佐伯剛正 『撮ることは、撮られること 1967-1976』  2019年1月17日(金) 一般発売 アートディレクション：中島雄太 宮嶋隆輔 発行：赤々舎 サイズ：188 mm × 128 mm ページ数：256 pages 並製本 Published in December 2018. ISBN: 978-4-86541-085-3 |
¥ 2.000 ＋tax
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Books
Posted at : 2019.01.23 12:41
中井菜央『繡』（しゅう）
発行：赤々舎 Size： H228mm × W289mm Page：128 pages Binding：Hardcover Published in December 2018 ISBN：978-4-86541-092-1 |
¥ 4,000＋tax
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About Book
「存在」と「結び目」を問う中井菜央のポートレート。
「光り輝くことでもなく、闇に沈むことでもない、ただそこに在るということ。
私はそれをポートレートにしようと思いました。」
中井菜央は、人がその人としてただ生きて在ることを、写真で表現しようとしてきました。私たちは、自分自身にも人にも意味を重ねて捉えるのが常ですが、「意味」よりも先行し、かつ強くしぶといものとして「個の存在」を表わそうとしたのです。
やがてその眼差しは、人のみならず、物や動植物、風景へと伸びていきます。あらゆるものは時間の中で変化しますが、それは別の存在への転化ではなく、蝶が幼虫、さなぎと姿を変えるように、可変のなかの不変として「個の存在」を捉えるようになりました。
そして、「個の存在」が関わりを結び、ひとつの相貌を呈すること── たとえば森や都市、ある光景のポートレートをもカメラに収めるようになります。
世界はこの無名の関わり、「結び目」によって構成されているということを写真を通して中井は見出し、写真集『繍』は編まれました。
刺繍を施された布、その裏面をめくってみた時の静かな驚きをもって。
" 世界は過去から未来に広がり続ける時間という無地の布に、結び目で連なる『個の存在』という糸が縦横無尽に張り巡らされているようなものです。永遠の広さの布地と、無数の結び目と、無限に交錯する糸。 "
Shu
Nao Nakai
This project started when Nakai's grandmother fell ill to Alzheimer.The memory impairment clogs the flow of time.
The present loses expansion to past and future, converges into the minimal point of time as the disease progresses.
The sense of identity hardly remains in this process and exists only in random moments.
Her grandmother completely lost images cultivated throughout her lifetime, and images Nakai has been accumulating.
We give meanings to objects and perceive them in images. And we try to give meanings to ourselves and construct self images. The portrait photography is often either reflection of images held by photographers of their subjects, or purified and amplified results of subjects' self images, neither of which worked with Nakai's grandmother.
The questions, "what will portraiture photography capture of people?" and "what does it mean for a person to exist?", became synonymous.
She faced her grandmother with a camera.
A photograph out of many captured an individual presence that can only be described as her "grandmother".
This fact launched the whole project. This is a series of portraits capturing an individual presence from which subjective or objective meanings and images are peeled off.
Meanwhile, Nakai came to realize that this point of view can be applied to physical materials too.
And the world is a continuum of threads of individual presences entangled within the fabric of time expanding from present to past and future. People give meanings to this world and perceive from what they see through images.Nakai is now assured, after 9 years, that images are like what we see on the front of an embroidery.
However, the actual state of the world is represented by the complexity of interwovenness on the back of it.
The book evolved from a portrait of a person to portraits of the world. The letter chosen for the title "繡", pronounced Shu, is an ideogram representing complexity of embroidery.
My grandmother's death was the impetus for me.
My grandmother suffered from Alzheimer's disease late in life. Her diary indicates that in the initial stage of the disease she became aware that she had contracted it. And from that time, as if she were gathering up the memories falling away, grandmother began to write down in detail the little everyday things that happened. The content of the three daily meals, exchanges with family members, trimming of trees in the garden, the birds and insects that gathered there...
The diary book was opened many times a day and although the words written there were certainly her own, none remained in grandmother's mind.
Grandmother was aware that time for her was losing its past and future, was without connection or direction, instants lined up, and in despair she wrote in the diary "I'm going to become someone whose life won't have meaning anymore." Finally, she forgot everything--that, the diary itself, her family, and all about herself.
And things such as grandmother's self-awareness and her innate character and abilities were also all impaired.
