{"id":504868,"date":"2021-08-25T00:00:00","date_gmt":"1970-01-01T00:00:00","guid":{"rendered":"https:\/\/numero.com\/art\/art-art\/how-photographer-daisuke-yokota-turns-pictures-into-hallucinations-2\/"},"modified":"2021-08-25T00:00:00","modified_gmt":"1970-01-01T00:00:00","slug":"how-photographer-daisuke-yokota-turns-pictures-into-hallucinations-2","status":"publish","type":"post","link":"https:\/\/numero.com\/en\/art\/art-art\/how-photographer-daisuke-yokota-turns-pictures-into-hallucinations-2\/","title":{"rendered":"How photographer Daisuke Yokota turns pictures into hallucinations"},"content":{"rendered":"\n                    <figure data-wp-context=\"{&quot;imageId&quot;:&quot;6a34a2c714bd4&quot;}\" data-wp-interactive=\"core\/image\" data-wp-key=\"6a34a2c714bd4\" class=\"wp-block-image size-medium-large wp-lightbox-container\">\n                    <img decoding=\"async\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on--pointerdown=\"actions.preloadImage\" data-wp-on--pointerenter=\"actions.preloadImageWithDelay\" data-wp-on--pointerleave=\"actions.cancelPreload\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2024\/06\/daisuke-yokota-photographie-japon-mouna-mekouar-jean-kenta-gauthier-numero-art-magazine-7-1.jpg\" alt=\"\" class=\"wp-image-1568\" \/><button\n\t\t\tclass=\"lightbox-trigger\"\n\t\t\ttype=\"button\"\n\t\t\taria-haspopup=\"dialog\"\n\t\t\tdata-wp-bind--aria-label=\"state.thisImage.triggerButtonAriaLabel\"\n\t\t\tdata-wp-init=\"callbacks.initTriggerButton\"\n\t\t\tdata-wp-on--click=\"actions.showLightbox\"\n\t\t\tdata-wp-style--right=\"state.thisImage.buttonRight\"\n\t\t\tdata-wp-style--top=\"state.thisImage.buttonTop\"\n\t\t>\n\t\t\t<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"12\" height=\"12\" fill=\"none\" viewBox=\"0 0 12 12\">\n\t\t\t\t<path fill=\"#fff\" d=\"M2 0a2 2 0 0 0-2 2v2h1.5V2a.5.5 0 0 1 .5-.5h2V0H2Zm2 10.5H2a.5.5 0 0 1-.5-.5V8H0v2a2 2 0 0 0 2 2h2v-1.5ZM8 12v-1.5h2a.5.5 0 0 0 .5-.5V8H12v2a2 2 0 0 1-2 2H8Zm2-12a2 2 0 0 1 2 2v2h-1.5V2a.5.5 0 0 0-.5-.5H8V0h2Z\" \/>\n\t\t\t<\/svg>\n\t\t<\/button>\n                    <figcaption class=\"wp-element-caption\">\u00a9 Daisuke Yokota, courtesy of the artist and gallery Jean-Kenta Gauthier<\/figcaption>\n                    <\/figure>\n                    \n                    <p><strong>Daisuke Yokota, who started out in music before turning to visual art,<\/strong> has been developing a unique aesthetic of layers, strata and superimpositions for a decade now. He often invokes sound, referring to the composer Aphex Twin: what would be the equivalent of sound reverberation in a photograph? How can time be included in a still image? In 2015, under the title&nbsp;Inversion, he made a large set of solarized photographs using the recto-verso superimposition of pages from artists\u2019 books which he printed on translucent paper (<em>Matter Waxed<\/em>, 2014\u201315) \u2013 a superimposition of often figurative images that engendered a seemingly abstract result, like our own intertwined memories that arise in the present and confuse our reading of the past.