The #Photo3.0 exhibition will be held by three artists, Kenji Himeno, Hiroki Nonoyama and Nigel Wong. The three photographers, all belonging to the digital native generation, produce works that are influenced by different contexts. This exhibition will display photographic expressions based on traditional history and techniques using their film photographs and those using elements of modern society such as digital images and SNS. Kenji Himeno shows snapshots of the cities and Hiroki Nonoyama a manual reconstruction of negatives influenced by Japanese photographers; Nigel Wong uses paper to represent the physical mass of image data.
In addition, this exhibition aims to integrate SNS, which has been a culture since the 2000s, with photographic expression, and will create audience participation collages using Instagram tagging. During the exhibition, collages will be returned to participants as irreplaceable digital data using NFTs, a technology from the 2010s onwards. The possibility of dialogue arises by putting each idea and result in the same place.
Kenji Himeno will display snapshots of urban landscapes. Himeno's photographs are made up of organized compositions that are conscious of Lee Friedlander's (1934-) photographs of the American cityscapes and the photo book, The desert seen, that photographs the desert. By stretching the photo to two meters, the details of the city are emphasized.
Hiroki Nonoyama tore apart negatives and reconstructed them as the works that will be displayed. The technique of reconstructing negatives is influenced by two recent works by Nobuyoshi Araki (1940-). The first is the 2011 publication, The Diary of the Old Photographer. He cut black-and-white film, printed the film and collected it to make a photo book. The second is a pictorial record of the 2014 photo exhibition Kirishin (Cut Photos) by Nobuyoshi Araki. This photo exhibition showed works in which the image of a color positive film was cut in half and combined with the other cut half of the film. Nonoyama also expresses the layer and materiality of the image by using a technique of manually stacking and joining films.
Focusing on the immateriality of digital photography, Nigel Wong converted the world's oldest non-copyrighted original photo image on Wikipedia into code and printed out the string. Today's digital images are recorded in binary and represented by an output machine (often a monitor). Since the 1970s, image processing using pixels has evolved along with the large capacity and low cost of computer memory and the development of computer display systems. In the photography industry, digital camera sales exceeded film cameras in the 2000s; digital images have become an important factor in today's photography. In order to display the code of the printed digital image, it had to be in some form, but the mass was expressed by composing it with a large amount of paper. Nigel's works present the contradictory elements of non-material physical mass by expressing image data, which has become an important element in photographic expression, on paper.
On the wall of the collage, we will create it in conjunction with SNS. The exhibitor will randomly select an image from the images posted on Instagram with the tag #Photo3_0. In addition, the viewers in the exhibition hall will also participate and print the images on smartphone printer paper and paste these printed images on the wall. By doing so, we will create collages. The actual collages will be destroyed after the exhibition, and their atmosphere will be preserved in the world of NFTs.
Since the 2010s, the development of services has progressed with the spread of smartphones. The launch of the iPhone spurred the spread of smartphones, and the number of users of Twitter and Facebook, which had landed in Japan in the late 2000s, and Instagram, which was released in 2010, has increased exponentially. Tagging is a function that promotes information sharing of images by associating keywords when posting photos and videos on Instagram. In this way, while using the functions unique to SNS that have been a symbol of culture since the 2000s, we will present collages as an expression made up of the physicality of the artist and the communication of the exhibition hall combined with the joint production of the viewers.
During the exhibition period, collages will be converted to NFTs and will be returned to the participants in the collages by lottery. NFT is an acronym for Non-Fungible Token. It is a technology that guarantees the owner and rarity of digital assets established after the 2010s.
We hope that this exhibition will be a place to think about photographic expression by placing works in different contexts in the same area.
