Reflecting Architecture

2018
mirror, metal, M6 screws
110 cm x 110 cm x 10 cm
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A mirror facing the wall, not being selfish.

L

2018
mounting angles, double sided tape
each 12 cm x 6 cm x 6 cm
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In "Galerie der Künster" the exhibition space is equipped with wooden panels to protect the walls of the historical building when hanging works.
For the group show KI_L_MUC_SA_R I attached mounting angles in every corner of the fake architecture in the space to frame the setting.

Italic

2018
MDF
140 cm x 38 cm x 50 cm
installation view
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Italic leans in 4 degrees in two directions simultaneously with "a certain nonchalance, so as to conceal all art and make whatever [it] does or says appear to be without effort and almost without any thought about it".

What's Mine Is Yours

2017
exhibition

in collaboration with
Ieva Jakušonoka
installation view
The show What’s Mine Is Yours assembles a series of work as result of a collaborative production process between Ieva Jakušonoka and myself. The show took place from June 22nd to 25th, 2017 at Atelier Sina Wagner in Schwanthalerstr. 166, in Munich, Germany.

The starting point of our collaboration was the idea to give one another the freedom to edit/modify/re-interpret an already existing work of each of us. The decision was made to take a photograph of the other’s work and use this document as a carte blanche. From there on we proceeded tossing the ball back and forth between us. What all the four works became to have in common is the confrontation with different forms of traces, with its connotations as an evidence or surviving mark of a former existence, influence or action, or the act of following a line alongside the contours of a shape. At the same time, by working together, with no hierarchy between us, we started to blur our own traces.

In The Bat Of An Eye

2017
digital print, glass
21 cm x 30 cm
installation view
An ephemeral moment was caught on In The Bat of An Eye. We took a photograph of Hisashi’s work, a mirror hanging in the corner of a space close to the ceiling. The flash of the camera bounced off the reflecting surface and was thrown against the ceiling. There it materialised in the shape of the mirror, with a perspective distortion caused by the viewpoint of the camera. Only the photographic lense was fast enough to witness this brief phenomenon. The image was turned with a 90° rotation clockwise and shown with a tilted panel of glass in front of it.

Cut Out

2017
tapestry
A0
installation view
In Cut-Out our scalpel was following the margins of Ieva’s painting on a photograph, printed on an A0 sized tapestry sheet, and removed it. What is left is the visual texture of the wall where it was hanging originally, with a gaping hole, exposing the wall behind the tapestry paper.

Moonwalk

2017
plaster
15 cm x 30 cm x 5cm
installation view
Moonwalk is the plaster cast of a forgotten footprint found on the door step at the entrance of the exhibition space. The sculpture was placed in the room’s center and was illuminated by a blueish - white spot light. The first person who had probably set foot into this space was one of the construction workers. Fortunately the concrete of the step was still soft when he entered and thus the imprint of his shoe was perpetuated for us to be found.

Angles And Agnles

2017
metal mounting angles,
double sided tape
variable dimensions
installation view
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Two different kinds of 90° angles were dealt with in Edges and Edges. From a mathematical point of view, it is no difference, whether concave or convex, for a corner is always relative and dependant from the point of observation. Opposed to that, in a room, you can only observe the space from the inside: you are part of the block of void, surrounded by walls. When you look at the boundaries, they are only concave. An exception is the ledge in this space. It is at the same time a thing in the space, as well as a part its limitations. We marked the edges of this object with mounting angles from metal in order to hold the space together.

Frame Work

2017
wooden frames for canvasses
26 pieces, each 38 cm x 38 cm

collaboration with students
of the class of Daniel Richter,
Academy od Fine Arts, Vienna
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For the occasion of the group show ’GELD’ of the two classes of Daniel Richter and Olaf Metzel I built wooden frames in a certain format. The shape reflects the ground plan of the exhibition space. Like the architecture itself, the paintings appear under the laws of foreshortening given by their form. Each student of the class of Daniel Richter stretched his/her canvas on one of the frames and used it for his/her painting.

