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10 thoughts on “Yuichi Yokoyama: New Engineering

  1. says:

    It makes total sense that Yokoyama, in the interview in the back of this book, states that he wasn t interested in comics exactly, he just found that he needed to explore what had happened before and after particular of his paintings Which then caused them to swell into these odd abstracted narratives As observed elsewhere, the Engineering stories are his meticulous, inhumanly architectural best, while the action stories are interesting explorations of types of motion and deconstructed objects but tend to be less pure and visually jumbled Still, nothing tops Travel.

  2. says:

    A vis o que Yokoyama tem de seu trabalhos com os quadrinhos a de um artista pl stico em busca de uma nova linguagem sequencial, livre de concess es humanistas Isso tanto na sua abordagem gr fica, sempre de ngulos inusitados e sem muita profundidade, quanto na escolha dos protagonistas de suas n o narrativas constru es, salas modelo, livros esvoa ando sendo fatiados em meio a lutas de espadas, entre outras esquisitices e desconstru es New Engineering uma colet nea de seus primeiros trabalhos, em sua maioria impress es curtas com t tulos secos como Ladder Truck , Dress Up 1 , Pet , Store e Wheel H aqui obras incr veis, como a de abertura, dos livros j mencionados, em que p ginas esvoa antes com ilustra es e textos confundem se com os pr prios pain is, entre cortes de l minas na horizontal, vertical e diagonal de livros sendo atirados como shurikens De luta, ou melhor, de corpos em movimento , como o autor prefere abordar, h tamb m um outra obra, em que objetos de uma cozinha modelo s o utilizados das maneiras mais absurdas contra o que se entende geralmente por armas, como espadas e bast es Essas s o as passagens mais longas, com 20 e poucas p ginas, junto com a s rie Engineering , sobre o processo detalhado de constru o de locais inusitados e quase disfuncionais no meio da natureza H diversas obras curtas, mas essas s o mais levianas, mesmo porque algumas tiveram origem publicit ria ou institucional.Na sequ ncia desta obra, Yokoyama produziria Travel , uma obra prima de 200 e poucas p ginas que desenvolve algumas das id ias j apresentadas aqui, como a observa o aproximada da troca de dinheiro por mercadorias em uma vendinha minimalista em Store , de uma p gina, ou o choque constante entre mecanismos e natureza, mais evidentes nos quatro Engineering Ali tamb m levaria ao extremo a sua j prefer ncia pela aus ncia de di logos e bal es, eliminando os por completo, e tamb m aniquilaria as onomatop ias, as quais permeiam com vigor quase todos os pain is de New Engineering.

  3. says:

    Yokoyama is pushing the realms of comics, much like many of his brethren published by Picture Box Utterly formal, deeply strange, these comics are largely collection of abstract sounds and blocky images tearing through a massive alien landscapes.

  4. says:

    One of my rewarding impulse purchases, a random find at a used bookstore, and a delightful surprise Some of my reflections narrative This book follows the lineage of experimental or wordless comics, with its unconventional exploration of narrative through visual means Plot elements are stripped down to a minimum, so the experience of reading feels akin to that of taking in a scene that unfolds primarily through abstract landscapes and figures machines in motion My manga does not begin with a narrative, explains Yokoyama, It starts with a single image These comics are best appreciated as serialized paintings text graphics The katakana text consists of mostly ridiculous Japanese onomatopoeia While some reviewers understandably found the text distracting, I personally consider it integral to the overall aesthetic experience though it definitely helps if you can read katakana To begin with, Japanese characters register not only as symbols but also as visual graphics the tradition of calligraphy as a case in point Traditionally used only by men and consisting of geometric characters, katakana stands as the least calligraphic and most masculinized of the Japanese alphabets fitting for an illustrator who claims to remove any trace of human hand or craft from his designs Moreover, the characters seem so graphically integrated into the images that they seem essential to the design E.g The foreshortened screams of Waah in pp 82 3 cut through the frames at an angle as if hurtling from the sky I imagine this scene would not have the same impact without them And lastly, they serve the onomatopoetic function of classic action bubbles by making sound effects appear vividly W r t the rare few texts that feature English script, Yokoyama claims, I intentionally had the dialogue translated by a person who does not have a strong command of English The dialogue will probably seem awkward to foreigners Mistranslation becomes part of the garbled aesthetic Yokoyama employs to distanciate readers from the familiar human sentiment associated with vernacular language An interior or psychological representation would make my work humanistic, which I don t want It may be that the pictures I draw are not scenes seen through human eyes visual design Figures depicted in this book appear to be all male or androgynous Whether they re human or simply anthropomorphic remains open to interpretation Needless to say, the figures are highly stylized Their faces bear a deadpan expression, about as cold and mechanical as a figure in a L ger painting Their garb and gear serve as the only distinguishing feature to individualize their outward appearances I liken them to model Lego characters in a modular Lego world in a few of the comics, they re even assembled like robots Indeed, Yokoyama claims to be drawing from fashion and architecture in an attempt to convey an alien and world of artifice Nowhere does this interest seem apparent than in the Engineering series, where pristine landscapes composed of patterns and lines are modeled and remodeled with materials such as AstroTurf and blocks of carved stone flow When not surveying the formal structure of the architectural landscapes, comics explore movement and flow Action comics such as Books and Model Room aren t simply presented as fight scenes but as bodies in motion, forms colliding and interacting Again, the author I don t like fighting but I do enjoy drawing the movement of bodies in combat, which is similar to that of bodies in sports In fact, the inanimate objects deployed as props in combat e.g slicing a sword through a book, using a table as an improvised weapon, etc seem to take centerfold in these scenes I consider these fight scenes simply an extension of the explorations of movement in assembly and construction oriented comics such as Handicraft, Upside Down, Dress Up and even the Engineering series The actions seem to flow at a steadier pace in the latter case, such as in Upside Down where the pattern of repeating motifs gives off a sense of rhythm meaning Man, as living form, bears within him the eternal principle of being, and by economic movement along his endless path his form is also transformed, just as everything that lives in nature was transformed in him K S Malevich, Suprematist painter Throughout the book we witness variations of the same themes assembly lines, tools, utensils, mechanisms, beings creating and destroying forms, rituals, mass gatherings.Design seems to follow two basic principles 1 form follows function, 2 form is the expression of arbitrary free play The peculiar behavior of these beings, the odd forms they assume and create destroy might appear foreign to us, but something registers as familiar when we take a step back and compare them to ourselves They seem to mimic the human race, and in this light, their actions seem less perplexing but no less absurd Perhaps this ceaseless play of tools and instruments parodies cultural codifications of masculinity.From one angle their behavior seems cold, alien, nothing remotely human, and on the other there is something playful about them, as with the comparison to L ger paintings and Lego toys Yokoyama claims he wanted to create new forms, but what I think he really did was accentuate a mechanical aspect of humankind already present in modern culture.

  5. says:

    BRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANTBRILLIANT.Absolutely.Fucking.Amazing.Actually the best piece of literature I have read this year so far And it s funny because there s virtually no dialogue from the characters The landscape and the objects within speak to you What I mean is, Yokoyama does this thing with sound effects in comics I have never seen before.Just, wow.Absolutely recommended if you want to dive into Yokoyama and understand his oeuvre This is really a series collection of several of his different comics But then, at the end, there is an interview, followed by brief notes on each of the pieces in the text valuable insight from the artist himself.Everything in here will seem unrelated but if you know Yokoyama, you know this is not true I read Garden a few months ago And in the story Dress Up 1, pretty much Garden, in its entirety, is given new meaning and sort of explained And I like that, about an auteur I remember reading Garden and thinking, What the fuck But then now, look, a few months later and I am beginning to understand it Everything and nothing is connected.Essentially tho, in a nutshell, Yokoyama is about striving to communicate something new and the carrying of information He explains artwork as either being craft or able to carry information Craft artwork is the type of work one desires to purchase and own Yokoyama creates work that is able to carry information, in the sense that he is creating work that can endure the test of time and be appreciated in a broad range of contexts a work that can be viewed several hundred years after its production by people of other civilizations, and people from any place on earth, and still be enjoyed for the new discoveries it offers as opposed to providing the kind of enjoyment that craft offers Wow 2.Further, Yokoyama is influenced by the works of Tadashi Kawamata in art, Andrei Tarkovsky in film, Arthur Honegger and Toru Takemitsu in music, and Fyodor Dostoyevsky, Ernest Hemingway, Franz Kafka and Masuji Ibues in literature I am buying ALL of his books this afternoon.3

