Takuma Nakahira (left) and unidentified, Paris, 1971. From Circulation: Date, Place, Events (2012).
Takuma Nakahira (left) and unidentified, Paris, 1971. From Circulation: Date, Place, Events (2012). At that point, I had covered the wall space allotted to me, the floor below it, the reception desk, and the poles holding up the exhibition hall with the photographs I had taken. Furthermore, many of these had been torn down here and there, sometime by themselves of by someone’s mischief, and scattered all over the place. These photographs were apparently considered eyesores, yet I flatly refused their request [to move the photos]. My “work of art” included the total process of photographing, developing, and displaying these photographs everyday, running around like a mouse on a treadmill. Thus, the mountain of photographs that resulted were mere traces of a particular span of time I had lived, and therefore had to be presented and openly accessible to others as best as possible. Takuma Nakahira, “The Exhaustion of Contemporary Art: My Pariticpation in the Seventh Paris Biennale” (first published in 1971, translated and reprinted in Circulation: Date, Place, Events (2012). -- source link
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