Fuyuki Yamakawa
Fuyuki Yamakawa, Madrid, 2010
Fuyuki Yamakawa, Madrid, 2010
Fuyuki Yamakawa, Madrid, 2010
Fuyuki Yamakawa, Madrid, 2010
Fuyuki Yamakawa, Madrid, 2010
Fuyuki Yamakawa, Madrid, 2010
Fuyuki Yamakawa, Madrid, 2010
Fuyuki Yamakawa, Madrid, 2010
Fuyuki Yamakawa, Madrid, 2010
Fuyuki Yamakawa and Atsuhiro Ito, Madrid, 2010
A cluster of raw lightbulbs hang down, pulsing like a ritualistic flame to the heartbeat of an electronic stethoscope. He waves an electric guitar in the air, shaking the body. The guitar drones punctuate the throbbing feedback while he leaps and kicks the symbol, clashing it repeatedly. A deep, primordial voice cuts through the heavy air, the overtones resonating in discordant harmonies of antediluvian textures.
Fuyuki Yamakawa is the London-born Tokyo-based creator of sound/visual installations and improvised music who uses modern audial technology (including bone conduction microphones for ‘body beats’ and electronic stethoscopes to amplify his heartbeat) together with the ancient art of Tuvan overtone singing, characterised by the contemporary emission of two or more sounds at once. His performances are powerful and while completely unconventional, engage the audience with a strangely primal sense of involvement that transcends time.
“My physical body’s phenomena is outputted as sound and light and it gives perceptional stimulations to eyes, ears, and skins of audiences. Eventually the venue transforms into extended part of my body,” he says. “Sometimes it stops my heart for seconds. I use electric guitar but I never touch the strings. I shake and rub the body of guitar to make drones. These actions work like ‘sports’, which influence heart beat.”
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Fuyuki Yamakawa (山川冬樹)
August Sander – Men of the Soil
The Man of the Soil, 1910
August Sander (1876-1964) was one most important German photographers of the twentieth century. He is best known for the sweeping documentation of his fellow countrymen in ‘People of the 20th Century’. What began as a simple project photographing Westerwald farmers would grow to become an intimately accurate reflection of Weimar society. Sander’s bold yet delicate portraits classified the archetypal contemporary man in seven categories; “The Farmer”, ” The Skilled Tradesman”, “The Woman”, “Classes and Professions”, “The Artists”, “The City”, and “The Last People”. Here we examine “The Farmer”, Sander’s quietly steadfast men of the soil.
Young Farmers, 1914
Young Farmers, 1925-1927
Country Lads from the Westerwald, 1912
Farmer, 1931
Woodcutter, 1931
Farmhand, 1951
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People of the 20th Century
August Sander; Susanne Lange; Gabriele Conrath-Scholl; Gerd Sander; SK Stiftung Kultur. Photographische Sammlung.
New York : Distributed by H.N. Abrams, 2002.
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My Decisive Moment
How it began.
“I had bought a shirt and a jacket. You know the sensation you feel when you put on a new garment: you look in the mirror, happy and a bit excited in your new skin. But wearing that shirt and jacket I was different; they were old and new at the same time. In the mirror I was myself, undoubtedly, only I was more myself than before. I had a strange sensation…yes, I was wearing the shirt par excellence and the perfect jacket, and beneath them I was myself. I felt protected, like a knight in his armor.”
Notebook on Cities and Clothes. Dir. Wim Wenders. Produced by Road Movies Filmproduktion in Cooperation with the Centre National D’Art Et De Culture Georges Pompidou, 1989. DVD.
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reflets de lumière 
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