From my childhood I really loved my grandmother, so I felt a deep sense of loss and bewilderment to see her change so completely. I couldn't help thinking, "This can't be called living." That was because in interacting with grandmother as she was now, I was seeking the image I held inside of how she was in the past. Yet watching grandmother swaying between existence and meaning also became a chance for me to reconsider what "living" is in essence.
That was because she was indeed living and I always felt the strength of that.
So in the several years until grandmother's death, I continued to photograph her. By doing that I hoped to get close to something of the essence of "living."
I avoided searching for the grandmother of my memory in the viewfinder; instead I always tried to capture her reality at the moment. Whenever I said "Look here at me" she was able to do it, but that was all. In her worsened condition, grandmother no longer knew what a camera was, who I was, or even who she herself was.
The photographs gave an accurate picture of grandmother as she was at the time. This enabled me to confirm the fact that the person in the photographs was not just "anyone," it was undeniably "grandmother."
This "grandmother" was not the image of her that grandmother herself had developed, not the image of grandmother that had accumulated and was stored inside me, and not a new image of grandmother, but an individual presence that could only be described as "grandmother."
The photographs expressed the strength--the tenaciousness--of her "individual presence" that never disappeared for a moment, no matter what the situation.
I decided that instead of contemplating in words what "the meaning of living" is, I would try instead to photograph persons living.
For me, grandmother's portrait served as an indicator.
Like that photograph, expressing people just living as themselves.
We, who ordinarily assign meaning to ourselves and other people we place layers of meaning on to understand them, tend to perceive absence of meaning in someone as meaning that the person is empty. However, the more photographs I take, the more certain I have become that "individual presence" precedes "meaning" and is stronger.
Eventually, I began to come across objects, plants and animals, scenery, and sights that I felt "seemed to resemble people living" and photographed them guided by those feelings.
When I printed out the photographs and lined them up with portraits, I noticed that the viewpoint of "individual presence" is not limited to "people." This was also noticing that we place layers of meaning on subjects other than people that we look at. I began to aspire to take photographs that returned from meaning back to "individual presence." For me, photographing objects is the process of composing portraits.
All things change form over time, but individual presence is unchanging from birth until that presence ceases to exist. The unchangeable within the changeable...
I photographed scenery, for example a forest or a city, with the same sense as I photographed portraits. However, there is no "individual presence" of a "forest" or "individual presence" of a "city." This is because a forest is composed of trees, grass, animals, insects, and a city is composed of buildings, streets, railways, the people gathered there for various purposes--both are a composite of the interactions of many "individual presences." Still, I get a feeling of the "individual presence" of places we name a "forest" or a "city" because the interaction of their many "individual presences" connect to present a unique appearance. I also photographed portraits of those appearances.
Cities are interactions intentionally made by people. Some forests are interactions produced by nature and some are interactions produced artificially by afforestation.
Some of the bonds of interaction such as those found in a forest have been tied continuously for hundreds and thousands of years, while some unravel in an instant.
Interactions, bonds that unravel instantly without people intending it. Most disappear without people taking notice of them. In other words, they are nameless interactions, bonds. I've continued this series for a long time, and in the end the repeated photographing I did was of this type. I found that the nameless bonds in this world are far greater in number than the ones we name.
Nameless interactions, bonds, no matter how small, are still each a component of the world, and the past exists to generate these small bonds; lacking bonds, the future will not arrive. Bonds that for us are without value (meaning) are indispensable to the world.
The world is like a plain cloth of time over which the threads of "individual presences" linked by bonds are freely spread that continues to stretch out from the past to the future. Cloth eternally wide, bonds in countless number, threads intertwining to infinity.
We place meaning on only a very small portion of these "individual presences" and only understand each according to our own image of them.
What neither shines nor sinks into darkness, but is simply there.
Those are the things whose portraits I desired to compose.
── Nao Nakai
Special gifts for the first customers
One color proof will be given away as a Special gifts for the first customers, which selected at random from the 60 images.The offer will end while supplies last.
→We have finished giving out free gifts.
