Takashi Makino

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)

Deorbit, the first collaboration between Makino Takashi and Telcosystems, takes viewers on a voyage from the immeasurable depths of space, visible only as pixels, to micro-space, the celluloid grain itself.

Under the name Nivhek, Liz Harris (Grouper) maps richly detailed inner worlds where enigmatic vibrations and voices glide dimly in and out of the void. Double album After its own death / Walking in a spiral towards the house consists of opaque assemblages of Mellotron, guitar, field recordings, tapes, and broken FX pedals. In pacing, palette, and poignancy, these sides rank among Harris' most stark, primordial work: fragile, feverish, ominous, and otherworldly. Accompanied by visuals from experimental filmmaker Takashi Makino which were made exclusively for live shows of this album.

Shadow presences gradually emerge in Japanese filmmaker Makino Takashi’s abstract cinema composed of layers upon layers of natural imagery that awaken the senses.

Experimental film by Takashi Makino

"I represented light and life coming out of the darkness. I aimed for the fusion of multiple exposure and animation."

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)

Deorbit, the first collaboration between Makino Takashi and Telcosystems, takes viewers on a voyage from the immeasurable depths of space, visible only as pixels, to micro-space, the celluloid grain itself.

Under the name Nivhek, Liz Harris (Grouper) maps richly detailed inner worlds where enigmatic vibrations and voices glide dimly in and out of the void. Double album After its own death / Walking in a spiral towards the house consists of opaque assemblages of Mellotron, guitar, field recordings, tapes, and broken FX pedals. In pacing, palette, and poignancy, these sides rank among Harris' most stark, primordial work: fragile, feverish, ominous, and otherworldly. Accompanied by visuals from experimental filmmaker Takashi Makino which were made exclusively for live shows of this album.

Shadow presences gradually emerge in Japanese filmmaker Makino Takashi’s abstract cinema composed of layers upon layers of natural imagery that awaken the senses.

Experimental film by Takashi Makino

"I represented light and life coming out of the darkness. I aimed for the fusion of multiple exposure and animation."

Short film by Takashi Makino

Takashi Makino's collaboration with Derek Jarman regular Simon Fisher Turner. Taking its starting point as Jarman's blindness after the completion of BLUE.

An experimental film by Takashi Makino.

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.

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.

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.

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?

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".

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.

[Space Noise] is a performance in which the double 25 FPS award winner confronts high-resolution video images and 16mm live projection. A duel between the all-dominant immaculate digital and the irregular organic material dissolves in multiple layers of chaos. Enormous quantities of light movements from film loops capture the screen in thousands of pixels of digital projection and create new images in constant change and enhancement. The sound accompanying them live only repeats and spreads the noise, developing images by whirling speed. Noise, located on the tape as a constituent part of the film, becomes the aim of Makino’s quest – Noise-Image. This quest for a new film experience intensifies with additional effects – a smoke curtain reveals the fullness of the light beams’ rainbow spectrum, while a neutral single-eye ND filter creates a three-dimensional illusion.

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.

“The rain” and “white noise” , “the outside of water” , “the inside of water” , everything become to together and drifting. A dark dark film in rain forest inspired by a music term to “Tranquil”.

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

Makino Takashi collaboration with LeBon.

An audiovisual snow storm in front of a black ground, a white horizontal line that divides the image, grid planes, unfolding and folding dimensions. Set to atonal, techno, and orchestral sounds; an abstract (non-)world beyond comprehension, a visual experience that one must intuitively sense. Lost in space and time – the big bang of consciousness

"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 synopsis available yet.

A physical film for showing at cinema. The soundtrack, which was mainly produced in the range of frequencies below 1000Khz, physically vibrates the viewer's body. Anti-cosmos means similar with Noise, the power that breakthrough the cosmos/order. Inspired by "Cosmos and Anti-cosmos" by Japanese philosopher Toshihiko Izutsu. The soundtrack, which was mainly produced in the range of frequencies below 1000Khz, physically vibrates the viewer's body.

This film created using magic lantern slides from about a century ago.

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.

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

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

I see the particles of three primary colours when I close my eyes. I named them 'stars', then observed and filmed them. I looked for my own place among the unconsciousness inside my body and the unconsciousness outside my body.

This work is based on long-exposure still photographs of everyday scenes taken between 2025 and 2026. While there is no video, the accumulation of light transforms into an intense flicker that seems to break through the retina, compressing the sense of time and inducing hallucinations.

This work is a sequel to 2022's Microcosmos, created using paper collages created by Makino in 2024 and 8K scanned film noise. It is a meditative and creative film, like finding a star chart among stardust, but it is also a political work that deeply reflects the world situation.

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.

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.

For this film, Takashi Makino allowed himself to be inspired by the earth. In a never-ending stream of images, we recognize elements from the forest that he then reduces to an abstraction. The film came about as a classical composition in which the picture and the musical contribution of Jim O’Rourke link up seamlessly and lead the mood in turn. A sense of freedom is what predominates.

Colleen is the alias of French artist Cécile Schott, who after a long period of silence, in 2013 returned to activity with The Weighing of the Heart (Second Language), a surprising work that represented another ambitious step forward in a career in constant evolution. The video for Humming Fields, one of the album's tracks, was a new collaboration between the French artist and Japanese filmmaker Takashi Makino.

10&11/03/2017 at Tokyo Metropolitan Teien Art Museum Images and music by Makino Takashi, music by Jim O'Rourke

Experimental film by Takashi Makino. Collaboration film with Canadian multi musician Cal Lyall.

All images by participants of online workshop by Takashi Makino "Structure of Universe". Edit by Takashi Makino (in 2 days).

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.

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.