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"Seeing as though touching: Contemporary Japanese Photography vol.19" Installation view, Tokyo Photographic Art Museum, Tokyo, 2022
Courtesy of Tokyo Photographic Art Museum Photo: INOUE Sayuki
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"Seeing as though touching: Contemporary Japanese Photography vol.19" Installation view, Tokyo Photographic Art Museum, Tokyo, 2022
Courtesy of Tokyo Photographic Art Museum Photo: INOUE Sayuki
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"Seeing as though touching: Contemporary Japanese Photography vol.19" Installation view, Tokyo Photographic Art Museum, Tokyo, 2022
Courtesy of Tokyo Photographic Art Museum Photo: INOUE Sayuki
2022_TOP_Kosuke_Nagata__K7A6532
"Seeing as though touching: Contemporary Japanese Photography vol.19" Installation view, Tokyo Photographic Art Museum, Tokyo, 2022
Courtesy of Tokyo Photographic Art Museum Photo: INOUE Sayuki
2022_TOP_Kosuke_Nagata__K7A6539
"Seeing as though touching: Contemporary Japanese Photography vol.19" Installation view, Tokyo Photographic Art Museum, Tokyo, 2022
Courtesy of Tokyo Photographic Art Museum Photo: INOUE Sayuki
2022_TOP_Kosuke_Nagata__K7A6533
"Seeing as though touching: Contemporary Japanese Photography vol.19" Installation view, Tokyo Photographic Art Museum, Tokyo, 2022
Courtesy of Tokyo Photographic Art Museum Photo: INOUE Sayuki
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"Seeing as though touching: Contemporary Japanese Photography vol.19" Installation view, Tokyo Photographic Art Museum, Tokyo, 2022
Courtesy of Tokyo Photographic Art Museum Photo: INOUE Sayuki
2022_TOP_Kosuke_Nagata__K7A6517
"Seeing as though touching: Contemporary Japanese Photography vol.19" Installation view, Tokyo Photographic Art Museum, Tokyo, 2022
Courtesy of Tokyo Photographic Art Museum Photo: INOUE Sayuki
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"Seeing as though touching: Contemporary Japanese Photography vol.19" Installation view, Tokyo Photographic Art Museum, Tokyo, 2022
Courtesy of Tokyo Photographic Art Museum Photo: INOUE Sayuki
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“Equilibres” Installation view, ANOMALY, Tokyo, 2021
Photo: Keizo Kioku
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“Equilibres” Installation view, ANOMALY, Tokyo, 2021
Photo: Keizo Kioku
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“Equilibres” Installation view, ANOMALY, Tokyo, 2021
Photo: Keizo Kioku
MG_8397
“Equilibres” Installation view, ANOMALY, Tokyo, 2021
Photo: Keizo Kioku
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"EAT" Installation view, gallery αM, Tokyo, 2020
Photo: Yuki Moriya
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Purée (2020)
"EAT" Installation view, gallery αM, Tokyo, 2020
Photo: Yuki Moriya
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"EAT" Installation view, gallery αM, Tokyo, 2020
Photo: Yuki Moriya
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BITE (2020)
"EAT" Installation view, gallery αM, Tokyo, 2020
Photo: Yuki Moriya
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Digest (Translation Zone) (2020)
"EAT" Installation view, gallery αM, Tokyo, 2020
Photo: Yuki Moriya
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"Tokyo Photographic Research" Installation view, ROPPONGI TSUTAYA BOOKS, Tokyo, 2020
Courtesy of Tokyo Photographic Research
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"Tokyo Photographic Research" Installation view, ROPPONGI TSUTAYA BOOKS, Tokyo, 2020
Courtesy of Tokyo Photographic Research
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Yurakucho Art Sight Project, Tokyo, 2020, Courtesy of Tokyo Photographic Research
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"Tokyo Photographic Research" Installation view at ROPPONGI TSUTAYA BOOKS, Tokyo (2020.6.16 - 8.2)
TokyoCourtesy of Tokyo Photographic Research
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《Function Composition (Peppers)》 (2019)
インクジェットプリント
image size:H120xW180cm
frame size:H127xW180xD4cm
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《Function Composition (Computer)》 (2019)
インクジェットプリント
image size:H120xW180cm
frame size:H127xW180xD4cm
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《Function Composition (Computer)》 (2019)
インクジェットプリント
image size:H120xW180cm
frame size:H127xW180xD4cm
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《Translation Zone》(2019)
ビデオ (4Kシングルチャンネル)
27’ 30”
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《Translation Zone》(2019)
ビデオ (4Kシングルチャンネル)
27’ 30”
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《Translation Zone》(2019)
ビデオ (4Kシングルチャンネル)
27’ 30”
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《Translation Zone》(2019)
ビデオ (4Kシングルチャンネル)
27’ 30”
ss1
《Semantic Segmentation-1》(2019)
インクジェットプリント
frame size: H120xW125cm
ss2
《Semantic Segmentation-2》(2019)
インクジェットプリント
frame size: H120xW125cm
ss3
《Semantic Segmentation-3》(2019)
インクジェットプリント
frame size: H120xW125cm
ss4
《Semantic Segmentation-4》(2019)
インクジェットプリント
frame size: H120xW125cm
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「FALSE SPACES 虚現空間」展示風景、トーキョーアーツアンドスペース本郷、東京、2019
撮影: 高橋健治 courtesy of Tokyo Arts and Space
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「FALSE SPACES 虚現空間」展示風景、トーキョーアーツアンドスペース本郷、東京、2019
撮影: 高橋健治 courtesy of Tokyo Arts and Space
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「FALSE SPACES 虚現空間」展示風景、トーキョーアーツアンドスペース本郷、東京、2019
撮影: 高橋健治 courtesy of Tokyo Arts and Space
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「明るい水槽」展示風景、BLOCK HOUSE、東京、2018
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「明るい水槽」展示風景、BLOCK HOUSE、東京、2018
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《Sierra》(2017)
「オープン・スペース 2018 イン・トランジション」展示風景、NTTインターコミュニケーション・センター [ICC]、東京、2018
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《Theseus (Glass)》 (2017)
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《Wildcard (Parking)》(2016)
紙にインクジェットプリント、木製パネル
H84.1xW59.4cm
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《Wildcard (Building)》(2016)
Locating fundamental components such as social structure, today’s media technology, and our sensory system to perceive various phenomena in his artistic interest, artwork by Kosuke Nagata continues to emerge ambiguity in the process of distinguishing one from another.
He has recently participated in the following major exhibitions “Seeing as though touching: Contemporary Japanese Photography vol.19” TOKYO PHOTOGRAPHIC ART MUSEUM, 2022), “Equilibres” (ANOMALY, 2021), “Eating Body” (Moto-Eigakan, 2021), “Aichi Triennale 2019: Taming Y/Our Passion” (Aichi Prefectural Museum of Art, 2019), “Open Space 2018: in transition” (NTT InterCommunication Center, 2018), and “The Yebisu International Festival for Art & Alternative Visions 2018: Mapping the Invisible” (TOKYO PHOTOGRAPHIC ART MUSEUM, 2018). The essay titled ‘Photography after Photoshop: Software of the “Photographic Apparatus”’ contributed to the Lev Manovich’s Japanese-translated publication “Instagram and Contemporary Image” (Tokyo: BNN, 2018).