作品と通じるその向き合い方の中で出てきた感覚、言葉などがメモとして断片的に起こされ、作家の直筆で印刷過程の用紙に書き込まれたものを、今回、先着60名様のご購入特典として、写真集に各1枚同封してお届けいたします。
（イメージは小社がランダムに選ばせて頂きます。）
印刷過程において、布の裏地の糸のように、作品を浮かび上がらせていったこのものたちを通じても、写真集の存在をより感じて頂けたらと思います。
＜特典イメージの一部＞
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Artist Information
中井菜央（Nao Nakai）
Born 1978 in Shiga Prefecture, Japan, Nao Nakai graduated from Nippon Photography Institute in 2006 and started working for the photography department of a publishing company in Tokyo. She has been working as a freelance since 2015, mainly focusing on her strong interests in portraiture photography. She has held numerous solo exhibitions all over Japan while her works have been featured in both print and online media domestically. Her first book Shuu (AKAAKA, 2018) has been critically acclaimed. The exhibition from the same project for the book was one of KG+ SELECT finalists in KG+, the satellite division of KYOTOGRAPHIE Kyoto International Photography Festival.
Posted at : 2018.12.17 14:51
インベカヲリ★『ふあふあの隙間』①②③
発行：赤々舎 Size：297 mm × 210 mm Page：8 pages Binding：Softcover Published in November 2018 ①ISBN：978-4-86541-089-1 ②ISBN：978-4-86541-090-7 ③ISBN：978-4-86541-091-4 |
¥ 3,500＋tax
（3冊セット／3 books set are available from the following）
国内送料無料！ お支払い方法は、PayPal、PayPay、クレジットカード支払い 銀行振込、郵便振替よりお選び頂けます。 |
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About Book
写真界を超えて反響を広げつづけるインベカヲリ★の最新作。生プリント付き三部作！
「他の人が当たり前にできることができなかったり、なぜかいちいち立ち止まってみたくなったり、完成したものを叩き壊したくなったり、知っていて破滅に向かいたくなるとき、ふわっと隙間が開いてその人が見えてくる」
インベが今年、初めてのデジタルカメラで撮影したシリーズ。撮影を希望するひとを募集し、会って聞いた話から汲み取った心象をもとにシチュエーションを考え、女性たちと作り出すポートレート。「ふあふあの隙間」では、より猥雑に街を写し込み、展開する場面をシャープに照らし出した。
やわらかくシリアスな深淵に通ずる隙間①
どこかポップで大胆な女の業が覗く隙間②
ストリートに生息するダークな隙間③
いずれも生プリント（各１枚、2Lサイズ）を貼り込んだり蛍光色を用いたり、ページの隙間を覗いてみたい欲望にもかられる。
女性たちとの対話の断片や呟きが、生々しく胸を打つテキストも挟み込む。
収録タイトル
ふあふあの隙間① 間に入る／影に飲まれる／最終ステージ／排毒／ぬいぐるみに珈琲を飲ませる
ふあふあの隙間② あなたは病気じゃありません／ガタンゴトンがきこえる／山陰の女／千夜、牙を研ぐ／６月の赤い雨／バービー疾走／ダイヤと石ころ
ふあふあの隙間③ サイクルの速い冬眠／処世術／森でとまり沼までこない／新・考えない人／無視されると絶望／傍観者／バブー／頭を冷やす／さいきんおもうこと／書面上の幸福
"soft opening" ①②③ can be sold individually.
以下より、それぞれ単体のご購入も頂けます。（当ページ上部のセット購入の方が少しお得です）
 ¥ 1.200 ＋tax 国内送料、代引き手数料 無料
＊ お支払い方法は、代金引換、銀行振込、郵便振替、 クレジットカード支払い、PayPal よりお選び頂けます。 |
 ¥ 1.200 ＋tax 国内送料、代引き手数料 無料
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 ¥ 1.200 ＋tax 国内送料、代引き手数料 無料
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Artist Information
インベカヲリ★
Kawori Inbe
Photographer, born in Tokyo in 1980.
Many solo and group exhibitions, "Imperfect Cat" "Time to go back...to the moon." including those held not only in Japan but also in Milan and Shanghai.
Has shown at group exhibitions in Los Angeles, Barcelona and Hong Kong, and staged a solo 5 month-long solo exhibition in Milan over 2012 - 2013.
Assembled a special collection of works for the june 2013 feature issue of TEiCAM BOOKS, a free magazine in Paris.