<\/p>\r\n\r\n<p>&nbsp;<\/p>\r\n\r\n<p><strong>While Yokota\u2019s early works, <\/strong>such as&nbsp;<em>Back Yard<\/em>&nbsp;(2012),&nbsp;<em>Site\/ Cloud<\/em>&nbsp;(2013) and&nbsp;<em>Corpus&nbsp;<\/em>(2014), still contained figurative images \u2013 bodies, landscapes, architecture \u2013, he started to break the association between the medium or the photographic material and the retranscribed image, refusing the principle of the photographic index. The series&nbsp;<em>Color Photographs<\/em>&nbsp;(2015),&nbsp;<em>Matter<\/em>&nbsp;(2016),&nbsp;<em>Scum<\/em>&nbsp;(2018),&nbsp;<em>Dregs<\/em>&nbsp;(2018) and&nbsp;<em>Sediment<\/em>&nbsp;(2019), right up to&nbsp;<em>Untitled<\/em>&nbsp;(2020), are like stages in a journey through technical variations on the same theme of photography distilled to its matter, to what it is and not what it represents. The most recent,&nbsp;<em>Untitled<\/em>, is significant in this respect: the object no longer refers to&nbsp;anything and doesn\u2019t even need a title, as though identification with the world had been definitively exhausted.<\/p>\r\n\n                    <figure data-wp-context=\"{&quot;imageId&quot;:&quot;6a34a2c714f89&quot;}\" data-wp-interactive=\"core\/image\" data-wp-key=\"6a34a2c714f89\" class=\"wp-block-image size-medium-large wp-lightbox-container\">\n                    <img decoding=\"async\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on--pointerdown=\"actions.preloadImage\" data-wp-on--pointerenter=\"actions.preloadImageWithDelay\" data-wp-on--pointerleave=\"actions.cancelPreload\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2024\/06\/daisuke-yokota-photographie-japon-mouna-mekouar-jean-kenta-gauthier-numero-art-magazine-3-1.jpg\" alt=\"\" class=\"wp-image-1568\" \/><button\n\t\t\tclass=\"lightbox-trigger\"\n\t\t\ttype=\"button\"\n\t\t\taria-haspopup=\"dialog\"\n\t\t\tdata-wp-bind--aria-label=\"state.thisImage.triggerButtonAriaLabel\"\n\t\t\tdata-wp-init=\"callbacks.initTriggerButton\"\n\t\t\tdata-wp-on--click=\"actions.showLightbox\"\n\t\t\tdata-wp-style--right=\"state.thisImage.buttonRight\"\n\t\t\tdata-wp-style--top=\"state.thisImage.buttonTop\"\n\t\t>\n\t\t\t<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"12\" height=\"12\" fill=\"none\" viewBox=\"0 0 12 12\">\n\t\t\t\t<path fill=\"#fff\" d=\"M2 0a2 2 0 0 0-2 2v2h1.5V2a.5.5 0 0 1 .5-.5h2V0H2Zm2 10.5H2a.5.5 0 0 1-.5-.5V8H0v2a2 2 0 0 0 2 2h2v-1.5ZM8 12v-1.5h2a.5.5 0 0 0 .5-.5V8H12v2a2 2 0 0 1-2 2H8Zm2-12a2 2 0 0 1 2 2v2h-1.5V2a.5.5 0 0 0-.5-.5H8V0h2Z\" \/>\n\t\t\t<\/svg>\n\t\t<\/button>\n                    <figcaption class=\"wp-element-caption\">\u00a9 Daisuke Yokota, courtesy of the artist and gallery Jean-Kenta Gauthier<\/figcaption>\n                    <\/figure>\n                    \n                    <p><strong>In 2016, Yokota created&nbsp;<\/strong><em><strong>Mortuary<\/strong><\/em><strong>, which comprises gigantic rolls<\/strong> of developed and fixed photosensitive paper that showed only the trace of the chemistry used, accompanied by a soundtrack of muffled vibrations. Nonetheless, this immersive installation referred to a real-life event: as a child, Yokota suffered from feverish attacks that caused intense hallucinations, and&nbsp;<em>Mortuary<\/em>&nbsp;evoked this buried memory. Abstraction has a function in Yokota\u2019s work: <em>\u201cA photograph without the intervention of human perception is just a material, but when a human being sees it and thinks about it at a certain time and place, the photograph becomes an interesting phenomenon. To think about photography is to think about the human being him- or herself.