Takashi Makino

With the aid of a layered construction of the image, Takashi has managed to capture the different reflections of light on the surface of water. The acoustic-noise-like music and the dancing particles of light move like swarms of microorganisms and in this way slowly cover the entire screen.

A live performance film capturing an intimate concert by composer, pianist and music producer Ryuichi Sakamoto in New York City. The performance marked the first public unveiling of Sakamoto’s new opus, async, hailed as one of the best albums of 2017 by Rolling Stone and Pitchfork.

Takashi Makino’s source of inspiration, our place in the world and the universe, never seems to dry up in view of the never-ending flow of immersive films. Generator may well be the earthiest of his films so far, made as a reaction to the Fukushima disaster. A reality check, but in the world that Makino shows, this can never be achieved without looking inwards too.

Borrowing its title from a treatise by Aristotle, the latest film by Makino Takashi is an abstract work that finds its drive in the clash between light and darkness. Entirely composed of superimposed images of Tokyo’s landscape and water sites, the film takes its rhythm from the cycles of repetition that are the pillars of life and civilisation. As light emerges from the chaos, Jim O’Rourke’s ambient drone sets the tone for what is to come.

Engine materializes Liz Harris’s self-confessed obsession with engine sounds from cars and trains, and noise explosions heard at drag races. For Harris, that is the sound of excess, power, sex, destruction, capitalism, and oil becoming an airborne pollutant. All the same those are the sounds of transformation, from which comes life. With an original film by Takashi Makino shown in the background, Engine is a large stage machine of guttural bass tones and constant revving up that mimics our heartbeat and breathing, and pumps the blood in our veins.

Filmed entirely on location in Australia, Double Phase follows a discrete visual chronology captured by Takashi Makino. It considers how the complexity of ’natural world’ continues to be reductively framed within contemporary society. Pushing back against the simplistic and monocular sensing of the world, Makino responds with an intensely affective projection of lived experience. Moving far beyond the capacity of lived day to day experience, the film collides image after image into a cascade of almost-cosmic complexity. A reminder that we must always be reaching out and extending ourselves into the world that emerges before us. (Asia TOPA 2020)

first foray into found-footage filmmaking where human shadows emerge from the dust and scratches accumulated on the filmstrip

A presentation of an expanding formation of "Elements of Nothing". The systematic harsh noise shaped by water and trees gives birth to a storm of novel imagination in the viewer's emotions.

The four elements referred to as "water", "flame", "wind" and "earth" in this film all exist individually while responding to each other, by fighting and loving each other, foster the concept of a world in each individual's "subjectivity".

Makino Takashi takes us to a place where different rules apply. He overwhelms us with his universe, which is built up of countless images, figurative and non-figurative, accompanied by an equally sophisticated soundtrack. At times very abstract and distant, at others almost palpable and narrative. We naturally seek recognition in the infinite layering of the images, and in so doing compose our own story, based on what we ourselves know of the world, using our personal references to help us. In this way, a work arises unique to every viewer, which continues to reverberate long after we leave the cinema.

An immersive work that uses skilled manipulation of the film surface and a powerful drone soundtrack to create a layered and dense universe of controlled chaos. In about eighteen minutes we experience life to the fullest, from birth to death and eternity.

For Dreaming the Dark: hands that see, eyes that touch, Ana Vaz invited artists and filmmakers whose work trust cinema’s capacity to transform relationships between the body and the camera to propose works that will engage with both perception and embodiment. Could cinema be an art of embodiment? By what rituals and actions could vision become tactile?

Performance by Takashi Makino with music composed by Otomo Yoshihide. A tribute for Teruto Soejima and Masayuki Takayanagi.

Untitled is a collage film that combines the image and sound of Takashi Makino, the music of Lawrence English and the automatic writing text of Esperanza Collado, produced between March and June 2020, when the first attack of the coronavirus shook the world.

"This (piece of) work was produced as thesis film project. I shot by 8mm film camera and printed it to 16 mm film by very old optical printer. I expressed a theme called “opposition”, “fusion”, and “ruin” represented by multiple exposure."

No description available.

Makino Takashi collaboration with LeBon.

This film has no images, but keep illuminating and keep moving like a life, imaginative creativity itself.

An experimental film by Takashi Makino.

Experimental film by Takashi Makino.