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Interrupted Places / trace | Hideo Kobayashi Exhibition

2018/06/08 fri - 07/07 sat 

Five years after his first Emon exhibition with Shield, we are delighted to present Hideo Kobayashi’s Interrupted Places (Chudan Sareta Basho) and trace, representing some of his earliest works in a career spanning twenty years. These works illustrate a creative style that centers on shooting locations that do not typically warrant attention, such as unremarkable downtown scenes or lonely forests, in which Kobayashi uses concrete walls or multiple exposures to craft surrealistic worlds. While retaining an element of documentary-style, Kobayashi states that these photos depict fantastical spaces reconstructed from imagination. Meticulously constructed shots, featuring superb manipulation of optics captured on 8 x 10 film has resulted in works that reflect a photographic philosophy in which no time or effort is spared in the grapple with subject.

Kobayashi’s debut work Interrupted Places (Mito Contemporary Art Gallery, 1999) consists of up to 20 concrete walls (concreted veneer panels) transported and set up on location to enclose waste disposal sites or playground equipment that is then photographed. These spaces become small portions cut-off from the world; graveyards of everyday equipment from which the life has been sucked. Solemn existences removed from the tumult of civilization, this is Hideo Kobayashi’s world. Needless to say, the ‘interruptions’ of Kobayashi’s frame are a metaphor for the camera frame’s ability to cut-off and separate the world into parts, even as the real world continues to spread and expand.

In contrast, trace sees Kobayashi applying techniques found in perspective drawing to construct lines and grids of light itself, casting a rich, luxuriant illumination over midnight forest with layers of long exposure strobe lighting. Lit thus in such an ordered, methodical fashion, the forest takes on an underworld-like ambience, lurking at the threshold between the real world and the photographic.

 A certain Japanese pioneer of photography coined the phrase “concepts and incidents”. It is not a stretch to add Hideo Kobayashi to his lineage. They both pursue the core of photographic expression with indefatigable stoicism. Now, as we climb to the summit of the digital age, we invite one and all to take another look at Kobayashi’s work, in the hope of catching a glimpse into the future of photography.


This text was created with reference to the Creatarium 41 leaflet by Toshihiro Asai: Photographs on the Theory of Photography.

Statement: Photographic Deeds and New Ways of Seeing

A fisherman uses a pole or net to catch fish. I feel that my photographic activities are in some way similar. Entering physically into the setting, I manipulate the photographic apparatus and shoot, much as one would lay a snare. Altering the configuration of equipment and settings allows me to change the way in which I see and capture. 

Dangling this ‘line’ into nature creates ripples on the surface — subtle transformations. I get the feeling that these minute reactions are the very things that provide us a new viewpoint to the familiarity of everyday life, and lead us to extraordinary places.

2018: Interrupted Places/ trace at Emon Photo Gallery・Tokyo

2014 : SHIELD at Emon Photo Gallery・Tokyo

2014 : Fotofever Paris  (France) 

2003 : Trace at Zeit-Foto Salon・Tokyo 

2000 : Glass Box at Zeit-Foto Salon・Tokyo      

2000 : 31st Rencontres d'Arles・France 

1999 : Criterium 41 at Mito Art Tower Contemporary

1999 : Art Center・Ibaraki

1999 : Common Boundary at The Center for Photography at Woodstock・New York

中断された場所/ trace  | 小林秀雄 Exhibition













2018 『中断された場所/ trace 』エモン・フォトギャラリー・東京

2014 『SHIELD』エモン・フォトギャラリー・東京

2003 『trace』 ツァイト・フォトサロン・東京

2000 『glass box』 ツァイト・フォトサロン・東京


1999  クリテリオム41 水戸芸術館現代美術ギャラリー・茨城

          Center for Photography at Woodstock・ニューヨーク

2018/06/08 fri - 07/07 sat 

中断された場所 / 1998

trace / 2003

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