  6. says:

    Yuichi Yokoyama makes comics that are almost wholly vacuous In his own words, I wanted to make serialized paintings rather than single images A painting is just one image, and can only depict one scene I wanted to also include what happens before and after that one image But these words highlight the very problem with his work In not seeing the narrative value of a given image, his panels require each other to even have a semblance of value No single image says anything His comics become panels conveying movement but nothing else As frustrating as this issue is, visually his works are stunning Full of density and the panels generate a rapid motion making it impossible not to consume them in one sitting It is a shame that he has yet to create anything substantive, although he clearly believe he has with statements like There are two kinds of artworks One carries information and the other is cart The former expresses new ideas As a result, it may not be pleasing to the ye, but it contains new information within it The latter is the kind of work one desires to purchase and own In my comics, I aim for the former What I mean is this To make conventional paintings in the contemporary period is to produce craft in the sense explained above I don t believe that art is incapable of offering new discoveries, but with my comics, I am really striving to communicate something new Oh the lies we choose to believe.

  7. says:

    Pure formalism aliens fight for unkown reasons, structures built for a mysterious purpose usually exactly my kind of comic, but I can only give this a middling review Probably my fault than the artist, but I found in many of the stories that the basic elements needed to make a comic readable, like coherant action within a panel, or a smooth panel to panel transition, missing or severely lacking And since I am not Japanese, the elaborately drawn sound effects that sometimes dominated individual panels had less of an impact in me Still I think a worthy area of comics inquiry, and I would definitely read another book by the author.

  8. says:

    The illustrations were cool The book reads from right to left, as does most manga, but inexplicably the introduction is printed at the back what would be the front if it were a typical book I read through the whole thing and was completely confused If I had read the introduction I would have had the right frame of mind Yokoyama apparently creates serial images that are as divorced from human emotions as possible a temporal painting of sorts Sounds cool I wish that is how I read it Instead it was a lot of cool but confusing panels.

  9. says:

    There doesn t seem to be a point to most of these stories Some people fight, things fall from the sky, and other things grow Still, the pictures are awesomereally awesome I took it out of the library for the cover alone It brought me back to when I was 8, or 9 and would stare at the action figures in the Berenstain Bear s Bad Dream book.

  10. says:

    On the process and the action On the surroundings On the velocity, fight, construction and destruction.

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Yuichi Yokoyama: New Engineering download Yuichi Yokoyama: New Engineering, read online Yuichi Yokoyama: New Engineering, kindle ebook Yuichi Yokoyama: New Engineering, Yuichi Yokoyama: New Engineering a296234fac26 Yuichi Yokoyama Makes Comics In A Unique Language Situated Somewhere Between The Primal Drives Of William Blake And The Elegant Geometries Of Sol Lewitt They Are Works Of Philosophical Complexity And Stunning Visual Power, Of Which He Has Said, I M Not Trying To Write Stories That Are Set In The Future, But Rather To Write Stories Which Are Delivered From References To Any Given Epoch Or Time If The History Of The World Had Turned Out Differently From What We Know Today, Men Would Live According To Different Sets Of Values And Different Aesthetics It Would Be A Civilization Completely Alien To Ours This First US Book On Yokoyama S Work Combines Two Of The Artist S Central Themes Fighting And Building One Set Of Graphic Stories, Public Works, Details Massive Structures Being Erected Across A Landscape Plot Is Pushed Aside In Favor Of Sheer Formal Verve As We Watch Buildings, About Which We Know Nothing, Come Into Being The Other Set Of Stories, Combats, Is One Sequence After Another Of Elegantly Choreographed Battles Manga Comics Have Never Seen A Talent That Combines This Level Of Formal Ambition With Such Exquisitely Drawn Depictions Of Fashion, Art And Architecture