\u201d<\/em><\/p>\r\n\r\n<p>&nbsp;<\/p>\r\n\r\n<p><strong>In preparation for&nbsp;<\/strong><em><strong>Room. Pt. 1<\/strong><\/em><strong>, which was shown in spring 2016<\/strong> at the Guardian Garden space in Tokyo, Yokota isolated himself for two months in various love hotels in Tachikawa, near his home in the Tokyo Prefecture \u2013 as if he were running away from his own house. Though he had been using travel as a professional context for a decade, he had never before \u201ctravelled\u201d through his own city. During the two months of&nbsp;<em>Room. Pt. 1<\/em>, he strove to maintain a traveller\u2019s sense of distance and experienced his hotel rooms as temporal capsules where time, suspended and suddenly insignificant, is conducive to the emergence of memory and the elsewhere. <em>\u201cWhen you go to a love hotel alone,\u201d <\/em>he explains, <em>\u201cyou don\u2019t need to think about what\u2019s going to happen next, because your goal is to \u2018just be there,&nbsp;and when your time is up, you can just leave. When you are in such a meaningless moment, unexpected memories are sometimes evoked, as if you were dreaming, and although you are conscious, you seem to be somewhere else.\u201d<\/em><\/p>\r\n\n                    <figure data-wp-context=\"{&quot;imageId&quot;:&quot;6a34a2c7152b8&quot;}\" data-wp-interactive=\"core\/image\" data-wp-key=\"6a34a2c7152b8\" class=\"wp-block-image size-medium-large wp-lightbox-container\">\n                    <img decoding=\"async\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on--pointerdown=\"actions.preloadImage\" data-wp-on--pointerenter=\"actions.preloadImageWithDelay\" data-wp-on--pointerleave=\"actions.cancelPreload\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2024\/06\/daisuke-yokota-photographie-japon-mouna-mekouar-jean-kenta-gauthier-numero-art-magazine-8-1.jpg\" alt=\"\" class=\"wp-image-1568\" \/><button\n\t\t\tclass=\"lightbox-trigger\"\n\t\t\ttype=\"button\"\n\t\t\taria-haspopup=\"dialog\"\n\t\t\tdata-wp-bind--aria-label=\"state.thisImage.triggerButtonAriaLabel\"\n\t\t\tdata-wp-init=\"callbacks.initTriggerButton\"\n\t\t\tdata-wp-on--click=\"actions.showLightbox\"\n\t\t\tdata-wp-style--right=\"state.thisImage.buttonRight\"\n\t\t\tdata-wp-style--top=\"state.thisImage.buttonTop\"\n\t\t>\n\t\t\t<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"12\" height=\"12\" fill=\"none\" viewBox=\"0 0 12 12\">\n\t\t\t\t<path fill=\"#fff\" d=\"M2 0a2 2 0 0 0-2 2v2h1.5V2a.5.5 0 0 1 .5-.5h2V0H2Zm2 10.5H2a.5.5 0 0 1-.5-.5V8H0v2a2 2 0 0 0 2 2h2v-1.5ZM8 12v-1.5h2a.5.5 0 0 0 .5-.5V8H12v2a2 2 0 0 1-2 2H8Zm2-12a2 2 0 0 1 2 2v2h-1.5V2a.5.5 0 0 0-.5-.5H8V0h2Z\" \/>\n\t\t\t<\/svg>\n\t\t<\/button>\n                    <figcaption class=\"wp-element-caption\">\u00a9 Daisuke Yokota, courtesy of the artist and gallery Jean-Kenta Gauthier<\/figcaption>\n                    <\/figure>\n                    \n                    <p><strong>These hotel rooms are comparable to caves into which the outside world invites itself by surprise.<\/strong> <em>\u201cIn a cave, the image of light coming through a hole into the dark space is like a hallucination, isn\u2019t it? The image that is projected there is of the outside world, but it is not the outside itself. The viewer only imagines the outside world from there. For me, the act of being in one place and fantasizing about others is very photographic. In this sense, I see the love hotel as a modern-day cave, and the space itself overlaps with the metaphor of the camera obscura.\u201d<\/em> In&nbsp;<em>Room. Pt. 1<\/em>, Yokota piled up photographs, videos and sculptures, the superimposition of layers of images evoking the way in which the past invites itself into the present, when one moment evokes another, when one place summons up another.