Master photographer, antiquarian scientist, disciple of mathematics, self-confessed unlicensed architect, and a maestro of fakery; the septuagenarian polymath Hiroshi Sugimoto is in Sydney for the opening of his biggest ever survey. The Museum of Contemporary Art is the midway point for his appropriately titled show Hiroshi Sugimoto: Time Machine, which debuted at London’s Hayward gallery last year and is scheduled to end at Beijing’s UCCA Center for Contemporary Art in 2025.
For the Tokyo-born, New York-based artist, the camera is the ultimate time machine; a tool with endless potential for subversion and ambiguity.
