Mikko Lagerstedt • Demilked

Friday, 1 May 2015

“On the afternoon of September 28, 1971, when Japanese critic and photographer Takuma Nakahira set foot (several days late) in the seventh Paris Biennale, he felt nothing so much as ‘hollowness’ and ‘despair.’ Reporting these sensations for the Japanese weekly Asahi Journal that December, Nakahira explained his dissatisfaction with the state of contemporary art and, indeed, with his own activities as a creator and commentator on art. The laudable artworks on view mostly attacked a social system from which their makers pretended to keep some distance; Nakahira observed that, in fact, this art could only be the very face of such a system, which created a sort of play area for artists to vent futile opposition to the forces of capital flow and authoritarian control.” Matthew S. Witkovsky • Aperture