{"id":2818,"date":"2015-07-25T22:23:31","date_gmt":"2015-07-25T13:23:31","guid":{"rendered":"http:\/\/www.kyotographie.jp\/aboutus\/traveling-exhibition\/traveling-ballen"},"modified":"2015-07-26T00:04:10","modified_gmt":"2015-07-25T15:04:10","slug":"traveling-ballen","status":"publish","type":"page","link":"https:\/\/2015.kyotographie.jp\/en\/aboutus\/traveling-exhibition\/traveling-ballen","title":{"rendered":"KYOTOGRAPHIE Traveling Exhibition\uff5cRoger Ballen"},"content":{"rendered":"

Roger Ballen <\/strong><\/h2>\n

Shadowland 1969\u20132014 <\/strong><\/h3>\n

Disclosing the dark side of human life and society is one of the vital tasks to have been addressed by photographic expression. Roger Ballen (born 1950, New York City) is doubtlessly one of the most important protagonists of this process. Since relocating to South Africa in the 1970s, Ballen has dealt with the themes of discrimination and poverty, both before and after the abolition of apartheid. Over time, his creative approach has undergone an inimitable evolution from an initial documentary style to orchestrated image-making based on photographic compositions employing a range of directorial techniques.
\nRecently, Ballen collaborated with rap group Die Antwoord\u2014a leading force in the \u201cZef\u201d counterculture that has sprung from South Africa\u2019s poor white population\u2014to make the music video I Fink U Freeky. Viewed more than 50 million times on YouTube, this piece has resonated globally with its idiosyncratic style mocking mainstream values and conceptions of beauty.
\nThe \u201cShadowland\u201d in the title of this exhibition\u2014Ballen\u2019s much anticipated first show in Japan\u2014 is also the title of one of his previous collections; according to Ballen himself, Shadowland \u201ccould be defined as a place between reality and fiction, the conscious mind and subconscious, a place of the mind that remains mysterious and dreamlike.\u201d Alongside a retrospective that highlights Shadowland and his other works to date, the show features his Asylum of the Birds photographic collection, published by Thames and Hudson in April last year.
\nTo coincide with the photographic exhibition, COMME des GARC\u0327ONS\u2019 Kyoto store will be projecting video from Ballen\u2019s Outland series in the store. At this year\u2019s Paris Menswear Fashion Week, the COMME des GARC\u0327ONS Homme Plus 2015 fall-winter collection featured models wearing jackets with images from Asylum of the Birds printed on the back. It was generally agreed that the theme of the collection, \u201cThe Power of Ceremony,\u201d found a strong reflection in the powerful images of animal carcasses, ubiquitous birds, and other motifs used in Ballen\u2019s work.<\/p>\n

It is made possible with the generous support of the artist and our sponsors.
\nKYOTOGRAPHIE has the Asian touring rights.<\/p>\n

Read More:
\nhttp:\/\/www.rogerballen.com\/<\/a><\/div>\n

\"slide08\"<\/p>\n

Contents:<\/strong>
\nThe exhibition consists of seventy-nine framed archival pigment prints.
\n(14) 290×360
\n(27) 400×400
\n(6) 500×500
\n(4) 700×700
\n(13) 800×800
\n(12) 900×900<\/p>\n

Accompanying Books:
\nBooks are available though Phaidon.
\nAsylum of the Birds
\nOutland<\/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":"

Roger Ballen Shadowland 1969\u20132014 Disclosing the dark side of human life and society is one of the vital tasks to have been addressed by photographic expression. Roger Ballen (born 1950, New York City) is doubtlessly one of the most important protagonists of this process. Since relocating to South Africa in the 1970s, Ballen has dealt…<\/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\/2818"}],"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=2818"}],"version-history":[{"count":2,"href":"https:\/\/2015.kyotographie.jp\/en\/wp-json\/wp\/v2\/pages\/2818\/revisions"}],"predecessor-version":[{"id":2820,"href":"https:\/\/2015.kyotographie.jp\/en\/wp-json\/wp\/v2\/pages\/2818\/revisions\/2820"}],"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=2818"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}