spirits, CASHI gallery will show the photographs which confined power that shakes the viewers, as the exhibiton of two composition. These two composition are made by same artists but we will try to show different surface of each artists like A side and B side of a record. Artist: Keita Sugiura, Tetsuomi Sukeda, Tomoe Murakami * The text provided by CASHI.

Last Updated on November 17 2009
 

Editor's Note by Satoshi KOGANEZAWA


This is a group exhibition following to the “Box of Niepce / right” (November 6 – 14, 2009) of three photographers; Keita Sugiura, Tetsuomi Sukeda, and Tomoe Murakami. the exhibition seems fairly refreshed since all works are multiplied by the wall, in contrast with the previous exhibition in which Sukeda’s installation (?) occupied the space. The most impressive matter through both sessions, was Sugiura’s work. He exhibited a merely white work entitled “cloud” exhibited at the first session, and in contrast, a work to which green light wriggles in the dark at the second session. The both works have an uncertainty of what he took the photograph, and that is the charm of the works. That is to say, this "uncertainty" is an indispensable element to what is called “art”.


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