Takahiko IIMURA is a pioneering Japanese maker of experimental film and video art, who, over the last thirty years has achieved an international reputation. Iimura began making experimental films in the early sixties, the golden period for underground art, and was associated with such avant-garde artists as Yoko Ono; painters, Genpei Akasegawa and Natsuyuki Nakanishi; and ankoku buto dancer Tatsumi Hijikata. He is also known for helping to organize the historically important "Japan Fi...In 
dependent," the first experimental film festival in Japan. His film and video work has shown at prestigious venues world wide including the Museum of Modern Art, the Whitney Museum of American Art, Anthology Film Archives, and Centre Georges Pompidou.
About his work, Iimura says:
"...In the sixties I made experimental films, wrote criticisms, and presented performances. I used the greatest variety of media during the seventie...In the eighties, I made far fewer experimental films and video art. Performances and installations became my main media. I also published a collection of my criticism in a book form in the mid-eighties.
To use very general critical terminology, my work shifted during the period from the early sixties to the seventies, from early poetic and imagistic experimental films to minimal structural films and conceptual video ar...In my video art and installations in particular, works using language and based on semiotic or phenomenological theories became very importan...In film as well, I presented a series of conceptual works which treat the problem of time.
...In the eighties, I brought images back into my video and made a number of landscape videos. I also did conceptual video performances.
These different styles and media were not completely distinct from one another. They overlapped in different works like the different parts of a tapestry. There were, however, some works which were tied specifically to their medium, for example, the conceptual films relating to time and the semiotic of video art. Also, the use of images in the early imagistic experimental films has something in common with the more recent landscape videos even though the media is different. There are definite differences in these early works, however, since the recent landscape videos show an interest in structure and the element of time, and they are related to performance, unlike the early experimental films.
"Iimura is challenging our basic assumptions about how we perceive the world around us - as expressed in the simple arrangements of words and images. While the structures employed by the artist would be nothing new to those interested in language and its veiled functions, the work seen as a whole reflects a personality committed to expressing the universal through the subtle relationships which, from moment to moment, escape us all." (Dan Collins)
"Iimura is a significant and singular filmmaker, but also one of the most important conceptual artist working in any medium." (Malcom Le Grice)
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I AM (NOT) SEEN
2003 / VHS or Mini DV / coul / son / 5' 00 / 21 € |
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SEEING / HEARING / SPEAKING
2002 / DVD or Mini DV / n&b / son / 33' 00 / 51 € |
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MA (INTERVALS)
1995-1998 / 16 mm / n&b / son / 12' 00 / 41 € |
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PERFORMANCE: AIUEONN SIX FEATURES
1994 / VHS or Mini DV / coul / son / 8' 00 / 25 € |
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AIUEONN SIX FEATURES
1993 / 16 mm or VHS or Mini DV / coul / son / 7' 00 / 40 € |
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FLUXUS REPLAYED
1991 / VHS or Mini DV / n&b / son / 30' 00 / 31 € |
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MA: SPACE/TIME IN THE GARDEN OF RYOAN-JI
1989 / VHS or 16 mm or Mini DV / coul / son / 16' 00 / 51 € |
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JOHN CAGE PERFORMS JAMES JOYCE
1985 / VHS or Mini DV / coul / son / 15' 00 / 46 € |
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CONCEPT TAPES 3
1982-1990 / VHS / n&b / son / 25' 00 / 76 € |
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TALKING IN NEW YORK
1981-2001 / VHS or Mini DV / n&b / / 8' 00 / 25 € or 55 € |
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TALKING PICTURE
1981 / 16 mm / coul / son / 15' 00 / 47 € |
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REPEATED/REVERSED TIME
1980 / 16 mm / n&b / son / 12' 00 / 41 € |
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TALKING IN NEW YORK
1980 / 16 mm / coul / son / 18' 00 / 55 € |
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MA: A JAPANESE CONCEPT
1977-2004 / Mini DV / coul-n&b / sonore et silencieux / 46' 00 / 61 € or 81 € |
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ONE FRAME DURATION
1977 / Mini DV / coul-n&b / son / 11' 00 / 41 € |
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24 FRAMES PER SECOND
1975-1978 / 16 mm or Mini DV / n&b / son / 12' 00 / 41 € |
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COUNTING. 1 TO 100 OR XS (FROM MODELS. REEL 2)
1972 / 16 mm / n&b / sil / 12' 00 / 41 € |
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OBSERVER/OBSERVED
1972-1998 / VHS or Mini DV / n&b / son / 22' 00 / 67 € |
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PERFORMANCE / MYSELF
1972-1995 / Mini DV / coul-n&b / son / 29' 00 / 71 € |
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TIMED 1,2,3
1972 / 16 mm / n&b / son / 8' 00 / 25 € |
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THE PACIFIC OCEAN
1971 / 16 mm / coul / sil / 11' 00 / 40 € |
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CONCEPT TAPES 1
1970-1987 / VHS / n&b / son / 31' 00 / 94 € |
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CONCEPT TAPES 2
1970-1980 / VHS / coul / son / 25' 00 / 76 € |
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EARLY CONCEPTUAL VIDEOS
1970-1977 / Mini DV / n&b / son / 23' 00 / 51 € |
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KIRI
1970 / 16 mm / n&b / sil / 5' 00 / 24 € |
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FACE
1969 / 16 mm / coul / son / 17' 00 / 61 € |
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FLOWERS
1968-1969 / 16 mm / coul / son / 11' 00 / 40 € |
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WHITE CALLIGRAPHY
1967 / 16 mm / n&b / sil / 11' 00 / 40 € |
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FILMMAKERS
1966-1969 / 16 mm or Mini DV / coul / son / 28' 00 / 85 € |
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TAKA AND AKO
1966 / 16 mm / n&b / sil / 13' 00 / 41 € |
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A DANCE PARTY IN THE KINGDOM OF LILLIPUT
1964 / 16 mm / n&b / son / 14' 00 / 43 € |
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ONAN
1964 / 16 mm / n&b / son / 7' 00 / 32 € |
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ROSE COLOR DANCE
1964 / 16 mm / n&b / sil / 13' 00 / 41 € |
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ANMA (THE MASSEURS)
1963 / 16 mm / n&b / sil / 10' 00 / 41 € |
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CINE DANCE : THE BUTOH OF TATSUMI HIJIKATA
1963-2001 / VHS or Mini DV / n&b / sil / 20' 00 / 31 € |
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60S EXPERIMENTS
1962-1964 / Mini DV / n&b / son / 44' 00 / 81 € |
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AI(LOVE)
1962-1963 / 16 mm / n&b / son / 10' 00 / 40 € |
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DADA 62
1962 / 16 mm / n&b / sil / 10' 00 / 41 € |
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DE SADE
1962 / 16 mm / n&b / son / 10' 00 / 41 € |
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KUZU
1962 / 16 mm / n&b / son / 10' 00 / 41 € |
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ON EYE RAPE
1962 / 16 mm / coul / sil / 10' 00 / 41 € |
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