#Nobuko Tsuchiya

[restrictedpalette]

Nobuko Tsuchiya (b. 1972 in Japan; based in London)

#nobuko tsuchiya #sculpture

[milksockets]

nobuko tsuchiya in unmonumental: the object in the 21st century - phaidon (2007)

#my scan #sculpture

[fuckyeahwomeninhistory]

Yoshiya Nobuko (1896-1973)

Yoshiya was born in 1896 in Niigata, Japan, the only daughter in a family of five children—an upbringing that had an impact on her approach to gender roles, and her resentment of the male domination of society. In 1915, Yoshiya moved to Tokyo, where she resided for the rest of her life. She began attending meetings of Seitō, Japan’s pioneering feminist magazine, where she met other modern female writers attempting to carve out lives not beholden to men. With the support of this community, she cut her hair into an unconventionally short bob and began to wear men’s clothing.

Just a year later, Yoshiya published a 52-story collection called Hana monogatari. Translated into English as Flower Tales, the collection details intense emotional relationships between girls—and introduced many of the motifs and symbols that define modern shōjo manga, such as the boarding school dormitory setting, imagery involving Western flowers, and a dreamily wistful style of writing. Yoshiya used flowers, most often roses, to symbolize the emotional intensity of these girls’ relationships. Each story was paired with an illustration by the famed artist and doll creator Jun’ichi Nakahara, who drew schoolgirls with the huge, bubbly eyes so characteristic of manga and anime today. Most of the Flower Tales concern unrequited crushes or longing among women, often for another student or a teacher.

These stories soared in popularity and cemented Yoshiya’s place among the canon of popular Japanese writers. According to Sarah Frederick, a professor of Japanese literature at Boston University, Yoshiya’s stories can be read two ways: as queer (though they hold back from anything more shockingly sexual than a kiss) or as purely, if intensely, platonic.

In 1919, shortly after Flower Tales, Yoshiya wrote one of her best-known—and most scrutinized—stories, ”Yaneura no nishojo” (“Two Virgins in the Attic”). Many critics read it as quasi-autobiographical, as it follows two students, Akiko and Tamaki, who feel like outcasts in their dormitory. They spend all their time in a triangular attic, where they develop a romantic longing. They spy on each other in the bathroom and smell each other’s scent of “lily magnolia”—all culminating in a kiss. Urban Japanese architecture has a notable lack of attics, yet they commonly appear in modern-day shōjos—a lineage almost directly traceable to Yoshiya.

Many manga scholars consider “Two Virgins in the Attic” to be the first prototype of yuri manga, the modern extension of shōjo that is more explicitly focused on lesbian romantic and sexual relationships, according to Hiromi Tsuchiya-Dollase, a professor of Japanese at Vassar College. Though yuri is now considered a genre in its own right, some of the most popular shōjo mangas of all time, including Sailor Moon, have subplots that veer into yuri.

Read more at: https://www.atlasobscura.com/articles/yoshiya-nobuko-queer-manga

#women in history #asian women in history #20th century history #1900s #japanese women in history #women in art #lesbian history #queer history

[byneddiedingo]

The Ceremony (Nagisa Oshima, 1971)

Cast: Kenzo Kawaraski, Atsuko Kaku, Atsuo Nakamura, Kiyoshi Tsuchiya, Kei Sato, Akiko Koyama, Nobuko Otowa. Screenplay: Mamoru Sasaki, Tsutomu Tamura, Nagisa Oshima. Cinematography: Toichiro Narushima. Production design: Shigenori Shimoishizaka. Music: Toru Takemitsu. In his comments on The Ceremony in Have You Seen...? David Thomson makes an admission that perhaps I myself don't keep enough in mind: "I have seen enough Japanese films to know that, much as I admire that national cinema, it is based on precepts that are strange to me." But Thomson also makes an important point when he likens the family in The Ceremony to those in "Faulkner or Greek tragedy." We are distanced from the tortured family narrative in the film not only by cultural differences, but also by the larger-than-life mythic quality of the personalities and events. The transgressive sexuality -- the pervasive incest in the Sakurada family -- and the rigid adherence to tradition, which reaches its most absurd point when an elaborate wedding is conducted with the bride in absentia, are on one level satiric indictments of Japanese culture, but on another level are statements about human obsessions that transcend national boundaries. Sometimes Oshima's attempt at this kind of transcendent mythmaking bogs The Ceremony down a bit, and the performers don't always rise to the demands of the material, losing their grip on the humanity of their characters and bringing in a whiff of pretentiousness to the enterprise. But it's a fascinating film to watch -- and often to listen to, when Toru Takemitsu's spiky score appears.

