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Photographer Sebastien Tixier | Posted by Photographer Sebastien Tixier | Posted by Photographer Sebastien Tixier | Posted by Photographer Sebastien Tixier | Posted by Photographer Sebastien Tixier | Posted by Photographer Sebastien Tixier | Posted by Photographer Sebastien Tixier | Posted by



Paris, France-based photographer Sebastien Tixier (tumblr) - The Japanese island of Hashima, also known as Gunkanjima (or “war vessel”) because of its shape, falls under the Nagasaki Prefecture in Japan. Used for quarrying coal, the island experienced extremely dense urbanisation accompanied by the highest population density rate ever recorded worldwide. When the coal mines closed in 1974, the island watched as its inhabitants suddenly departed, leaving it to abandon and desolation. Contrary to most deserted places, the island of Hashima bears no traces of human life following its brutal abandon. No graffiti or signs of destruction wreaked by Man exist: the Hashima of today has been shaped by the elements and the passage of time alone. Picking my way among the ruins, isolated in the middle of the ocean, and the fragments of the lives of men, women and children, I was struck by the island’s silence. I will thus refrain from adding any further details on Hashima, hoping that the photographs alone will be enough to express the spirit of these desolate spaces.

Artist Hiroshi Yoshii | via: Artist Hiroshi Yoshii | via: Artist Hiroshi Yoshii | via: Artist Hiroshi Yoshii | via: Artist Hiroshi Yoshii | via: Artist Hiroshi Yoshii | via: Artist Hiroshi Yoshii | via:


Mr. Yoshii is one of the most acclaimed digital artists in Japan. Yoshii specializes in crystallizing characters for his clients’ needs with little direction. “My three-dimensional characters are created by a harmonious combination of beauty, ludicrousness, and humor.” 

Hiroshi Yoshii - "My parents forbade me from watching TV cartoons or reading comic books until I was 12 years old, and when they lifted that restriction I rebelliously immersed myself in them. Star Wars also helped lead to my interest in visual art. I wanted to become a comic artist, but realized that I was not a good storyteller. Therefore, I shifted my goals to become an illustrator. I worked for a design company in Nagoya as a graphic designer for seven years, after which I moved to Tokyo in 1990 to begin work as an illustrator."

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D800/AF-S NIKKOR 85mm F1.8G | via: D800/AF-S NIKKOR 85mm F1.8G | via: D300/AF-S NIKKOR 28mm f/1.8G | via:


Photos of fireflies by Tsuneaki Hiramatsu

On hot, hazy summer nights, fireflies take centre stage as they fly through the night air, punctuating the darkness with flecks of yellow light.

But Japanese photographer Tsuneaki Hiramatsu captured their beauty in a whole new light, using time-lapse photography. (2012/7/12)

Artist Norimichi Hirakawa | Posted by Artist Norimichi Hirakawa | Posted by Artist Norimichi Hirakawa | Posted by Artist Norimichi Hirakawa | Posted by Artist Norimichi Hirakawa | Posted by Artist Norimichi Hirakawa | Posted by

Norimichi Hirakawa - the irreversible

[VIDEO installation1024 sequences of 2 seconds video of irreversible change is rewinding. recorded reverse time ticks forward on audience mind in realtime.

Artist Norimichi Hirakawa | Posted by Artist Norimichi Hirakawa | Posted by Artist Norimichi Hirakawa | Posted by Artist Norimichi Hirakawa | Posted by

High-Tech Japanese Art Installation by Norimichi Hirakawa

16 arrows and the exposed - installation, 6720x3000x910mm, label, line tape, arrow

In the world of quantum including this world, every particle is ruled by indeterminacy theory, therefore we never can know both coordinate and velocity of each particle at the same time. But in the world of computer program, all of future is computable by calculation from initial value. It is doomed vision of the world that all of its future is decided at the moment of the big bang. Nevertheless, actually there’re freshness and wonder when we observe the future that has come at the moment. A physicist, Lapace imagined an intelligent existence who can foresee all of future by the perfect observation at the moment and the high-speed calculation.

It became being called “Lapalce’s demon”. Isn’t it the computer in the modern period ?