Awards
2008 Nikon salon Jun Miki encouragement award
2018 43th The Ina Nobuo Award
2019 Photographic Society of Japan Newcomer's Award
Related Items
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インベカヲリ★ 『やっぱ月帰るわ、私。』 （out of stock） 
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Posted at : 2018.11.18 15:53
インベカヲリ★『理想の猫じゃない』
発行：赤々舎 Size： H260 mm × W210 mm Page：154 pages Binding：Softcover Published in November 2018 ISBN：978-4-86541-088-4 |
¥ 3,200＋tax
国内送料無料！ お支払い方法は、PayPal、PayPay、クレジットカード支払い 銀行振込、郵便振替よりお選び頂けます。 |
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About Book
インベカヲリ★と62人の女性によるポートレートとことば。
人と人、人と社会の関わりのなかで生じる揺れや問いや矛盾を抱いて、女性たちはインベの前に現れる。
たとえマイナス面であってもそれを表現したいと願うそれぞれの女性の姿が、話し合いを重ねて生み出されたイメージとなり、写真の中に、そして言葉の中に立ち現れる。
それは、被写体と写真家という位置付けを超えた創造であり、ドキュメントと虚構を新たな方法で重ね合わせるものだ。怒りや哀しみや問いがバネになって生まれるユーモアや大胆さ、矜持。
今回は初めて女性たちの話し言葉によるテキストも収載した。写真、作品タイトル、テキストが織り成す、フィクションとノンフィクションのせめぎあい。時代に刻まれた鮮やかな肖像。
「日々、情報を浴びる生活の中で、自分が本当に考えていることを探し出すのは至難のわざだ。うっかりすると、どこかで聞いたことがある台詞を自分で考えたことのように話してしまう。逆に、簡単には言葉にできないほどの感情は、凄まじいリアリティをもって心に響く。それは、私が女性たちから話を聞いていて感じることだ。向かい合って対話を続けているうち、独特な表現や価値観がふいに飛び出し、個 人の存在が生々しく浮かび上がってくる瞬間というのがある。一人ひとりは、こんなにも多様なのかと感動する瞬間がある。だから人間は面白く、写真の中で存在感を放つのだと思う。」（あとがきより）
インベカヲリ★の写真を初めて見たときは、2、3日写真の世界に取り憑かれた。そこには他人から見たら闇と痛みと孤独と汚物かもしれないけど、いろんなフィルターを外すと本当に純粋な『生と性』が写ってた。それからアルバムのジャケ写やアーティスト写真を撮ってもらうようになった。写真からインスパイアされたこともあった。いわゆる芸術写真やアートとは、やっぱり何かが違う。カメラでなければ、インベカヲリ★でなければ写せない何かを撮っているんだと思った。
毎回個展に行くたび、写真に取り憑かれるのが怖かったけど、ここ数年で少し写るものが変わってきた気がする。色で言ったら漆黒一色だったのが、色々な種類の黒色になった感じかな。それはこの写真集を見ていけば、なんとなくわかってもらえるんじゃないかと思う。
──── スガシカオ（シンガーソングライター）帯文より
＜第43回 伊奈信男賞 受賞！＞
インベさんの被写体はほとんど笑わない。日頃わたしたちが目にするあらゆる種類の写真のなかで、女性たちはたいてい静かに微笑んだり、元気に笑っているにもかかわらず。そうでなければ、彼女たちは少し開いた口元でこちらをじっと見つめたり、意思の強そうな視線を投げかけたりする（ように指示されている）。女性たちは、自分がいつも「誰かに見られている」ことを知っているかのようだ。
インベさんの写真にうつる女性は、鏡の中の自分を見ているか、部屋でひとり、誰にも気兼ねなく自分に集中している人がしそうな表情でそこにいる。もし、インベさんの写真があなたに違和感を感じさせるとすれば、それは被写体の女性たちがにこやかにあなたを見つめ返したり、あなたが見ているとわかったうえで自分を演出していないからかもしれない。
「理想の猫じゃない」展は、被写体とインベさんが話し合いを重ねて生み出したイメージで構成されていた。被写体の多くは自分が置かれている、どちらかといえば不思議な状況を驚くでもなく喜ぶでもなく、ただ、フレームの中でやるべきことを淡々と遂行している。写真の世界では長らく、クリエイティビティという意味において被写体は写真家の下位に位置づけられてきた。いっぽうで、写真という表現媒体も単なる「記録」とみなされて、アートの下位に位置づけられることがある。インベさんの作品はそのようなヒエラルキーの構造を撹乱し、創造する者とその対象、パフォーマンスする側と記録者のような二極対立的な役割分担では語れない、新しい写真行為の可能性を示唆するもののようにみえる。
──── 長島有里枝「第43回伊奈信男賞 授賞理由」ニコンイメージングサイトより
Imperfect Cat
Kawori Inbe
The women featured in Kawori Inbe's photography often appear before her in crucial moments of their lives, amidst significant life changes, ongoing problems, or unresolved worries.