#The Ceremony #Nagisa Oshima

[toga-kanazawa]

・ TOGA KANAZAWA #Repost @togaarchives with @use.repost ・・・ TOGA SPRING SUMMER 2023 Director : Yoshio Wakatsuki Film Director : Katz Sasaki Styling : Shotaro Yamaguchi Hair : Asashi Make-up : Nobuko Maekawa Casting : Bobbie Tanabe Music : Eiko Ishibashi Sounds Director : Shuhei Abe Backstage Photographer : Ko Tsuchiya Production : DRUMCAN Inc #toga #togaarchives #togakanazawa https://www.instagram.com/p/CiuwcYHhrtv/?igshid=NGJjMDIxMWI=

#repost #toga #togaarchives #togakanazawa

[stuff-for-penthouses]

Nobuko Tsuchiya Shhhhhhhhhh, 2019, silicone, 128 x 110 x 145 cm

#Nobuko Tsuchiya #art #contemporary #sculpture #soft #silicone

[mentaltimetraveller]

Nobuko Tsuchiya 

at SCAI THE BATHHOUSE, Tokyo

may 29 - jul , 2018

#Nobuko Tsuchiya

[bhige]

Nobuko Tsuchiya

”Railfish" , 2014 Mixed media, 117 x 125 x 240 cm

#Nobuko Tsuchiya #art #contemporary #sculpture #abstract #fur

[stallation]

Nobuko Tsuchiya

30 Ways To Go To The Moon, 2018

#Nobuko Tsuchiya #art #contemporary #sculpture #installation #abstract

[provisional-sculpture]

Nobuko Tsuchiya

#Nobuko Tsuchiya #art #contemporary #sculpture

[bizarreauhavre]

Nobuko Tsuchiya

#bizarre au Havre #contemporary art #sculpture #installation #artist #nobuko tsuchiya #experiment #art gallery #exhibition #art contemporain #exposition #expérience

[restrictedpalette]

Nobuko Tsuchiya (b. 1972 in Japan; based in London)

#nobuko tsuchiya #sculpture

[memoriametamorfo]

Nobuko Tsuchiya

[food-for-angels-void]

nobuko tsuchiya 🀺

i stumbled across this artist in the reading for the unmonumental in post-1989 art. i was immediately drawn in by the fleshy tones and inclusion of scientific apparatus/sleek metal work. the way in which the installations are set up suggest a very particular, certain approach to display cultivating a narrative within in my own head. i can see her sitting at these desks, fiddling and looking extremely preoccupied. the idea of  ‘a mad scientist’ enters my brain,,,, someone whom wants to pick apart their flesh and dissect it in order to understand it and hopefully... the self. she uses a variety of media to form these assemblages, evoking niche story-like quality through the incorporation of familiar, everyday materials. her sculptures can resemble ‘minimalist mechanisms devoid of function, primitive robots or curious experiments’

tsuchiya intuitively collects materials she is attracted to, casting them together to form a new life and meaning. her materials are repositories of memory and experience, as well as signifiers of the future. “i treat these physical and imaginative aspects equally, combining and recombining them until im able to construct a story embedded within an object”. 

as soon as i saw this work i immediately had to inspect the remaining pieces in her practice. i am so very intrigued by the very.. particular ambience the sculptures create. the lighting is also quite central,,, dimly lit/standard museum lighting with a concentrated area of lighting. the delicate arrangement is further understood by the spotlights, drawing attention to a certain area first. which leads me to think there is an order in which to view each element, something i desire to have in my work. each little component needs its own moment of viewing where it is separated from its surroundings and is fully taken in. there is also a bodily likeness present in tsuchiya’s work, especially seen in the balloon form resting on the grid structure. 

references:

Leeds Art Gallery. (2019). Nobuko Tsuchiya. Retrieved from https://yorkshire-sculpture.org/artists/nobuko-tsuchiya/

[nobukotsuchiya]

Nobuko Tsuchiya

[toga-kanazawa]

・ TOGA KANAZAWA #Repost @togaarchives with @use.repost ・・・ TOGA SPRING SUMMER 2023 Director : Yoshio Wakatsuki Film Director : Katz Sasaki Styling : Shotaro Yamaguchi Hair : Asashi Make-up : Nobuko Maekawa Casting : Bobbie Tanabe Music : Eiko Ishibashi Sounds Director : Shuhei Abe Backstage Photographer : Ko Tsuchiya Production : DRUMCAN Inc #toga #togaarchives #togakanazawa https://www.instagram.com/p/CiuwXYShgPv/?igshid=NGJjMDIxMWI=

#repost #toga #togaarchives #togakanazawa