<\/p>\r\n\r\n<p>&nbsp;<\/p>\r\n\r\n<p><strong>There is a parallel in Yokota\u2019s need to withdraw from the world for two months,<\/strong> to remove himself from the contingencies of everyday life, and his refusal of the power of identification with the world often granted to photography. <em>\u201cBasically, I think it doesn\u2019t matter where the light is pro- jected, and I think it doesn\u2019t matter what is there, even if there are people, as long as there is a place where the light can adhere.\u201d <\/em>Yokota lives in Tokyo, but ultimately that doesn\u2019t matter. By removing himself from the world, he is at home everywhere. This is how he sees light \u2013 a lesson for photography, and for all of us who have lived in isolation over so many recent months.<\/p>\r\n\n                    <figure data-wp-context=\"{&quot;imageId&quot;:&quot;6a34a2c7155ef&quot;}\" data-wp-interactive=\"core\/image\" data-wp-key=\"6a34a2c7155ef\" class=\"wp-block-image size-medium-large wp-lightbox-container\">\n                    <img decoding=\"async\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on--pointerdown=\"actions.preloadImage\" data-wp-on--pointerenter=\"actions.preloadImageWithDelay\" data-wp-on--pointerleave=\"actions.cancelPreload\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2024\/06\/daisuke-yokota-photographie-japon-mouna-mekouar-jean-kenta-gauthier-numero-art-magazine-11-1.jpg\" alt=\"\" class=\"wp-image-1568\" \/><button\n\t\t\tclass=\"lightbox-trigger\"\n\t\t\ttype=\"button\"\n\t\t\taria-haspopup=\"dialog\"\n\t\t\tdata-wp-bind--aria-label=\"state.thisImage.triggerButtonAriaLabel\"\n\t\t\tdata-wp-init=\"callbacks.initTriggerButton\"\n\t\t\tdata-wp-on--click=\"actions.showLightbox\"\n\t\t\tdata-wp-style--right=\"state.thisImage.buttonRight\"\n\t\t\tdata-wp-style--top=\"state.thisImage.buttonTop\"\n\t\t>\n\t\t\t<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"12\" height=\"12\" fill=\"none\" viewBox=\"0 0 12 12\">\n\t\t\t\t<path fill=\"#fff\" d=\"M2 0a2 2 0 0 0-2 2v2h1.5V2a.5.5 0 0 1 .5-.5h2V0H2Zm2 10.5H2a.5.5 0 0 1-.5-.5V8H0v2a2 2 0 0 0 2 2h2v-1.5ZM8 12v-1.5h2a.5.5 0 0 0 .5-.5V8H12v2a2 2 0 0 1-2 2H8Zm2-12a2 2 0 0 1 2 2v2h-1.5V2a.5.5 0 0 0-.5-.5H8V0h2Z\" \/>\n\t\t\t<\/svg>\n\t\t<\/button>\n                    <figcaption class=\"wp-element-caption\">\u00a9 Daisuke Yokota, courtesy of the artist and gallery Jean-Kenta Gauthier<\/figcaption>\n                    <\/figure>\n                    \n                    ","protected":false},"excerpt":{"rendered":"<p>Daisuke Yokota, who started out in music before turning to visual art, has been developing [&#8230;]<\/p>\n<p><a class=\"btn btn-secondary understrap-read-more-link\" href=\"https:\/\/numero.com\/en\/art\/art-art\/how-photographer-daisuke-yokota-turns-pictures-into-hallucinations-2\/\">Read More&#8230;<span class=\"screen-reader-text\"> from How photographer Daisuke Yokota turns pictures into hallucinations<\/span><\/a><\/p>\n","protected":false},"author":0,"featured_media":504858,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[25,3084],"tags":[],"class_list":["post-504868","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art-art","category-numero-art"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.7 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>How photographer Daisuke Yokota turns pictures into hallucinations<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/numero.com\/en\/art\/art-art\/how-photographer-daisuke-yokota-turns-pictures-into-hallucinations-2\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta 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