The 24 Solar Terms of Echigo-Tsumari (2021–2022). Using methods of sensory-ethnography, Tamura traveled to the Echigo-Tsumari area 24 times in one year, once during each solar term, producing a series of 24 short films. The film series was produced for exhibition at the 8th Echigo-Tsumari Art Triennale 2022.[6][7]
Cinema Kamigo (2021). Tamura built a miniature movie theater in the former principal's office of the Kamigo Clove Theatre to exhibit the film The 24 Solar Terms of Echigo-Tsumari during the Echigo-Tsumari Art Triennale 2022.[8][9][10][11]
Suzu (2021). Working with both a 16 mm film camera and a digital video camera in the town of Suzu, Tamura made a sensory-ethnographic film about Suzu ware, a kind of ceramics production from medieval times that was revived in the late 1970s. The film was produced for exhibition at the Oku-Noto Triennale 2020+, where it was shown as two separate film and video installations,[2][12][13] and a theatrical version of the combined 16mm and digital versions was screened at Ethnofest (Athens Ethnographic Film Festival) in Athens, Greece.[14]
Kanaiwa Mini Cinema Project–Experimental Version 金石ミニシネマプロジェクト〜実験版〜(2021). Satoshi Murakami, Can Tamura, and Ryo Uchida created a movie theater in the Kanaiwa Studio of the 21st Century Museum of Contemporary Art, Kanazawa and held screenings of their experimental short 16 mm film about the local area.[15][16]
Okinami (2019). Tamura documented life in the seaside community of Okinami in the town of Anamizu, including the annual Okinami Tairyo Festival. It was screened at the 2021 RAI Film Festival in London[17] and BULAG art camp in Mongolia, 2021.[18]
Tamura has also worked a cinematographer and editor of video artworks by other artists including:
Shorinji temple (2018). Video installation, 1'30" by Song Dong.[19]
Living Migration (Busan–Kanazawa) (2018). Single-channel video, 2'13" by Can Tamura and Satoshi Murakami.[19]
Shop Sign Library (2018). Video and mixed media installation by Satoshi Murakami.[19]
Tamura, Can. 2020. “The Ghost Scrolls of Manshu-in and Tokugen-in: A Shutter-Stopping Tale of Visual Culture, Photo Curses, and Recontextualization." Visual Anthropology Review 36 (2): 343–360.
Wells, John (Can Tamura). 2023. "On Mimesis and Memory." In Alex Da Corte: Fresh Hell, edited by Kurosawa Hiromi, Nonaka Yumiko, and Ito Masatoshi, 140–143. Tokyo: My Book Service.
References
^ abcde"Can Tamura". Echigo-Tsumari Art Field. Echigo Tsumari Executive Committee. Retrieved 2 April 2024.
^Echigo-Tsumari Satoyama Museum of Contemporary Art, MonET Artworks Catalog. NPO Echigo-tsumari Satoyama Collaborative Organization. March 31, 2022. p. 75.
^"Cinema Kamigo". Echigo-Tsumari Art Field. Echigo Tsumari Executive Committee. Retrieved 3 April 2024.
^"Okinami". RAI Film. Royal Anthropological Institute of Great Britain and Ireland. Retrieved 3 April 2024.
^Narbayasgalan, U. (2021). BULAG art camp 2021. Blue Sun Mongolian Contemporary Art Center. pp. 86–87.
^ abcKUROSAWA, Hiromi; NAKATA, Koichi; ITABASHI, Mari; SAWAI, Misato, eds. (March 29, 2019). Culture City of East Asia 2018 Kanazawa: Altering Home [Document] (First ed.). Culture City of East Asia 2018 Kanazawa Executive Committee, City of Kanazawa.
^Wells, John (August 30, 2023). Kurosawa, Hiromi; Nonaka, Yumiko; Ito, Masatoshi (eds.). Alex Da Corte Fresh Hell (1st ed.). Tokyo: My Book Service. pp. 140–143. ISBN978-4-907490-21-8.