{"id":8379,"date":"2025-08-14T20:48:28","date_gmt":"2025-08-14T12:48:28","guid":{"rendered":"https:\/\/glutenfreepleasure.com\/__proxy_domain\/staging.objectifs.com.sg\/?post_type=product&p=8379"},"modified":"2026-01-05T14:48:11","modified_gmt":"2026-01-05T06:48:11","slug":"overflow-from-shashasha-books","status":"publish","type":"product","link":"https:\/\/glutenfreepleasure.com\/__proxy_domain\/www.objectifs.com.sg\/product\/overflow-from-shashasha-books\/","title":{"rendered":"OVERFLOW from Shashasha books"},"content":{"rendered":"

 <\/p>\n\n\n\n\n\n\n
BY<\/b><\/td>\nTakuma Nakahira<\/td>\n<\/tr>\n
YEAR<\/strong><\/td>\n2018<\/td>\n<\/tr>\n
DETAILS<\/strong><\/td>\nSoftcover, 64pp
\n36.4 x 25.7 cm<\/td>\n<\/tr>\n
LANGUAGE<\/strong><\/td>\nEnglish and Japanese<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n","protected":false},"excerpt":{"rendered":"

Takuma Nakahira is one of the most legendary photographers of post-war Japan and a life-long rival of Daido Moriyama.\u00a0Overflow<\/em>\u00a0is the first photobook in which his installation work comes alive in entirety and detail since its unveiling in 1974.<\/p>\n

Takuma Nakahira\u2019s series \u2018Overflow\u2019 was originally presented as an installation during the 1974 exhibition \u2019Fifteen Photographers Today\u2019 (National Museum of Modern Art, Tokyo). The work consisted of 48 color photographs that were arranged on a wall 6 meters wide and 1.6 meters high. The photobook\u00a0Overflow<\/em>\u00a0is the first chance to view Nakahira\u2019s astonishing series outside the context of an exhibition.<\/p>\n

The photographs show elements of a city \u2014 eery rifts in a space overflowing with objects, commodities and information \u2014 that Nakahira encountered and captured in his everyday life, from ivy creeping across walls and manhole covers in the streets to the tire of a large truck, from a pale-bellied shark floating in the transparent darkness behind the glass of an aquarium to close-up shots of a subway station.<\/p>\n

The photobook\u2019s layout strictly mimics each photo\u2019s position in the installation piece in order to replicate the series\u2019 original experience within the confines of a book. Additionally, Princeton University assistant professor Franz K. Prichard contributes an extensive essay in which he compares the Overflow series with Nakahira\u2019s vision of an \u2018illustrated dictionary\u2019 (as outlined in Nakahira\u2019s 1973 essay \u2018Why an Illustrated Botanical Dictionary?\u2019), thereby offering a deep exploration of Takuma Nakahira, who integrated praxis and theory in his work like no one else.<\/p>\n

\u2018Overflow compels us as viewers to see the interplay of a seemingly random distribution of fragments, surfaces and residues. And in so doing, we are made to sense the undifferentiated enumeration of parts of an incomplete whole. This is, if you recall, the definition of the \u201cillustrated dictionary\u201d form that Nakahira provided in the essay \u201cWhy an Illustrated Botanical Dictionary?\u201d\u2019
\n\u2014 from Franz K. Prichard\u2019s essay<\/em><\/p>\n

\n

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