National Whisper

2017
wooden frames for canvasses
26 pieces, each 38 cm x 38 cm

collaboration with students
of the class of Daniel Richter,
Academy od Fine Arts, Vienna
installation view
installation view
installation view
For the occasion of the group show ’GELD’ of the two classes of Daniel Richter and Olaf Metzel I built wooden frames in a certain format. The shape reflects the ground plan of the exhibition space. Like the architecture itself, the paintings appear under the laws of foreshortening given by their form. Each student of the class of Daniel Richter stretched his/her canvas on one of the frames and used it for his/her painting.

Documenting III

2016
Video, sound, color
29'32"

Participants:
Cordula SchieriJohanna Klingler
Matt Glass
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The four participants were invited to document a situation, a “happening“ for me, which I iniciated but did not see myself. The “happening“ lasted for 20 minutes and consisted of an empty room and the four participants who should document the setting they were in. When the 20 minutes were over, I picked them up. They all had the task to just give an oral report, to re-tell what happened. I made one-to-one interviews with each participant and filmed it.

Documenting

2016
poster, video, text, performance
variable duration and dimension

Participants:
Rachel Faeth
Katharina Zink
Johannes Korsche
Sandra Bejarano Gil
installation view
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The four participants were invited to document a situation, a “happening“ for me, which I iniciated but did not see myself. Each of the participants is asked to do it in a di erent way: Johannes Korsche should write a report about what happened, Sandra Bejarano Gil should lm the situation, whereas Katharina Zink should take photographs. Rachel Faeth had the task to just give an oral report, to re-tell what happened, at the presentation. The “happening“ lasted for 20 minutes and consisted of an empty room and the four participants who should document it. When the 20 minutes were over, I picked them up. The documents of the situation were shown without me editing them.

kondens konsens

2016
freezer, dehumidifier, water,
light, concrete
variable dimensions

in collaboration with
Matt Glas
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The exhibition space of Roundabout collective was located in a basement. There, the air humidity amounted to 80%.
Using a dehumidifier water is drawn from the air and gathered in a tank. A freezer transforms the water into ice cubes, which are then exposed on a pedestral again to the original atmosphere of the space and melt. The puddle of water evaporates and finds its way back to the circuit.

tcelfer

2016
digital print, light, showcase
variable dimensions
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Tcelfer, which is the title of both, the work on display and the exhibition itself, reflects on the act of reflecting itself, with all its meanings and connotations (e.g. in a sense of bending back light from a surface, to mirror an image, to ponder about something). Further, Tcelfer juxtaposes the characteristics of mirrors and white cubes, both „display units“ which are per se empty from any content, but capable of containing anything. Apart from that, Tcelfer deals with the specific situation of the place. The actual work takes place not in, but around AkademieGalerie and potentially includes all the passersby on their way to the subway or overground with subliminal methods of perception, inherent to advertisement and its placing. For the exhibition one of the advertisement panels vis-à-vis the AkademieGalerie is rented, the poster which will be on display in the rented panel shows an image of an empty mirror. The reflection of this poster will be visible in the windows of the otherwise empty gallery space.

carbon copy

2015
inkjet print, pen and
carbon copy on paper
two sheets each A4

in collaboration with
Katharina Zink
and Mira Sattelsberger
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I, Hisashi Yamamoto,
suggest (name / consecutively „The Artist“ ) , to withdraw his/her work (title, year, material, dimensions) from the exhibition (name of exhibition).

Furthermore I propose The Artist, as a substitution for the work which he/she is not going to put on display in the exhibition, to collaborate with me instead and to show a collaborative work of us both. With both signatures, that of The Artist and mine, we both comply with the following points:

1. The Artist agrees on not showing the aforesaid work in the aforementioned exhibition but instead on collaborating with me.

2. I agree to accept The Artist as my collaborationist and to ascribe the half of our corporate work to him.

3. The corporate work between The Artist and myself becomes manifest in this original sheet of paper, which has to by signed by both of us, and it‘s carbon copy.

