『りんご通信 7』
 Editor ：姫野希美 Design：大多和琴 Cover photo：ファン・イェジ 発行：赤々舎 Size： H406mm × W277mm Page：12 pages Published in April 2025 |
¥ 500＋tax
国内送料無料！ お支払い方法は、PayPal、PayPay、Paidy 銀行振込、郵便振替、クレジットカード支払いよりお選び頂けます。
りんご通信は小社のWEBで書籍をご購入頂いた方にお付けしております。 こちらのページにて単体ご購入も頂けます。 |
|---|
|
|
 
©Koki Daido |
|
(out of stock) 
|
(out of stock) 
|
(out of stock) 
|
(out of stock) 
|
|---|
|
(out of stock) 
|
(out of stock) 
|
|
|
|
|---|
 |
|
 |
|---|
映里 『饗宴 ── 愛について』1996 ─ 2000
Organizers：榮榮＆映里 Art Direction：田中義久 Design：谷川佳子 翻訳：ジリアン・シュルツ、趙氷清、Fontaine Limited 発行：三影堂撮影芸術中心、赤々舎 Size：H 350mm x W 260mm Page：168 pages Binding：Hardcover Published in August 2021 ISBN：9978-4-86541-120-1 |
¥ 6,000＋tax
国内送料無料！ お支払い方法は、銀行振込、郵便振替、 クレジットカード支払い、PayPal、PayPay よりお選び頂けます。 |
|---|
This book takes what were originally four separate series produced over twenty years ago, bringing them together under a single theme ̶ love. In the period
when I took these photographs, young people, blindly accepting the predictions of Nostradamus, were caught up in a sense of approaching apocalypse as an era
came to an end. Crushed by the very real feeling that life held no hope, it seemed as if my only reason for living was to wait for the doom of humanity due to commence in July 1999. Then, at the age of twenty-three, discover- ing the dance company H Art Chaos and photographing its lead dancer Naoko Shirakawa catastrophically transformed my ideas on the value of photography as artistic expression. If photography were art, I realized,
I would have to become the agent in the process, confidently asserting my own ideas and following my own sense of aesthetics. My photographs did not exist for someone else. I gained a painful awareness that it was me, and me alone, who was producing the photographs. I quit my job, but for a while I was unable to shoot people, and I was on the verge of losing my motivation for living. Then I found inspiration in friends who were experimenting freely as they attempted to find out what it was that they really wanted to do. That led me to the act of taking photographs, an act that eventually gave
me the drive to live. The photographs I produced at
that time now seem highly relevant to what people are going through today.
When I started out, love was not in my repertoire, and even in my dreams I would not have envisaged myself thinking of love as a theme for my photographs. My idea o'f love'is continually changing as I explore, going deeper and deeper into photography, and its inseparable presence within me leads to big struggles from time to time. I think in terms of"love=photography."Photogra- phy is my only method for learning about love, and love is the only idea from which photographs can emerge. In other words, love is the truth behind the photographs that I am seeking. And it was in the group of works presented here that I discovered the beginnings of that never-ending quest.
Extracted from the afterword inri "Symposion ── About Love" )
"These works make people feel a kind of pent up suffering, the fate and distress of those who have no choice but to express themselves artistically. When it comes to trying to painstakingly control and direct the creative energy that can strike at any moment, it's when the flame touches the point of ignition that "work" is created. She takes that which must be articulated to be revealed--her pent up restlessness, impatience, indignation, conflict, and desire--along with all kinds of thoughts, and personally pours them out in front of the camera. She uses the camera to extract them, developing them on film or bringing them to the printer, makes sample prints, meticulously sifts through them one by one, selects a few to enlarge, and after careful scrutiny, returns to her place in front of the camera. This task is repeated over and over. Self portraiture is the act of relativizing the self in the midst of a continuously repeating process. Thousands of photographs are born from the seemingly uncontrollable vortex within her, she makes an objective selection and ultimately only the handful that survive become "artworks." "
Extracted from the text Kasahara Michiko (Vice Director, Artizon Museum, Ishibashi Foundation)
関連情報KYOTOGRAPHIE 2021 Exhibition 榮榮＆映里（ロンロン&インリ）「即非京都」 会期：2021年9月18日(土)〜10月17日(日) 休み：9/21、9/27、10/4、10/12 時間：9:00〜16:30 会場：琵琶湖疏水記念館 屋外スペース （京都府京都市左京区南禅寺草川町１７ ） 入場無料 |
|
映里
inri
Born in 1973 in Kanagawa prefecture, Japan.
In 1994, she graduated from Nippon Photography Institute and began working as a press photographer for Asahi Shinbun in Tokyo. In 1997, she became a freelance photographer and began independently creating work. In 2000, she began creatively collaborating with Chinese art photographer RongRong. In 2007, she and RongRong cofounded China's first nongovernmental contemporary photography art center, Three Shadows Photography Art Centre, in Beijing's Caochangdi district. In 2015, Three Shadows Xiamen Photography Art Centre opened in Xiamen, Fujian province. Dedicated to building and developing a platform to explore and promote Chinese contemporary photography, Three Shadows produces a variety of exhibitions and programs every year. Starting in 2009, she founded the "Three Shadows Photo Award" with the aim of discovering and supporting young photographers in China. That same year, she kicked off a number of international photography projects, including the first official partnership with Rencontres d'Arles to produce Beijing's first international photo festival, "Caochangdi PhotoSpring--Arles in Beijing" (2010-2012), followed by "Jimei x Arles International Photo Festival" (2015 onward). In 2016, she and RongRong were awarded the Sony World Photography Awards Outstanding Contribution to Photography prize, issued by the World Photography Organization.
