Sachiko Kazama, Dyslympics 2680, 2018, woodcut, 7'11 1⁄2" × 21'.

Sachiko Kazama, Dyslympics 2680, 2018, woodcut, 7'11 1⁄2" × 21'.

Sachiko Kazama

Maruki Gallery for the Hiroshima Panels

Printmaker Sachiko Kazama intended to exhibit works parodying links between sports and militarism at the Fuchu Art Museum last year under the rubric “Dyslympics,” but the museum convinced her to change that title, for as an institution operated by the Tokyo Metropolitan Government, it is officially committed to supporting the 2020 Games. When Kazama was invited to revisit the subject for a solo show at the Maruki Gallery for the Hiroshima Panels, a plucky private museum outside of Tokyo with tenacious lefty roots and a decades-long commitment to peace education, she took the opportunity to go bigger than ever.

She created the feature work, Dyslympics 2680, 2018, specifically for this show. At roughly eight by twenty-one feet, it is Kazama’s largest work to date. As a black-and-white monotype printed from twenty-eight different woodblocks carved over the course of just fifty-five days, it

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