4. The Artist obtains this sheet with the original signatures, when the exhibition is over. I keep the carbon copy.

5. The Artist can not choose this sheet of paper (so his/her future half of our corporate work) as the work to be withdrawn.

6. By signing this, The Artist confirmes that he/she has read and understood what is written on this paper.

If only one or none of us gives his/her signature, then this contract is cancelled, there will be no collaboration and i will keep both papers, original and carbon copy.

Translation Problems

2014
colour, silent,
english subtitles generated
by Youtube settings
56‘ 27‘‘
The video “Open Problems in Machine Translation“ shows a lecture by Prof. Philipp Koehn at Edinburgh University talking about the problems of machines translating information from one language to another.
The website www.youtube.com offers a subtitle function. There, the spoken language in a video can be displayed with subtitles. The language as audio information is translated into language as textual information. This operation is done by machines and often the subtitles don‘t match with what is actually said in the video.
I played the video with the settings for subtitles in English activated and filmed what happened.

5 Spells

2014
fortune cookie spells
five pieces, each 6 cm x 1,3 cm
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Out of my private collection of fortune cookie spells I selected the top 5.

Black Trapezoid

2013 – ongoing
wall paint
variable dimensions
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The initial point of this work were drawings of rooms on paper. The construction of graphically represented rooms follows the rules of perspectives.
In the case of Black Trapezoid, this method is applied directly on a physically existing, architectonical space.
After placing a vanishing point at the height of my own eyes on the wall, the vanishing lines are spanned from this point to the corners of the room. This builds the outlines of an imaginary wall area, which is then filled with black wall paint.

Sucher

2013
hand impression
14,5 cm x 21,5 cm
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An analogue camera is pointed at a piece of wall and floor. Everything to be seen through the viewfinder of the camera is painted in real with black color.
Then a picture of this situation is taken. After that the black paint is removed, whitened and the original state before the intervention re-established. There remains nothing from this intervention except the photograph, which had been taken before from the viewpoint of the camera.

Canned Universe (beta)

2013
mixed materials
aproximate radius:
46‘000‘000‘000 lightyears
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Genpei Akasegawa, a member of the japanese avant-garde artist collective Hi-Red Center, created Canned Universe in 1964. He opened a can of crabmeat, ate the content, removed the paper label from the outside and glued it on the inner side of the can. Then he re-sealed the can with solder. Like this he tried to seal the universe inside a single container, at least conceptually.
The beta version of Canned Universe offers a physical (sculptural) solution for sealing the universe. This time the walls of the can are cut open, the metal is bended and the can as a whole is inverted completely by physical power. The cutting edges are closed again with solder.
The inner side of the can faces the whole observable universe, except the space equal to the former volume of the can and the can itself.

TTTT

2013
steel
5.772m x 2.018m x 0.033m
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A almost 6m long handrail leads down the slope to the basement of the Goldberg Studios in Munich. The rail parallels the slope‘s inclination. The old hand- rail is replaced by a new one, with slight di erences: Every lengths of the four stilts are increasing as the slope declines. The link angle between handrail and stilt is now 90°. Hence, the entire handrail does not parallel the slope anymore but becomes a horizontal line and visualizes the amount of decline of the slope.

Fungushima

2012
mixed materials
variable dimensions
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On March 28th, 2012 I drove to Souma, a town in Fukushima prefecture. From the bus terminal I went to the nearest supermarket (Ouhashiya Koizumi) and there I bought a bottle of green tea, two sweets, and one pack of dried mushrooms for 571 JPY in total.

Then, I looked for a mirror and took a selfportrait with my camera. I ingested the sweets and the green tea in the bus on my way back to Sendai.

The remains of this action are the bill from the grocery store, the pack of dried mushrooms, the shoppin bag, a mask and an umbrella (which, due to the Japanese government, is supposed to block radiation), a photo on which you can recognize me wearing the mask and holding the umbrella.

These objects are displayed similarly to means of evidence together with a digital print of a map of the area I walked that day.
☝︎