Takashi Homma with the Parco Galleryby Monty DiPietroThere is something, which is ironical in Takashi Homma�s "Tokyo Suburbia," a photograph exhibition at the Parco gallery of ominoes and, which draws a continuous river of mostly Teens and of twentysomethings to the contemporary art case of the Shibuya of district. The irony is here that exhibition visitors find the gallery walls covered with pictures to that much suburb landscapes, which leave her after on its weekend Treks tendency center. By a Tokyo perspective somehow, becomes the social landscape of "kogai" (Vorstadt"newtown" housing developments) fast "cooling," in by verses a kind of the way. In new Homma�s, from which telephone-listing-sorted photo book takes the exhibition its title, sociologist Shinji Miyadai addresses the interest, which surrounds the Juniorhigh School class participant, who killed and beheaded last year a 11 a yearly boy in a Kobe before the attachment of its victim�s kogai, precedes on one schoolyard posts. "newtown the area is, the Seito Sakakibara produced (killer�s the alias). No doubt, which it also many kids produced, which have a quantity of sympathy for Sakakibara, ", writes Miyadai. "some kids cannot refer them to Sakakibara�s act of chopping away from the head of its victim and coolly find" way ", because them contain also some elements, over de-socialization."While are anything particularly frightening immediately obvious there in the endless repetition of the tidy small prefabricated houses, chain restaurants are and solid concrete dwelling the blocks, which Homma takes as its topics, no a tip of the Unterstroemung of the Grausigkeit lying in into that are there opening panoramischen shots Stanley Kubrick of the film to be found omission hotel, "shining." But it is from this localization, who Miyadai designates "De-socialization,", which emerges the new category of the separate Japanese youth. "it really marks, which are surprised you," writes Miyadai, ", which reality is to these kids who�ve their complete lives spent, since they were carried in a place without name."About a Third of the color photographs in the appearance half-open Portraits of Vorstadtteens are, which, with its extra large, school uniform trousers and colored hair, over here to come, as insouciant halfrejecting and altogether. The illustrations do not try, the kids in an act of the Vandalismus or the prostitution say themselves we to get caught, and none do the shots of the buildings endeavor to describe these in a particularly drastic way. With some exceptions there is a direction that Homma took its topics, like it it instead of found, waiting e.g. for the light, in order to fall on a house in a certain way. This is an appearance, which seems, it, is completely over not is really interested - an attitude, those "cools" in 20. Square meter-white plastic model of the century society.A four of a housing development to well late mark, sits in the center of the exhibition area, while a Tokyo range indicates diagram on one of the walls, as far the positions for the photographs verb-rode (without the diagram as reference, it would be simple to imagine that the illustrations all had been torn within some hundred meters by every different one) the gallery knows also a small area established, whose internal projectors above throw the same series of pictures on two bordering walls. For the 62 photos between 1995 and 1998, is enough from the passport size to a 180x140cm pressure and of 30.000-200.000 yen.It to be able to be hoped for price is only determined, the Homma, 6 was made, behind which Schmollen young girl in weissschluepfer illustrations left, which are found in its 1995 book "baby country", if it moves on on the socially relevant work, are found in "Tokyo Suburbia." _ the artist be from to a good beginning, if he the unnatural document and disturb "it cooling you" the climate and young inhabitant off, which Tokyo surround, and it should interesting be, see, where this it take.
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