Published on the occasion of the 2009 exhibition Mike Kelley: Photographs / Sculptures at Wako Works of Art in Tokyo, this catalogue features color images of six photographic series and a body of sculptural works by the artist. A number of self-portraits from 1978 mimic 19th century spirit photography, and depict Kelley emitting cotton ball “ectoplasm” from his head.
The Ectoplasm series is linked to a project made in association with artist David Askevold in 1978, titled “The Poltergeist.” David and I shared an interest in the aesthetics of the occult which led us to make a series of photographic works that addressed that history. We did not work collaboratively, though we had numerous discussions about the project as it was developed. Each artist’s works were produced independently, but with the intention that they should be seen simultaneously to inflect the reading of the other. My portion of the project includes faux spiritualist photographs of a “medium” (myself) exuding the mysterious ethereal substance ectoplasm. The photos mimic the look of period spiritualist photography from the early part of the 20th century
Another photographic series depicts dancer Anita Pace through a Vaseline-coated lens, and two untitled groups of photographs capture amorphous globules and puddles through a combination of layered negatives and colored gels. Also featured is an essay written by Kelley to accompany the exhibition, and a number of poetic texts printed in conjuction with the photographs.
The Sea Library in Awashima by ETAT arkitekter: The new library is housed in a heritage-classified building from the 1920’s overlooking the harbor. ETAT’s refurbishment is designed to highlight the material and spatial qualities of the existing wooden building and to enhance its relationship to the sea. A rectangular brass table and brass screens with gently rippled surfaces create wavy reflections of the interior that are reminiscent of water.
Junya Ishigami - Kanagawa Institute of Technology Workshop, Kanagawa 2008. While seemingly random, the dozens of columns that populate the space were designed with great specificity so as to encourage certain clusters of activity. Various nodes settled organically within the space, creating distinguishable zones that simultaneously maintain an open and collaborative environment.
There are also two different types of columns in the space, despite their visual similarity. Roughly half are embedded into the concrete slab, and support the weight of the roof. The others are welded to the roof structure, and combat sheer and seismic forces. Photos (C) Jonathan Savoie.