london

View of “Shinro Ohtake,” 2014. From left: Radio Head Surfer, 1994–95; WEB, 1990–91; Retina (Left Eye), 1989–91; Retina (Right Eye), 1989–91; Retina (Wire Horizon, Tangier), 1990–93.

Shinro Ohtake

Parasol unit

View of “Shinro Ohtake,” 2014. From left: Radio Head Surfer, 1994–95; WEB, 1990–91; Retina (Left Eye), 1989–91; Retina (Right Eye), 1989–91; Retina (Wire Horizon, Tangier), 1990–93.

Visitors to the 2013 Venice Biennale will remember Shinro Ohtake’s numerous scrapbooks in the lower level of the Central Pavilion. Displayed in glass cases, these open tomes radiate charm through their density of accumulated colorful papers. Each is as much an expression of mass and obsessiveness as it is of collage technique. Ohtake’s first comprehensive UK show focused primarily on his series “Time Memory,” 2011–14, and also included works from his series “Retina,” 1989–94; “Frost,” 1989; and “Cell,” 1989–90. Like his scrapbooks, the works in this exhibition suggest a combinatory mentality akin to that of 1960s bricoleurs such as Robert Rauschenberg, Ed and Nancy Kienholz, or Bruce Conner. And like those artists, Ohtake addresses the accumulation of matter through collage and assemblage and by evoking time’s passage.

Just one volume of his scrapbooks was on display here, Scrapbook

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