ko nakajima part 3
Still from NAK3889 Rolling Coconut / ローリング・ココナッツ (1977)
Over the next four months, CCJ Monthly Members Viewing will focus on Ko Nakajima’s recently digitized titles, offered in partnership with Keio University Art Center. The presentations will be organized around themes: Study on My Life (January), technical experiments (February), documentary (March), and CATV work and collective Video Earth Tokyo (April).
The third month of the series features Nakajima’s documentary leanings. As seen in the January study of My Life, Nakajima is an avid documentarian, taking his camera or video camera to document his daily life, major art events and performances, and artists. The selections from the Keio University Art Center digitizations include unedited tapes, made available to researchers’ study.
CCJ’s research on Nakajima’s works began with the 2018 Collection Survey. CCJ is pleased to collaborate with Keio University Art Center to present works and video materials that were identified during the survey.
January - My Life Study
The Rooms in the Photographs—Ko Nakajima’s Rooms (2019)
My Life (1971-2014)
February - Technical Experiments
Animaker, Aniputer, Scanimate experiments
March - Documentary
Rolling Coconut (1977)
Snail No. 2 “Stand on Mount Fuji!!” / カタツムリ２世号「富士に立つ！！」(1978)
Kikuji Yamashita / 山下菊二
Yoko Ono 1974 One Step Music Festival / オノ・ヨーコ 1974年 ワンステップミュージックフェス (1974)
April - CATV / Video Earth Tokyo works
TBA
The programs will be available for viewing on CCJ’s viewing platform.
March: Documentary Works
NAK3003 Rolling Coconut, Concert Footage / ローリング・ココナッツ コンサート分 (1977)
Documents of the Rolling Coconut Review Japan Concert 1977, the anti-whaling benefit concert that took place on April 8th, 9th, and 10th, 1977, NAK3003, 3889, and 3004 are Nakajima’s tapes that remain. The first benefit concert in Japan, the event was led by an American activist, in collaboration with a Japanese record store, and invited Japanese, American, and Canadian musicians. NAK3003 and NAK 3004 document the roundtable discussion.
NAK3889 Rolling Coconut / ローリング・ココナッツ (1977)
NAK3004 Rolling Coconut, Music Festival / ローリング・ココナッツ ミュージックフェス (1977)
NAK 3767 Kikuji Yamashita / 山下菊二
Unfortunately the sound is missing in this digitization but it is still a valuable record of Ko Nakajima’s interview with Surrealist painter Kikuji Yamashita.
NAK3006 Snail No. 2 “Stand on Mount Fuji!!” / カタツムリ２世号「富士に立つ！！」(1978)
Video Earth Tokyo (video art collective led by Ko Nakajima) documented this project about a person on a wheelchair climbing mount Fuji. The piece begins with the scene of building a wheelchair (“Snail No. 2” / カタツムリ２世号) and follows to the top of the mountain.
NAK3521 Yoko Ono 1974 One Step Music Festival / オノ・ヨーコ 1974年 ワンステップミュージックフェス (1974)
Yoko Ono's Plastic Ono Band was the final band wrapping up the large-scale rock music festival, “One Step Festival” held in Fukushima prefecture in August, 1974.
Hitoshi Kubo
A man who was born in Tokyo, 1977 and now lives in Kanagawa. An archivist at Keio University Art Center, among other activities. Departing from certain archives or specific referential materials and montaging various spatiotemporal perspectives that they encompass, many of his projects shed light on not only events that occurred but also those that could have occurred, fundamentally as a way for him to explore possibilities to redesign conditions of human experiences as variable circuits by means of observation, analysis, and construction of montages employed in films and other artistic works, driven by his trust to the world, which in his eyes essentially stands as a process of self-generation and flickering. Recent writings include Montaging Penumbra: on a Motif of Archive (report for JSPS Grants-in-Aid for Scientific Research 26580029 | 2017) and “A Case of a Studio: Shuzo Takiguchi and a
Laboratory,” NACT Review, no. 5 (2018 | National Art Center Tokyo). At Keio University Art Center, he has directed a project to reconsider archives, called Pleating Machine (2018–).
久保仁志：
1977年に東京で生まれ現在神奈川で暮らす。慶應義塾大学アート・センター・アーキヴィスト他。プロジェクトの多くはあるアーカイヴおよび具体的諸資料から出発し、それらが包含する様々な時空間的パースペクティヴを編集（モンタージュ）することで起こった出来事だけでなく起こりえた出来事を照射してみせるのだが、その根底にあるのは映画をはじめとした芸術作品における編集の観察・分析・構築を通して人間の経験の諸条件を可変的回路として設計し直す可能性の探求であり生成明滅しつつも過程としてあるこの世界への信にほ
かならない。近著に『〈半影〉のモンタージュ：アーカイヴの一つのモチーフについて』（「JSPS 科研費 26580029」レポート｜2017年）、「ある書斎の事件記録——瀧口修造と実験室について」『NACT Review 国立新美術館研究紀要』5号（2018｜国立新美術館）慶應義塾大学アート・センターにてアーカイヴを考えるための企画『プリーツ・マシーン』（2018-）を行っている。
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