Los Angeles

Tiger Tateishi, Revolving Fuji, 1991, oil on canvas, 89 1⁄2 × 63".

Tiger Tateishi, Revolving Fuji, 1991, oil on canvas, 89 1⁄2 × 63".

Takuro Tamayama and Tiger Tateishi


It was dusk, and the storefront of Nonaka-Hill had just lit up. The gallery, housed under a deceptive marquee reading BEST CLEANERS, was preparing to open for its evening hours. Inside, a delicate, neon-hued landscape composed of table-like sculptures huddled in the center of the room, illuminated by a suspended glowing orb and fluorescent lights tinted with Day-Glo gels. On the elevated ground, a work by Takuro Tamayama, a marble humanoid shape’s head, slowly rotated, stressing its pawn-like form. Two of Tamayama’s videos—one projected on a wall and the other playing on a boxy monitor—staged vibrant abstract interactions between lightbulbs, patterns, and amoeba-esque forms, adding to the electric palette of the show and complicating the dizzying afterimage of the fluorescents’ complementary colors. Sectioned off by curtains that enclosed other works, the gallery’s chambers felt narrow.

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