How is Moriyama's work situated in a broader network of image-making practices across moving image and photography? Featuring films by Kanesaka Kenji, Sasaki Michiko and Yamazaki Hiroshi, we consider the interplay between different visual mediums.
Following the screenings, there will be a panel discussion that further considers the interdisciplinarity of Moriyama's work in the wider Japanese cultural context. Contributions from Lilian Froger, Pati Gaal-Holmes and Ricardo Matos Cabo.
Curated by Jelena Stojković. Produced in partnership with the Photography Research Group at the Centre of Research in the Arts (CoRA), Oxford Brookes University.
Schedule
Screening: Photographers Making Films at 14.00-16.00
Co-organised with and introduced by Hirasawa Gō
Kanesaka Kenji, Super Up (1966)
Sasaki Michiko, To Die Sometime (1974)
Yamazaki Hiroshi, Heliography (1979)
Panel discussion: Image Making Across Art and Documentary at 17.00-19.00
Lilian Froger: Abundance of Images in Japanese Photography: Magazines, Photobooks, Exhibitions
Ricardo Matos-Cabo: The anti-airport struggle at Sanrizuka in photographs and films
Pati Gaal-Holmes: Into the frameless distance to the city of (no) memory
Biographies
Patti Gaal-Holmes is an artist/filmmaker and historian who was born in Johannesburg, South Africa, to German and Hungarian immigrants. She lived/travelled in various countries before settling in the UK. Her cross-disciplinary research practice includes work in film, photography, artists’ books and writing. Analogue photography and film are central to hands-on approaches to filming, processing and printing. Investigations into history, memory and exile underpin recent projects informed by cross-cultural identity, archival research and in ‘excavating’ traces of the past in rural/urban sites. Gaal-Holmes is a Senior Lecturer in Film Production at Arts University Bournemouth. Publications include A History of 1970s British Experimental Film: Britain’s Decade of Diversity and films include Liliesleaf Farm Mayibuye. https://pattigaalholmes.com/
Hirasawa Go is a film researcher and staff member at the Meiji University’s Institute for Language and Culture. Screening events and exhibitions include “No Game” (Le Bal, Paris, 2016), “Throwing Shadows: Japanese Expanded Cinema in the Time of Pop” (Tate Modern, London, 2016), and “Art Theater Guild and Japanese Underground Cinema, 1960–1986” (MoMA, New York, 2012). Co-authored publications include Masao Adachi (Rouge Profond, France, 2012), 1968 Bunkaron (Cultural Theories: 1968) (Mainichi Shimbunsha, 2010), Wakamatsu Koji—Hankenryoku no Shozo (Koji Wakamatsu: A Portrait of Anti-authoritarianism) (Sakuhinsha, 2007) and Andaguraundo Firumu Akaivusu (Underground Film Archives) (Kawade Shobo Shinsha, 2001).
Ricardo Matos Cabo is an independent film programmer and researcher. Recent curating projects include film series on the work of Tsuchimoto Noriaki, Claudia von Alemann, Haneda Sumiko, among others. He currently teaches Film Exhibition Histories at the Elias Querejeta Zine Eskola in Donostia, Spain. In 2023 he co-edited the book Peter Nestler - Se acercan outros tiempos with Lucía Salas.
Lilian Froger holds a PhD in Contemporary Art History. His research focuses on Japanese photography from the 1950s to the present and questions the connections between photography, publishing and exhibitions. Alongside his academic research, he writes critical essays published in esse arts + opinions, Critique d’art and IMA that examine the role of fiction in the fields of contemporary art and design, as well as the necessary implication of the viewer, reader, or user in the activation of objects and the understanding of images. He is currently director of L’Imagerie, an art center in Lannion, France.
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