Trying to generate all of a plane composition by using overall calculation capability of commuter is like selling artistic soul to the demon. but, what kind of things is the artistic soul actually ?

kouichi okamoto: switch  [ VIDEO demo of ‘musical table’ ]

pola museum annex, tokyo, japan

april 27th - june 3rd, 201

in an exhibition curated by hexa project for show at the pola museum annex, japanese designer kouichi okamoto of kyouei design created two installation works, both focusing on the idea of the switch’. both works were created with the assistance of pola orbis holdings, and after its exhibition at the pola museum annex, the show will travel to london.

Artist Sagaki Keita   ’I wanna go to BIDAI ! [Gattamelata]’   2011 pen on charcoal paper ( h.65×w.50cm. collection of the atist )

artist Chiharu Shiota


The Art Of Mono-Ha curated by Mika Yoshitake, a stunning exhibition, beautifully curated, and definitely one exhibition not to miss.  This exhibition examines the postwar Japanese artistic phenomenon Mono-ha (School of Things).

Blum & Poe is pleased to announce its forthcoming exhibition Requiem for the Sun: The Art of Mono-ha. This exhibition examines the postwar Japanese artistic phenomenon Mono-ha (School of Things), following the solo exhibition of Mono-ha’s key ideologue, Lee Ufan at the gallery in January 2010. Representing an important art historical turning point, “Requiem for the Sun” refers to the attitude of aesthetic detachment and renewal of matter in response to the immanent loss of the object as a sun in Japanese postwar art practice. Included in the exhibition are works by Koji Enokura (1942-1995), Noriyuki Haraguchi (1946- ), Susumu Koshimizu (1944- ), Katsuhiko Narita (1944-1991), Nobuo Sekine (1942- ), Kishio Suga (1944- ), Jiro Takamatsu (1936-1998), Noboru Takayama (1944- ), Lee Ufan (1936- ), and Katsuro Yoshida (1943-1999).

Mono-ha’s primary tenet explores the encounter between natural and industrial objects, such as glass, stones, steel plates, wood, cotton, light bulbs, leather, oil, wire and Japanese paper, in and of themselves arranged directly on the floor or in an outdoor field. Evident in their works is a tendency based not on the art historical recuperation of objects, but on maintaining an affective relationship between works and our surrounding environment. That is, the works operate as a process of perceiving a perpetually passing present that opens the materiality of the work beyond what is simply seen. These practices are linked to the cultural milieu of process and post-minimalist art apparent on an international level during the 1960s and 1970s. What distinguishes their work is the refined technique of repetition as a studied production of difference developed over time in each artist’s practice.

Katsuji Isaka - early 70s

Stephanie Jung  “Nara”  via Curioos

Stephanie Jung ”Nara II” via Curioos

Stephanie Jung

Makoto Tojiki  - Horse with No Shadow      “See the reflected light”

An object is seen when our eyes capture light that is reflected from the object. If we extract just the light that is reflected from “something,” are we still in the presence of that “something”?  Using contours of light, I try to express this “something.” -  Japanese artist and designer  Makoto Tojiki uses light in a variety of installation as his primary medium of expression.

Japan’s Gigantic OLED Globe Shows Near-Real Time Displays  - more

 you’re headed to Tokyo, Japan, make sure to drop by The National Museum of Emerging Science and Innovation (Miraikan) to see some state-of-the-art science and technology. Around the middle of last year, the museum unveiled the world’s first large-scale spherical OLED screen, measuring over 19 feet in diameter. Called Geo-Cosmos, this isn’t any ordinary globe. It shows near real-time displays of what’s happening to our Earth! How? Data for Geo-Cosmos is acquired from scientists and research institutes from all around the world.

"The images of clouds on the globe reflect the everyday image data taken by the weather satellites. It is possible to see an image of the Earth as early as the morning of that current day. It also provides graphic images such as ocean acidification, temperature change, and various scientific observation data related to Earth. With the Geo-Cosmos you can see the current image of Earth that changes every minute, and what your Earth will look like in the future."

Built by Mitsubishi Electric, the Geo-Cosmos is an aluminium sphere covered with 10,362 organic LED panels. The display delivers a resolution of more than 10 million pixels, about 10 times greater than that of an LED display. The globe was installed to celebrate the 10th anniversary of the museum. It was created from Miraikan’s Chief Executive Director Mamoru Mohri’s desire of “wanting to share with people the sight of our beautiful Earth as seen from space.”

Make sure you watch the video, below, to see this mesmerizing piece of art in action.

Miraikan’s website
Photos via [Laurent Neyssensas] and [Takanyo]

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