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Naoto NAKAMURA
@naoto0_0
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![ðšð«ðð¢ð ð¬ð©ð¡ðð«ð #ð
ðððšððš ððð€ððŠð®ð«ð @naoto0_0
-... â .- .-. -.. .. -. â.
Boarding pass: escape, release, (self)redemption
Is leaving a place the end of a journey, or its beginning? Holding a boarding pass, moving from one place to another, bringing a conversation to an end. Or is it not we ourselves who choose the conversations we engage in, but rather the language itself that chooses for us?
At the end of the continuous conversation in orbit sphere #3, the movement passes from the window, through the corridor, and finally toward the outside.
The act of moving from inside a building to the outside may also parallel a movement beyond the boundaries of the self.
orbit sphere #3 (3/4)
ï¹ð€ð³ï¹
âŠ
Image:
[2, 5-8] No Manâs Land, 2024, 3-channel video, 17:10
[3-4] Unfolding No Manâs Land: An Icosahedral Interpretation
[9-11] Avoiding âWhat a Civilized Cityâ, 2025, 2-channel video, 7:20
[12-16] Can we avoid âWhat a Civilized Cityâ?, 2025, NAKANOJO BIENNALE 2025, Gunma, Japan](https://s9.imginn.com/761719256_17965408887138739_7535063879584727524_n.jpg?t51.82787-15/761719256_17965408887138739_7535063879584727524_n.jpg?stp=dst-jpg_e35_s1290x1290_tt6&_nc_cat=109&ig_cache_key=Mzk1MjY2OTg3Nzg4NDY1NTk0Mg%3D%3D.3-ccb7-5&ccb=7-5&_nc_sid=58cdad&efg=eyJ2ZW5jb2RlX3RhZyI6IkNBUk9VU0VMX0lURU0ueHBpZHMuNDA5Ni5zZHIucmVndWxhcl9waG90by5DMyJ9&_nc_ohc=SQd16XeJ6XIQ7kNvwGfbqnx&_nc_oc=AdpIS6VNeZwVMYhhzaVJfcQtvJ7YydcUzrGzMREn0JH2pYr7fIvYKFwIb9HiUs0SKFTdesSgRrgVlzu_9ILv5x_O&_nc_ad=z-m&_nc_cid=0&_nc_zt=23&_nc_ht=scontent-ord5-1.cdninstagram.com&_nc_gid=xdIZtM2eK8_ohsGjA-Js1Q&_nc_ss=7a20f&oh=00_AQM0vtZykJ2tOxBa6Q_SsyOCkT-f0F1T0q3viCmfYKlkPw&oe=6AE6150B)
![ðšð«ðð¢ð ð¬ð©ð¡ðð«ð #ð
ðððšððš ððð€ððŠð®ð«ð @naoto0_0
âŠâš
> Neighbours
>> Loneliness
>>> Mark
We walk from the inside, from the window to the corridor, stepping outward into the neighbourhood.
Observing someoneâs gaze, or perhaps being observed ourselves.
Following the traces of presence, distance, and the layers that surround us every day.
orbit sphere #3 (2/4)
ð¥ððŸ
âŠ
Image:
[1-5] Expt. Your Friendly Neighborhood, 2023, single channel video, 7:37
[6-9] image: åé¯ããå»äž / Inverted corridor (Process as Lingua Franca), 2023, mixed media, 2000x2500x9000 mm
video: åé¯ããå»äž/  Inverted corridor ( Process as Lingua Franca)_digest, 2023Â
[10-14] NOOKS and NUKES (play), 2023, visual reading trace by Rio Usui
[15-17] âReport on Archival Research into High Water Marksâ.
