Kodama Kanazawa
Independent curator
Visit Atelier Loire, preparing collaboration between them and Yuichi Yokoyama in Palais de Tokyo, 2018
In the sound installation by Yuko Mohri, Seiichi Yamamoto playing guitar, Towada Art Center, 2018
Keita Miyazaki's work in preparation, at Palais de Tokyo, 2018
Erica van Loon in Arcus, 2018
Outdoor event by Rafaël Rozendaal in Kenpoku Art 2016
With Aki Inomata, in preparation of her work in Kenpoku Art, 2016
Installing Sudsiri Puiock's work, Kenpoku Art 2016
Akane Moriyama's work, Kenpoku Art 2016
Michael Beutler in research for his work in Kenpoku Art 2016
Detail of installation by Fuji Hiroshi, Towada Art Center, 2019
Shohei Tsuda (left) in research for his Hong Kong K11 show, 2018
Nadegata Instant Party, in "Stranger Than Fiction" show at Towada Art Center, 2019
Musical performance by Ei Wada, using his artworks, Kenpoku Art 2016
Constructing Amabouz Tatsuro (Tatsu Nishi) work at Palais de Tokyo, 2018
Constructing Ilya and Emilia Kavakov's work, Kenpoku Art 2016
Sumito Sakakibara doing performance in his work, Kenpoku Art 2016
Rafaël Rozendaal in his installation at Towada Art Center, 2018
Cihad Caner in Arcus, 2018
Han Ishu installing his works in MoCA Pavilion, 2017
Jun Kitazawa in "Stranger Than Fiction" show, 2019
Work by Kuniyasu Takamasa, Kenpoku Art 2016
Mithu Sen installing her work in Kenpoku Art 2016
Erika Ceruzzi in Arcus, 2018
Kodama Kanazawa (金澤 韻) is a Japanese curator of contemporary art, currently based in Shanghai, China. After working for 12 years in public art museums, she began working independently in 2013. Code-a-Machine(Kodama Kanazawa + Shinichiro Masui) founder, artistic director. Visiting Professor at Kyoto University of the Arts. CIMAM member.
Her interest lies in human being’s psychological transition in conjunction with the change of time, which also relates to her theme: How can we recognize invisible social structures that result in difficulties such as poverty, disparity or discrimination? In practice, her interest manifests in the topics of self-imposed cultural imperialism in modern and contemporary Japan, globalization and new-media art from the world, which have been expressed in numerous exhibitions, both domestic and overseas, during her career.