Being photographed is an act of expression, and Inbe thinks that many women who are photographed have something to convey. Even if it has on negative aspects, the urge to express oneself may be particularly unique to women, which is why Inbe is drawn to taking photos images of women.
The title of the photobook, "Imperfect Cat," is a line spoken by a perpetrator in a certain incident. In October 2017, a man employed as a temporary teacher at a high school in Kitakyushu, Japan, was accused of killing his pet cats one after another and disposing of a total of 20 cats as burning garbage. Explaining his motive, the man claimed, "I killed them because they didn't meet my idea of the perfect cat, elaborating that a perfect cat should respond when called, allow touching, and use the litter box properly."
Upon hearing this line, Inbe was struck by an indescribable shock, feeling it succinctly encapsulated the essence of Japan's educational system and society in one sentence, with the perpetrator being a teacher adding a darkly ironic twist.
It is inherently unreasonable to demand obedience from a free-spirited cat, and the notion of a "Perfect Cat" simply doesn't exist in the feline realm.
However, for humans, it's often easier to adopt the role of someone else's ideal rather than staying authentic to oneself. Society is full of people who emulate the "Perfect Cat" And when one fails to conform the "Perfect Cat" or attempts to escape from being one, they may risk being metaphorically "killed" by society.
In today's society, uncovering one's genuine thoughts is a daunting task. If one let their guard down, they might end up speaking words they've heard elsewhere as if they were their own thoughts..
The photographs featured in "Imperfect Cat" are created through conversations between the subjects and Kawori Inbe. During these exchanges, unique expressions and values emerge, vividly showcasing the individual's presence.
Within the realm of photography, the subject especially women, has long been perceived as subordinate to the photographer in terms of creativity. Similarly, photography itself is sometimes relegated to a mere documentary or record status, placed lower in the art hierarchy. Inbe's work challenges these hierarchical norms, opening up new avenues for photographic expression beyond the conventional roles of creator and subject, performer and recorder.
Related Contents
Artist Information
インベカヲリ★
Kawori Inbe
Photographer, born in Tokyo in 1980.
Many solo and group exhibitions, "Imperfect Cat" "Time to go back...to the moon." including those held not only in Japan but also in Milan and Shanghai.
Has shown at group exhibitions in Los Angeles, Barcelona and Hong Kong, and staged a solo 5 month-long solo exhibition in Milan over 2012 - 2013.
Assembled a special collection of works for the june 2013 feature issue of TEiCAM BOOKS, a free magazine in Paris.
Awards
2008 Nikon salon Jun Miki encouragement award
2018 43th The Ina Nobuo Award
2019 Photographic Society of Japan Newcomer's Award
Related Items
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インベカヲリ★ 『やっぱ月帰るわ、私。』 （out of stock）
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Posted at : 2018.11.18 15:01
Ahn Jun 写真集 『Self-Portrait』
アートディレクション ：秋山 伸 ( edition nord ) 発行 ：赤々舎 サイズ：364mm × 233mm
ページ数：88 pages
言語：Japanese, English, korean
上製本、両面ジャケット
Published in November 2018.
ISBN: 978-4-86541-087-7
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¥ 4.500 ＋tax
送料、代引き手数料 無料！ |
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About Book
過去は背後に。
未来は遥かに。
現在(いま)とは虚空。一瞬の割れ目。
韓国 ソウルを拠点に世界的に活動するAhn Jun (アン・ジュン) 初の写真集。
2008年から2013年にかけて、ソウル、NY、香港都心などで撮影したセルフポートレートのシリーズ。
高層ビルの屋上や先端にあって下を見下ろすその姿は、圧倒的な緊張感と浮遊感に満ちている。
屋上にいることは、変えられない=「過去」と、遠くに感じられる都市の風景=「未来」の狭間にある「虚空」を視覚化し、一瞬の割れ目=「現在」を写しとる。コンテクストから孤立する一枚である。
高所から水平に都市を望む視点と、その足もとの虚空を見る視点──
視覚的認識と空間的認識、生と死、理想と現実が衝突し、その端の上にある人間の存在を提示する。
「現在とは、未来と過去の間の、とても短い一瞬のことです。
つまり私たちは皆、何らかの端の上に生きているのです。
生と死の間、そして理想と現実の間に。」アン・ジュン
「 素足になり、まだ見ぬ世界へ飛び立つその開放的な姿態によって、彼女は観賞者を虚空の端へと誘う。
そして彼女がそうするように、崇高さの際に立つようにと後押しするのだ」
ミシェル・ドゥーン・マーシュ（キュレーター）
The past is behind,
the future far away.