High Water Mark, 2026, Resin, 50Ã50Ã3 mm](https://s9.imginn.com/743925782_17961992901138739_4902004597008479385_n.jpg?t51.82787-15/743925782_17961992901138739_4902004597008479385_n.jpg?stp=dst-jpg_e35_s1290x1290_tt6&_nc_cat=100&ig_cache_key=MzkzNzQzMDY0Mjc3MjU1NDg3OQ%3D%3D.3-ccb7-5&ccb=7-5&_nc_sid=58cdad&efg=eyJ2ZW5jb2RlX3RhZyI6IkNBUk9VU0VMX0lURU0ueHBpZHMuNDA5MS5zZHIucmVndWxhcl9waG90by5DMyJ9&_nc_ohc=Rizn4rIMMdoQ7kNvwGLH2J8&_nc_oc=AdruZgn76ihtizvNB9_5MkneM8O_74sBhaYUoqHyO8Mk3e3WV08fAAYYJs42JJryecSEWfCz_FkF-uK0j3m3tsvq&_nc_ad=z-m&_nc_cid=0&_nc_zt=23&_nc_ht=scontent-ord5-2.cdninstagram.com&_nc_gid=xdIZtM2eK8_ohsGjA-Js1Q&_nc_ss=7a20f&oh=00_AQNgufg2iUsuhWvPcnNmK8Vv2f-JhOgJZ88B5UaaAheexQ&oe=6AE61825)
![ðšð«ðð¢ð ð¬ð©ð¡ðð«ð #ð
ðððšððš ððð€ððŠð®ð«ð @naoto0_0
âšâšâš
For the third feature of orbit sphere, a conversation-based interview, we are welcoming Naoto Nakamura.
Through his work, we explore living spaces, ways of seeing, and the forms that emerge through the negotiation of distance and relationships within everyday environments.
Naoto Nakamura, a Japanese artist and designer working across photography, video, sculpture, installation, and writing. He graduated in Visual Design from Kanazawa College of Art and is currently enrolled in the Global Art Practice MFA at Tokyo University of the Arts. Through fragments of furniture and space, his practice explores the untranslatable boundaries between internal confinement, external dispersion and accumulated notions.
orbit sphere #3 (1/4)
ðªð€âïž
...
[4] Trace of Analogical City: Nostalgic Morphology by Tanaka Jun
ã10ïŒ1ã No.28, pp.2-10 (https://db.10plus1.jp/backnumber/article/articleid/1031/)
[5-6] The Invisible Manâs Living Space: Windows, Relics, Arrows, text by Rio Usui
[7] Window II, 2023. Wood, aluminum, cloth, photograph, acrylic, 450x1050x60 mm
[9] Scene(Airplane), 2023. Inkjet print, 1260x870x40 mm
[10] Scene(Outside), 2025, lambda print, 300x250x10 mm
[11-15]
Two images (Scene Airplane / Outside) were presented with the following prompt:
âThese images were taken in your country / the country you are currently in. What associations, thoughts, or impressions come to mind? Responses may take the form of words, phrases, or sentences.â
Responses were collected from the following participants:
carnwo @carnwo l artist, Japan
Andrew C. Seitz @andrewcseitz @photobook_daydream l collector/publisher, Los Angeles, USA
Miao Wang @wmiao_oaimw l artist, USA
Sorn Patharakorn @sornr I artist, Germany & Thailand
Saskia Fischer I @___saskia_ I artist, Stuttgart, Germany & Vilnius, Lithuania
Ari Matsuoka @ari_matsuoka I editor in chef, MOLS magazine @mols_magazine , Germany & Japan
[16] Scene(Inside), 2025, lambda print, 300x250x10 mm
[17-20] Photo images: The View from the Ship of Fools, 2024, gelatin silver print
Background: excerpt from âMASTER, SLAVE, and BIRDSâ (䞻奎ãšé³¥ãã¡), 2025, a novel by Naoto Nakamura](https://s9.imginn.com/671831403_17952572139138739_433196651708555528_n.jpg?t51.82787-15/671831403_17952572139138739_433196651708555528_n.jpg?stp=dst-jpg_e35_s1290x1290_tt6&_nc_cat=109&ig_cache_key=Mzg5NTM0MTgyNTk2MjA2NDk4Mg%3D%3D.3-ccb7-5&ccb=7-5&_nc_sid=58cdad&efg=eyJ2ZW5jb2RlX3RhZyI6IkNBUk9VU0VMX0lURU0ueHBpZHMuNDA5Ni5zZHIucmVndWxhcl9waG90by5DMyJ9&_nc_ohc=BKZh1yPYyDoQ7kNvwH8YZcg&_nc_oc=AdqkDehFJHW9ZWvknDYf41VCwouDqa114nQS9cKktNPbrQTze8k_KvLbPj7pFT_0amg7JFyYhi5dnyVXxb6lF2cx&_nc_ad=z-m&_nc_cid=0&_nc_zt=23&_nc_ht=scontent-ord5-1.cdninstagram.com&_nc_gid=xdIZtM2eK8_ohsGjA-Js1Q&_nc_ss=7a20f&oh=00_AQN69fWAa95ueB9VM_sMAPj8D63WI2f1eaXySniiCX8fyw&oe=6AE623F3)
