My method of bringing new life to archival images is to look at what happens at the margins rather than the center of a picture. I am also obsessed with making links, based on the belief that everything is connected. And also with what I call “narrative environments,” mediating spaces facilitating new forms of engagement.
When Marion von Osten and Grant Watson invited me to contribute to Corresponding With by developing a new work based on a personal reading of archival material, I responded with enthusiasm. Despite this enthusiasm, however, I was also a bit hesitant: hesitant to be thrown into a project with so many professionals and scholars for whom the Bauhaus constitutes their field of expertise; hesitant about my subjective interpretations to the ordering system of the archive. I came up with the idea of re-staging Life Construction, an experimental exhibition from 1931—building on four reproductions documenting the exhibition—through a structure inspired by Jikken Kōbō, a postwar artist group active in Tokyo in the 1950s, about which I will have more to say in what follows.