DATE: April 18 - May 2 2015
Dates: April 24 - 25
Venue: The New York Public Library
Selected Satellite Events:
Ryuichi Kaneko Lecture on The Japanese Photobook
Date: April 26
Venue: International Center of Photography School
Lecture & Slideshow on Contemporary Japanese Photography
Hosted by The Harvard Business School Club of New York
Date: April 28
Camera Obscura Workshop
with Takashi Homma
Date: May 2
Venue: The Hilton Hotel
Daisuke Yokota Performance of UNTITLED
Date: May 2
Venue: Dashwood Books
For the full program details, visit the microsite:
SHASHIN: PHOTOGRAPHY FROM JAPAN is a multi-institution program aimed to raise awareness of photography from Japan in New York, foster an exchange, and stimulate discussion in multiple segments: Academics, students, art collectors, researchers, artists, photographers, Japanophiles, and the general public of New York City. The dynamic and diverse activities in photography found in Japan today connect to the field’s long history and the SHASHIN festival is dedicated to bringing that work and its discourse to an international audience on an ongoing basis by prompting research and discussion on a wide range of subjects that includes photography, the photobook, performance, and the literary culture associated with photography from Japan.
The 2015 inaugural Festival program will include slideshows, film screenings, lectures, salon-type engagements, publications, and exhibitions. The entirety of the program is open to the general public and free of charge. (Some partner institutions will charge nominal attendance fees to cover incidental expenses.) The Festival will center around a symposium organized by The Council for Photography from Japan along with the New York Public Library and the International Center of Photography (ICP).
The Symposium program included a collaborative performance by photographer Daisuke Yokota and musician Aki Onda. Onda created an improvisational soundscape using the auditorium’s acoustics and massive rental amplifiers. Yokota projected his images across three screens, using two 35mm slide projectors and a digital monitor. Even though Onda’s sound was improvisational, Yokota’s images were pre-programmed.