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Exhibition Detail
The Depth of Memory
Curated by: Aaron Kerner, Chuck Mobley
657 Mission St
2nd Floor
San Francisco, CA 94105
Main-recommend2 1 person has recommended this exhibit


January 3rd - March 22nd
Opening: 
January 15th 6:00 PM - 8:00 PM
 
P1010758Katsushige Nakahashi
P1010755Katsushige Nakahashi
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> QUICK FACTS
WEBSITE:  
http://www.sfcamerawork.org
NEIGHBORHOOD:  
SOMA
EMAIL:  
sfcamera@sfcamerawork.org
PHONE:  
415 512 2020
OPEN HOURS:  
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TAGS:  
installation, photography
> DESCRIPTION
On December 7, 2006, the sixty-fifth anniversary of the attack on Pearl Harbor, Japanese artist Katsushige Nakahashi photographed, from sunrise to sunset, a portion of the USS Missouri's deck. His selection of this specific site on board the ship is charged with historical significance; during the Pacific battle of World War II a Kamikaze fighter hit this particular section of the Missouri. Composed of more than 5,000 photographs, spanning more than 40-feet, and assembled by a team of volunteers at Japan's Tottori Prefectural Museum in May 2007, On the Day 7th December, 2006 / Battleship Missouri,Pearl Harbor is layered with temporal depth that physically embodies "sculptural time," or historical time represented with physical form.

Key to Nakahashi's first Bay Area solo exhibition is the newly commissioned: Kaiten—a World War II Japanese torpedo outfitted to accommodate a lone Kamikaze pilot. In his studio this autumn, Nakahashi painstakingly photographed the entire surface of a toy model Kaiten at 1:32 scale producing more than 20,000 photographs. These images will be assembled, with Nakahashi's oversight, in Camerawork's gallery during December and January to create a 50-foot simulacrum of the infamous "suicide submarine." Nakahashi’s work can be situated within a framework of relational aesthetics and social pratice. As the photographs of the miniature are only pieces of the artwork, they are corollary to their subsequent assembly/interaction of artist and viewer/participant. It is essential to Nakahashi’s art practice that the construction of this piece be done in the gallery, during the exhibition, with as broad-ranging a cross section of volunteers as can be organized.



 

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