Hi Jimbo / Jul 29, 2018 - Aug 26, 2018 / Yuhei Kobayashi / 4649, Tokyo                               (PDF)

Yuhei Kobayashi is an artist who was born in Adachi Ward,Tokyo in 1990.He is also one of co-directors of 4649.

In 2017 he joined to run the former of 4649 called “Workstation.” and had a first solo exhibition “Hanpa” (means such as “Odd”,”Incomplete” in Japanese.) He has mainly used medium about printing technology such as photograph and print making to make his art that based on the quotation of low-culture such as magazine culture,Hippie culture,Manga and Yankees,and photographic history and fashion History. (In Japan, “Yankee” is not exactly same meanings and styles as American’s.It means more like delinquent and sometime means old fashioned hip star but not professionally criminal.)

 

In this current exhibition we introduce his 13 new works as art pieces about photograph and photographic history that is the core of his interesting as also made as pure photographic products.

8 large-format printings with hand-made framings by himself are created from the possibility of the specificity of photograph what he is thinking in the view of the influence of photograph for the modern art history that started from the painting.

 

“First both painting and photograph were aimed to be the same as real eyes do.After appearance of photograph, painting had finished the part of that but also that is not for photograph.The true nature of photograph are the shock of being reflected and there is no exception for the dust such as tiny trashes coming into the lens and the camera,and everything at the moment would be reflected on equality.Cameras do not evolve into being same as eyes,just the resolution gets higher.”

 

These printings are developed from the films of the tiny pieces of papers which cut out from second-hand old books and magazines that valued as scraps from the wholesale second-hand book market,put into the back cover of the camera and stacked with negative-films and shuttered.The images on the printings show us tiny spaces coming from putting the pieces of scraps into back-cover of the camera.He arbitrarily put those pieces between the surface of printings and the glass covers. Also he emphasizes that these printings are not the photograph pieces such as the edition works by sticking the envelopes containing the negative-films of the printings on the back side of the printings.

"46-49" 2018 1624×1024 (mm)

"Pierced right ear" 2018 753×1055 (mm)

"Cover girl" 2018 482×585 (mm)

"pin-up" 2018 482×585 (mm)

"S-M" 2018 482×585 (mm)

"forget" 2018 482×585 (mm)

"Cover girl" 2018 482×585 (mm)

"High time" 2018 482×585 (mm)

"Kichin Takenotsuka" 2018 55×88×24 (mm)

"Work(Shinichi Kusamori)" 2018 88×110×24 (mm)

"荒river-side" 2018 88×110×24 (mm)

"DyDo" 2018 88×108 (mm)

"jackets" 2018 Variable

"alive" 2018 Variable

Photo by Kazuhito Tanaka