Common Ground Books
Common Ground Open
The Arts in Society
Information, Medium & Society
Climate Change: Impacts and Responses
Diversity in Organizations, Communities & Nations
Global Studies
Spaces & Flows
Design Principles & Practices
New Directions in the Humanities
Interdisciplinary Social Sciences
Aging & Social Change
Tourism and Leisure Studies
The Learner
Organization Studies
Religion in Society
Food Studies
Communication and Media Studies
e-Learning and Innovative Pedagogies
Sport & Society
On Sustainability
Technology, Knowledge & Society
World Universities Forum
The Constructed Environment
Health, Wellness & Society
The Image
Science in Society
The Inclusive Museum
Reappraising Goji Hamada’s “Landscape, Chromosome and Magic” ...
Views: 526
- Title: Reappraising Goji Hamada’s “Landscape, Chromosome and Magic” Installation and Performance (1984)
- Author(s):
Maria Tornatore-Loong
- Publisher: Common Ground Research Networks
- Collection: Common Ground Research Networks
- Series: The Image
- Journal Title: The International Journal of the Image
- Keywords: Japanese Performance Art, Japanese Video Art, Asian-Australian Art Exhibitions, Asian-Australian Cultural Exchanges
- Volume: 9
- Issue: 4
- Date: September 19, 2018
- ISSN: 2154-8560 (Print)
- ISSN: 2154-8579 (Online)
- DOI: https://doi.org/10.18848/2154-8560/CGP/v09i04/1-17
- Citation: Tornatore-Loong, Maria . 2018. "Reappraising Goji Hamada’s “Landscape, Chromosome and Magic” Installation and Performance (1984)." The International Journal of the Image 9 (4): 1-17. doi:10.18848/2154-8560/CGP/v09i04/1-17.
- Extent: 17 pages
All Rights Reserved
Copyright © 2018, Common Ground Research Networks, All Rights Reserved
Abstract
In 1984, Japan’s internationally renowned performance and video artist, Goji Hamada (b. 1944), staged a highly influential solo exhibition across multiple venues in Australia. “Landscape, Chromosome and Magic” featured performance sessions and the installation of drawings, photographs, video films, and three sledges handcrafted by the artist in Melbourne (Australia), Düsseldorf (Germany), and Tokyo (Japan) between 1981 and 1983. This article reappraises Hamada’s landmark 1984 exhibition by situating the artist’s “language-body-art” within a transnational milieu where the concepts of identity and culture, memory and time, landscape and nature reflect the essence of society itself.
