Naoya Hatakeyama - Photographs London Thursday, May 20, 2021 | Phillips

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  • 'Thematically, Hatakeyama has always studied the intersection of nature and urbanisation – notions of construction, change, destruction and rebirth.' 
    Yasufumi Nakamori, Senior Curator, International Art (Photography), Tate Modern
    On his introduction to photography, Japanese artist Naoya Hatakeyama stated, ‘In my case, an entrance to the medium was painting. From the beginning I felt close to the style where a single piece of work was hung on the wall.’ This notion is epitomised in the present diptych: a monumental work measuring over 3.5 metres in width when displayed side by side. For over three decades, the artist has photographed the life of cities, examining the extreme rate, scale and impact of human industry. Untitled/Osaka comprises before-and-after views of a repurposed baseball stadium – the playing area transformed into a model-home exhibition resembling a mini residential neighbourhood – and its subsequent demolition. Based in Tokyo, Hatakeyama co-represented Japan in the 49th Venice Biennale in 2001 and has received numerous awards, most recently the 2015 Medal of Honour with Purple Ribbon, one of Japan’s highest honours for artistic achievement.

    • Provenance

      L.A. Galerie – Lothar Albrecht, Frankfurt, 2002

    • Exhibited

      Fast and Slow, Japan Pavilion, 49th Venice Biennale, 10 June - 4 November 2001, another
      Naoya Hatakeyama, Kunstverein Hannover, 13 April - 19 May 2002; Kunsthalle Nürnberg, 25 July - 15 September 2002; Huis Marseille, Amsterdam, 30 November - 23 February 2003, another
      Naoya Hatakeyama: Draftsman’s Pencil, The Museum of Modern Art, Kamakura, 6 January - 25 March 2007, another
      Naoya Hatakeyama: Cloven Landscape, Sendai Mediatheque, 3 November 2016 - 8 January 2017, another
      Excavating the Future City: Photographs by Naoya Hatakeyama, Minneapolis Institute of Art, 4 March - 22 July 2018, another

    • Literature

      S. Berg, Naoya Hatakeyama, Ostfildern: Hatje Cantz, 2002, cover
      Subjective Realities: Works from the Refco Collection of Contemporary Photography, New York: Refco Group, 2003, pp. 132-133
      Naoya Hatakeyama: Draftsman’s Pencil, Kamakura: The Museum of Modern Art, 2007, pp. 46-47
      Cloven Landscape: Photographs by Naoya Hatakeyama, Kyoto: AKAAKA, 2017, pp. 40-41
      Excavating the Future City: Photographs by Naoya Hatakeyama, Minneapolis Institute of Art, 2018, pp. 168-171




Chromogenic print diptych, mounted.
Each image/sheet: 88.5 x 179.5 cm (34 7/8 x 70 5/8 in.)
Each frame: 91 x 182 cm (35 7/8 x 71 5/8 in.)

Each signed, titled, dated and numbered 1/7 in ink on an artist label affixed to the reverse of the mount.

This work is number 1 from the sold-out edition of 7 + 3 APs. This diptych exists only in this size and edition. SFMOMA holds another from this edition.


Full Cataloguing

£15,000 - 25,000 

Sold for £30,240

Contact Specialist

Rachel Peart
Head of Department, London

Yuka Yamaji
Head of Photographs, Europe

General Enquiries
+44 20 7318 4092



London Auction 20 May 2021