奥山由之『windows』(特別限定版)

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 奥山由之『windows』(特別限定版)

  Special Edition, Limited 500, Signed

  
  Book Design:葛西薫、安達祐貴
  
  発行:赤々舎

  Size: H194mm × W205mm
  Page:752 pages
  Binding:Cloth hardcover


  Published in June 2023 
  ISBN
978-4-86541-172-0



¥ 18,000+tax 

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About Book


窓を通して人々を描く、"東京"のポートレート


奥山由之の新作写真集『windows』は、2020年4月から2022年11月までの2年半にわたり、東京都内で、約10万枚の不透明なガラス窓を撮影したシリーズです。奥山が初めてデジタルカメラを用いて撮影したこれらの写真群から、本書は724点を収載しました。

コロナ禍にあったこの時期、海外に赴くことの少なくなった奥山は東京の街を歩きながら、窓の表情に目を留めました。路面に面した窓の多くは、すりガラスや型板ガラスなどの不透明なガラスで、屋内にあるさまざまな日用品が透けて見えます。キッチンや浴室の水まわり、フィギュア、花、洗濯物、貼り紙、傘、神棚、自転車......窓枠に沿ってトリミングされた内部の空間は抽象的な模様となり、外部の影や映り込みも宿しながら、そこに暮らす誰かの存在を想像させます。それは一枚一枚の窓が、東京の人々の肖像画となる瞬間でした。
カメラのファインダーという窓から窓を覗いたとき、外と内との隔たりと思えたものがスクリーンとなり、その平面は新たな奥行きをもち得たのです。

奥山は前作『flowers』(2021年、赤々舎)において、花を媒介にした亡き祖母との対話を描き出し、そこでは内から外への窓越しの眼差しが、あるひとりと向き合うことに重なっていました。本作『windows』では、外から内への眼差しによって見知らぬ誰かと対話し、その個々にして不特定多数の肖像は、自ずと足もとの社会を映し出すでしょう。

それぞれ異なるものが密集して建てられている東京の、常に流動的で過剰に生成される街の姿。不透明なガラス窓は、そこで暮らす人どうしの間合いを反映し、歴史的には、閉じつつも外光を透かす障子を起源とするのではないかと奥山は考えます。窓をめぐって建築や文化へも接続する『windows』は、時代の貴重な記録でもあります。

"人以外の被写体を通して人を描く"3部作の2作目であり、光や距離によって具象と抽象のあいだを揺らぎ、立ち上がるイメージと生々しさが同居する『windows』。奥山作品の重要な転換点であるとともに、いまを、そして人々を写しとる独自の在り方は深い示唆を投げかけます。




"入り組んだ文化のレイヤーを持ち、建物がひしめき合う東京において、ある種のシンボルとも言える不透明な窓に、私は人々の表情を見た。
窓を見つめることは、見知らぬ誰かと見つめ合うことに等しいと感じた。
この静かな視線の行き交いが、「東京」という街で生きる人々の肖像画になり得ることを、心から強く願っている。"

(奥山由之 前書きより)



寄稿:堀江敏幸(小説家)、五十嵐太郎(建築史・建築批評家)

特別限定版(500部)は、すべてサインが入り、外壁としての白色の布が施されています。





windows

Yoshiyuki Okuyama


From as far back as I can remember, whenever I went for a walk I would look at the windows of homes and always enjoy imagining what it was like living there, what kind of people lived there, how did they feel in living their everyday life.

Although window glass separates inside from outside, for me it was like a screen that connected me for a fleeting moment with someone whose appearance was not visible.

During the time I had a lot of opportunities to visit mainly America and European countries either for work or just travel, I would look at windows as was my custom and I could see a dining room or living room through the clear glass and observe, a little self-consciously, the interior of the room and its furnishings.

In 2020 when the coronavirus pandemic made it impossible to go overseas, I started walking around Tokyo and suddenly realized how few times I was able to see the interior of a home. I hadn't noticed until then, but many of the windows seen in Tokyo are not transparent but types called frosted or figured glass. It was obvious to me that this reflected a concern for privacy that was greater than in America and European countries. Of course, clear glass is often installed when windows face a garden, or are high up on a building, or placed where people cannot see through them. But if the house is an old one with windows that face the street or the house next door, usually the windows have been made opaque by blasting them with a powdered mineral. Even many of the contemporary buildings I saw had clouded glass that appeared to be covered with a film.


Opaque glass renders abstract all sorts of everyday objects seen through it, the glass itself becomes an interior pattern that is part of the lifestyle of the people who live in the home--to me it seems like a kind of portrait that conveys not only sounds and smells but even what the people are like. From the abstract patterns that line the window frame I detect the vague expression of someone in Tokyo who I have never seen face-to-face. I even felt that opaque glass, which supposedly functions to avoid the gaze of persons nearby, serves the opposite purpose of inflating my imagination and, as a result, revealing the interior for the very reason that it acts as a veil.

Particularly during the pandemic, the fact that everyone spent much more time at home so that one's own idiosyncrasies and those of the other people living in the home became more apparent than ever before may also have an influence.[...]