Kenji Himeno, Hiroki Nonoyama, Nigel Wong
Profile
Kenji Himeno
Born in Okayama Prefecture in 1992
Solo exhibition
2021 PERSEUS (Alt_Medium, Takadanobaba)
2022 Phantom Limb (rusu. Meguro)
Hiroki Nonoyama
Born in 1991
2019 1_Wall Finalist
2020 Emon Award Finalist
2021 His works were collected in the Kiyosato Photo Art Museum (Young Portfolio)
Nigel Wong
Born in Hong Kong in 1990
2012 Graduated from National Taiwan University with a major in Philosophy
The #Photo3.0 exhibition will be held by three artists, Kenji Himeno, Hiroki Nonoyama and Nigel Wong. The three photographers, all belonging to the digital native generation, produce works that are influenced by different contexts. This exhibition will display photographic expressions based on traditional history and techniques using their film photographs and those using elements of modern society such as digital images and SNS. Kenji Himeno shows snapshots of the cities and Hiroki Nonoyama a manual reconstruction of negatives influenced by Japanese photographers; Nigel Wong uses paper to represent the physical mass of image data.
In addition, this exhibition aims to integrate SNS, which has been a culture since the 2000s, with photographic expression, and will create audience participation collages using Instagram tagging. During the exhibition, collages will be returned to participants as irreplaceable digital data using NFTs, a technology from the 2010s onwards. The possibility of dialogue arises by putting each idea and result in the same place.
Kenji Himeno will display snapshots of urban landscapes. Himeno's photographs are made up of organized compositions that are conscious of Lee Friedlander's (1934-) photographs of the American cityscapes and the photo book, The desert seen, that photographs the desert.
By stretching the photo to two meters, the details of the city are emphasized.
Hiroki Nonoyama tore apart negatives and reconstructed them as the works that will be displayed. The technique of reconstructing negatives is influenced by two recent works by Nobuyoshi Araki (1940-). The first is the 2011 publication, The Diary of the Old Photographer. He cut black-and-white film, printed the film and collected it to make a photo book. The second is a pictorial record of the 2014 photo exhibition Kirishin (Cut Photos) by Nobuyoshi Araki. This photo exhibition showed works in which the image of a color positive film was cut in half and combined with the other cut half of the film. Nonoyama also expresses the layer and materiality of the image by using a technique of manually stacking and joining films.
Focusing on the immateriality of digital photography, Nigel Wong converted the world's oldest non-copyrighted original photo image on Wikipedia into code and printed out the string.
Today's digital images are recorded in binary and represented by an output machine (often a monitor). Since the 1970s, image processing using pixels has evolved along with the large capacity and low cost of computer memory and the development of computer display systems. In the photography industry, digital camera sales exceeded film cameras in the 2000s; digital images have become an important factor in today's photography. In order to display the code of the printed digital image, it had to be in some form, but the mass was expressed by composing it with a large amount of paper. Nigel's works present the contradictory elements of non-material physical mass by expressing image data, which has become an important element in photographic expression, on paper.
On the wall of the collage, we will create it in conjunction with SNS. The exhibitor will randomly select an image from the images posted on Instagram with the tag #Photo3_0. In addition, the viewers in the exhibition hall will also participate and print the images on smartphone printer paper and paste these printed images on the wall. By doing so, we will create collages. The actual collages will be destroyed after the exhibition, and their atmosphere will be preserved in the world of NFTs.
Since the 2010s, the development of services has progressed with the spread of smartphones. The launch of the iPhone spurred the spread of smartphones, and the number of users of Twitter and Facebook, which had landed in Japan in the late 2000s, and Instagram, which was released in 2010, has increased exponentially. Tagging is a function that promotes information sharing of images by associating keywords when posting photos and videos on Instagram. In this way, while using the functions unique to SNS that have been a symbol of culture since the 2000s, we will present collages as an expression made up of the physicality of the artist and the communication of the exhibition hall combined with the joint production of the viewers.
During the exhibition period, collages will be converted to NFTs and will be returned to the participants in the collages by lottery. NFT is an acronym for Non-Fungible Token. It is a technology that guarantees the owner and rarity of digital assets established after the 2010s.
We hope that this exhibition will be a place to think about photographic expression by placing works in different contexts in the same area.
Kenji Himeno, Hiroki Nonoyama, Nigel Wong