{"id":2814,"date":"2015-07-25T22:38:51","date_gmt":"2015-07-25T13:38:51","guid":{"rendered":"http:\/\/www.kyotographie.jp\/aboutus\/traveling-exhibition\/traveling-yoshida"},"modified":"2015-07-25T23:54:03","modified_gmt":"2015-07-25T14:54:03","slug":"traveling-yoshida","status":"publish","type":"page","link":"https:\/\/2015.kyotographie.jp\/en\/aboutus\/traveling-exhibition\/traveling-yoshida","title":{"rendered":"KYOTOGRAPHIE Traveling Exhibition\uff5cKimiko Yoshida"},"content":{"rendered":"

Kimiko Yoshida <\/strong><\/h2>\n

(Selection form the 2015 ‘All that’s not me\u201d KYOTOGRAPHIE exhibition)<\/strong><\/h3>\n

Paris-based artist Kimiko Yoshida works exclusively in self-portraits, yet she asserts that each photograph is a \u201cceremony of disappearance.\u201d \u201cIt is not me,\u201d Kimiko asserts, an emphasis of identity, \u201cbut the opposite\u2014an erasure.\u201d Certainly, identity is a major theme of her work, but the question she seems to ask is not so much \u201cWho am I\u201d but rather \u201cHow many of me are there?\u201d So, in all her photographic series so far\u2014Bright Bride, where she poses as a bride in Japanese and other cultural settings, Haute Couture, where she raids the clothing archives of leading fashion houses, or Paintings, inspired by famous works from the history of pictorial art\u2014she herself appears as the model, nearly always facing the lens, usually shown from the chest upwards, in prints that are always made at the same 150×150 cm size. There\u2019s no digital editing. Her \u2018wardrobe\u2019 includes pieces from her self coutured collection, articles of folk costume, and a stunning profusion of objects diverted from their original use: adapting shoes and handbags as headwear, and even the tassels or fringes of lampshades and curtains, Kimiko turns an endless assortment into original, elaborate ensembles. Her face and body are treated as decorative elements\u2014whitened, blackened or otherwise made-up\u2014often dissolving the boundary-delineating model from the background. Kimiko\u2019s images bring to mind the self-portraits of earlier female artists such as Claude Cahun, who sought to comprehensively deconstruct her own sexuality, or Cindy Sherman, who portrayed herself acting out the female image propagated by the media, yet Kimiko Yoshida\u2019s approach to portraiture is different. She has won great acclaim in Europe, with many solo exhibitions, but this will be Kimiko\u2019s first full-scale show in her native Japan.<\/div>\n

\"2\u30e8\u30b7\u30c0<\/p>\n

Content: <\/strong>
\n(11) Diasec 1200 X1200
\n(4) Kakejiku (Japanese scroll) 1750 X 3500
\n(5) Byobu (Japanese partition)1800 X 1800<\/p>\n

Participation Fee:
\nPlease contact us. The host venue is also responsible for the exhibition design costs, pro-rated shipping and insurance.<\/p>\n

Availability:
\nThe exhibition is available through 2018.<\/p>\n

\u25b6Back to Traveling Exhibition top<\/a><\/div><\/div>\n

<\/div>\n","protected":false},"excerpt":{"rendered":"

Kimiko Yoshida (Selection form the 2015 ‘All that’s not me\u201d KYOTOGRAPHIE exhibition) Paris-based artist Kimiko Yoshida works exclusively in self-portraits, yet she asserts that each photograph is a \u201cceremony of disappearance.\u201d \u201cIt is not me,\u201d Kimiko asserts, an emphasis of identity, \u201cbut the opposite\u2014an erasure.\u201d Certainly, identity is a major theme of her work, but…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":2794,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/2015.kyotographie.jp\/en\/wp-json\/wp\/v2\/pages\/2814"}],"collection":[{"href":"https:\/\/2015.kyotographie.jp\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/2015.kyotographie.jp\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/2015.kyotographie.jp\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/2015.kyotographie.jp\/en\/wp-json\/wp\/v2\/comments?post=2814"}],"version-history":[{"count":3,"href":"https:\/\/2015.kyotographie.jp\/en\/wp-json\/wp\/v2\/pages\/2814\/revisions"}],"predecessor-version":[{"id":2817,"href":"https:\/\/2015.kyotographie.jp\/en\/wp-json\/wp\/v2\/pages\/2814\/revisions\/2817"}],"up":[{"embeddable":true,"href":"https:\/\/2015.kyotographie.jp\/en\/wp-json\/wp\/v2\/pages\/2794"}],"wp:attachment":[{"href":"https:\/\/2015.kyotographie.jp\/en\/wp-json\/wp\/v2\/media?parent=2814"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}