Toshiyuki Horie (1964- ), an author and scholar of French literature, writes in his book Tomadou mado (Bewildered window), "Wasn't the window, while being a flat surface, inherently like a picture that manifested an invisible depth?" It is fair to say that the object that is window glass in which transmission and reflection co-exist, is a three-dimensional planar object in terms of exposing things on either side of the surface of the glass. Various objects seen through opaque glass change in appearance depending on the reflection of light at different times of the day and the sense of distance from which they are seen, going back and forth between concrete and abstract, fluctuating, even having a presence similar to a picture that leaves space to imagine the expression of someone never seen before from colors and patterns.

In that sense, you could say that the same window seen from the inside is physically completely different when seen from the outside.


As I look again at the opaque "windows" that blend in as a part of the passing days of our lives, I am amazed at the individuality in the huge variety of expressions projected on the screen and I fall gradually into the illusion that maybe it is I as the watcher who is the one being watched. It's a scary feeling that causes me to stop dead in my tracks.


What is a "window?"


We want to keep out the heat and cold and the wind and rain but let in the sunlight. The window seems to be a paradoxical product that satisfies the conflicting desires of human beings to create a pleasant indoor environment while also enjoying the benefits of the outdoors, and at the same time it serves as an interface that links individuals and society.

In the opaque windows--arguably a sort of symbol of Tokyo with its complex layers of culture and buildings crowded together--I saw the facial expressions of people.

I felt that looking at windows is tantamount to strangers looking at one another.

It is my strong and heartfelt desire that these quiet exchanges of eyes meeting eyes can become portraits of people living in the city of Tokyo.


Excerpts from the Foreword  by Yoshiyuki Okuyama


In his 2020 series "flowers," he attempted to engage in a dialogue with his late grandmother through photographing flowers, enabling the camera to respectively embody the perspectives of both himself and his grandmother. Following "flowers," "windows" is the second in a trilogy work that "attempts to depict people through non-human subjects." What underlies Okuyama's works, regardless of their incentive or purpose, is his unique visual expression that treats the contradictions and multifacetedness accompanying all phenomena as themes for production, and discerns the essence of photography in the numerous possibilities that fluctuate before and after the moment that is captured.  





Special gifts for the first customers 


先着ご購入者さまに、ポストカードを、特典としてお付けしてお届け致します。
(※無くなり次第終了。こちらの特典付き商品には、赤々舎もう一冊、りんご通信など、その他の特典は付きません)

One postcard will be given away as a Special gifts for the first customers.
The offer will end while supplies last.


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Related Exhibiton



奥山由之 「windows」


会期:2023年6月10日(土)〜 7月8日(土)

時間:12:00~19:00(日・月・祝休

会場:amanaTIGP東京都港区六本木5-17-1 AXISビル 2F

※ 初日6月10日(土)のみ17:00まで



Print House Session x Yoshiyuki Okuyama x LAG

会期:2023年10月13日(金)〜11月11日(土)

時間:13:00〜19:00日・月・祝休

会場:LAG(LIVE ART GALLERY) 東京都渋谷区神宮前2-4-11 Daiwaビル1F



Related articles:


奥山由之インタビュー 不透明な窓から描き出す東京のひとびと/窓研究所 

奥山由之さんが東京のすりガラスの窓を10万枚も撮ってわかったこと(全5回)ほぼ日 

奥山由之「windows」ガラス窓隔て「会話」を感じる/朝日新聞、好書好日 











Artist Information 


奥山由之 

1991年東京生まれ。
第34回写真新世紀優秀賞受賞。第47回講談社出版文化賞写真賞受賞。
主な写真集に、『flowers』(赤々舎)、『As the Call, So the Echo』(赤々舎)、『BEST BEFORE』(青幻舎)、『POCARI SWEAT』(青幻舎)、『BACON ICE CREAM』(PARCO出版)、『Girl』(PLANCTON)、『君の住む街』(SPACE SHOWER BOOKS)、『Los Angeles / San Francisco』(Union publishing)、『The Good Side』(Editions Bessard)、『Ton! Tan! Pan! Don!』(bookshop M)、台湾版『BACON ICE CREAM』(原點出版)、などがある。
主な展覧会は、「As the Call, So the Echo」Gallery916、「BACON ICE CREAM」パルコミュージアム、「君の住む街」 表参道ヒルズ スペースオー、「白い光」キヤノンギャラリーS、「flowers」PARCO MUSEUM TOKYO、「THE NEW STORY」POST など。



Yoshiyuki Okuyama

Born in 1991 in Tokyo. 
He received the Canon New Cosmos of Photography Excellence Award in 2011 and the Kodansha Publishing Culture Award in Photography in 2016.
Published photo collections include flowers (Akaaka Art Publishing), As the Call, So the Echo (Akaaka Art Publishing), BEST BEFORE (Seigensha)、POCARI SWEAT (Seigensha), BACON ICE CREAM (Parco Publishing; Taiwanese edition, Uni-Books), Girl (Plancton), Kimi no sumu machi (The Town You Live In; Space Shower Books), Los Angeles / San Francisco (Union Publishing), The Good Side (Editions Bessard), and Ton! Tan! Pan! Don! (bookshop M); 

Major exhibitions in Tokyo, As the Call, So the Echo (Gallery916), Bacon Ice Cream (Parco Museum), Kimi no sumu machi (Omotesando Hills Space O), White Light (Canon Gallery S), flowers (Parco Museum Tokyo), and The New Story (Post).




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