The present is a void. A momentary fissure.
This is the first photography book by Ahn Jun, a Seoul-based photographer who works internationally.
It features a series of self-portraits taken between 2008 and 2013 in Seoul, New York, and Hong Kong.
The images of Ahn looking down from the rooftops and edges of high-rise buildings are filled with an overpowering sense of tension and floating in the air.
To stand on rooftops is, for her, to visualize the void that exists between a past that cannot be changed and a future landscape that seems far away, while capturing the momentary fissure that is the present.
This is both a performance replacing time with space and possible only through photography as well as an image isolated from contexts.
Ahn's images are both a perspective of looking out over the city horizontally and one of looking down at the void below from a height.
Optical perception and spatial perception, life and death, ideal and reality all collide with one another, presenting the existence of human beings on these edges.
I think the present is one very short instant between the future and the past. So basically all of us are living on the edge of something, between life and death, and between the ideal and the reality.
── Ahn Jun
With her bare feet showing, or her loose stance as she leaps into the unknown, Jun seduces the viewer to the edge of the void, pushing one to stand, as she does, on the verge of the sublime.
── Michelle Dunn Marsh（ Executive Director & Curator, Photographic Center Northwest）
Ahn Jun 写真集 『Self-Portrait』プリント付き特装版 （special edition with print）
¥ 30.000 ＋ tax
以下、4種類のプリントからお選び頂けます。各限定10部です。 You can select from 4 types of prints. limited 10 copies each.
Artist InformationAhn Jun (アン・ジュン) 2006年 南カリフォルニア大学(ロサンゼルス)美術史学科卒業、2012年パーソンズ美術大学(ニューヨーク)写真学科修士課程修了後、2017年弘益大学校(ソウル)大学院写真学科博士号を習得。 主な個展に「On The Verge 」(Photographic Center Northwest、アメリカ・シアトル / 2018)、「UnveiledScape」(Keumsan Gallery、韓国・ソウル / 2017)、 「Self-Portrait」( Christophe Guye Gallery、スイス・チューリッヒ / 2014)など。 主なグループ展に「Space; Crashes in Street Life」(Triennial of Photography Hamburg、ハンブルグ、ドイツ / 2018)「Asia Woman Artists」( Jeonbuk Museum of Art、韓国・完州郡 / 2017)、「Ich」( Schirn Kunsthalle、ドイツ・フランクフルト / 2016)、 「Secret Garden」( ソウル市立美術館、韓国・ソウル / 2016)など。 主な作品収蔵に国立現代美術館(ソウル)など。 2018年、写真集『Self-Portrait』（赤々舎）、『One Life』（Case Publishing）を同時刊行。 Ahn Jun 2017 Hongik University, PhD in Photography 2012 Parsons-The New School for Design, MFA in Photography, with Honors 2007- 2009 Pratt Institute, Graduate study in Photography 2006 University of Southern California, BA in Art History Selected Solo Exhibitions 2018 On The Verge, Photographic Center Northwest, Seattle, USA 2017 UnveiledScape, Keumsan Gallery, Seoul, South Korea 2014 Self-Portrait, Christophe Guye Galerie, Zurich, Switzerland and more... Selected Group Exhibitions 2018 Space; Crashes in Street Life, Triennial of Photography Hamburg, Hamburg, Germany 2017 Asia Woman Artists, Jeonbok Museum of Art,Wanju, South Korea 2016 Ich, Schirn Kunsthalle, Frankfurt, Germany Secret Garden, Seoul Museum, Seoul, South Korea Me in the Photography, Daegu Photo Biennale Special Exhibition, Daegu, South Korea and more... Public Collections GoEun Photography Museum, Busan, South Korea Museum of Modern and ContemporaryArt (Art Bank), South Korea Hanwha, South Korea Space 22, Seoul, South Korea uJung Foundation, South Korea Harbor City, Hong Kong Awards / Honors 2016 Emerging Artist, 63 Art Museum, South Korea 2013 Asian Artist to Watch in 2013, South China Morning Post, Hong Kong Ones To Watch, British Journal of Photography, UK 2011 2011 Graduate Directory, Wallpaper* Magazine, UK |
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Posted at : 2018.11.09 10:58