Selected exhibitions:
MAXIMAX, fujikawa gallery/next, Japan, 2001. Cross Pressures, Oulu City Art Museum, The Finnish Museum of Photography, Finland, 2001.Tui-Transfiguration: The Image World of RongRong&inri, 1993-2003, 798 Art District, China, 2003. Chinart, Museum Kuppersmuhle Sammlung Grothe, Germany; Museo Arte Contemporanea di Italy; Ludwig Museum, Hungary, 2003-2004. 5th Shanghai Biennale-Techniques of the Visible, Shanghai Art Museum, China, 2004. All Under Heaven, Museum van Hedendaagse Kunst, Belgium, 2004. Le moine et le demon: Art Contemporain Chinois, Musée Art Contemporain Lyon, France, 2004. About Beauty, House of World Cultures, Germany, 2005. RongRong & inri, Rencontres d' Arles, France, 2007. DIOR & CHINESE ARTISTS, Ullens Center for Contemporary Art, China, 2008. Daegu Photo Biennale, Korea, 2008. RongRong & inri: The Power of Ruins. Between Destruction and Construction, Casa Asia, Madrid and Barcelona, Spain, 2008. Europalia--International Art Festival, Brussels Art Museum, Belgium, 2009. Third Guangdong International Biennale, Guangdong Museum of Art, China, 2009. Compound Eye, HeXiangNing Art Museum, China, 2010. Three Begets Ten Thousands Things, Shiseido Gallery, Japan, 2011. WORLD BOUNDARY: Three Realms & Ten Directions, Echigo-Tsumari Art Triennale, Japan, 2012. Collection Exhibition 2013: The Aesthetics of Photography, Tokyo Metropolitan Museum of Photography, Japan, 2013. All you need is Love: 10th Anniversary Exhibition, Mori Art Museum, Japan, 2013. We may have met before--Chinese Contemporary Photography, Foam Amsterdam, Netherland, 2015. Chinese Photography: Twentieth Century and Beyond, Three Shadows Photography Art Centre, China, 2015. Tsumari Story, Kyoto Graphie international photography festival, Japan, 2015. Focus: RongRong&inri, the Modern Art Museum of Fort Worth, USA, 2015. Memories Through Cycle, Art Tower Mito, Japan, 2016.
今福龍太『原写真論』
Book Design：佐藤篤司 発行：赤々舎 Size： H185mm × W148mm Page：344 pages Binding：Softcover Published in June 2021 ISBN：978-4-86541-135-5 |
¥ 3,000＋tax
国内送料無料！ お支払い方法は、銀行振込、郵便振替、 クレジットカード支払い、PayPal、PayPay よりお選び頂けます。 |
|---|
今福龍太 (Ryuta Imafuku)
文化人類学者・批評家。一九八〇年代初頭からラテンアメリカ各地で人類学的なフィールドワークに従事。早くから写真、映画、音楽、メディア、スポーツ、文学等の領域でも旺盛な批評活動を展開。二〇〇二年から奄美・沖縄・台湾の群島を結ぶ遊動型の野外学舎〈奄美自由大学〉を主宰。ブラジルのサンパウロ・カトリック大学でも随時集中セミナーを持つ。著書に『ミニマ・グラシア』『薄墨色の文法』『ジェロニモたちの方舟』『レヴィ゠ストロース 夜と音楽』『ヘンリー・ソロー 野生の学舎』（讀賣文学賞）『ハーフ・ブリード』『ブラジル映画史講義』『宮沢賢治 デクノボーの叡知』（宮沢賢治賞・角川財団学芸賞）『サッカー批評原論』ほか多数。二五年にわたる対話を集成した『小さな夜をこえて』もある。主著『クレオール主義』『群島─世界論』を含む新旧著作のコレクション《パルティータ》全五巻（水声社）が二〇一八年に完結。
|
東松照明
『新編 太陽の鉛筆』 (Out of Stock) 
|
|
|---|
長沢慎一郎『The Bonin Islanders』
Book Design：乗田菜々美 発行：赤々舎 Size： H223mm × W297mm Page：128 pages Binding：Hardcover Published in June 2021 ISBN：978-4-86541-137-9 |
¥ 6,600＋tax
国内送料無料！ お支払い方法は、銀行振込、郵便振替、 クレジットカード支払い、PayPal、PayPay よりお選び頂けます。 |
|---|
The Bonin Islanders
Shinichiro Nagasawa
The island of Chichijima is located at 27°north latitude (about the same as the Okinawa Islands) and 1,000 km far south of Tokyo. With no airport, it takes 24 hours to get there from the Takebashi wharf in Tokyo. With a subtropical climate and many endemic species found nowhere else in the world, it is also known as the "Galapagos of the East". The group of islands that includes Chichijima is listed as a natural UNESCO World Heritage site.
Chichijima used to be uninhabited. The name of the group of the islands ("Bonin Islands") is taken from Japanese word for inhabited ("無人:mujin"); the pronunciation changed from "mujin" to "bunin", and ultimately to "bonin".These extremely remote islands have a complicated history.
It goes back to the 19th century.
In 1830, five Europeans and twenty Canadians arrived at Chichijima via the Hawaian Sandwich Islands as the first settlers. The island then developed into an important harbor that provides food and fuel to whaling boats from all over the world. At various times, America, Britain and Russia attempted, in vain, to take control of the Bonin Islands. In 1873, the Bonin Islands were officially declared Japanese territory, which forced the islanders to become Japanese citizens. Many people from the main islands of Japan subsequently moved there, and the original settlers were differentiated as "Western Islanders".
By the time of World War II, the population of Chichijima grew to about four thousand. During the War, Iwo-jima and other islands became the sites of fierce land battles and were converted to forts for the Japanese army. All the islanders were forced to evacuate to mainland Japan. After the War, the Bonin Islands were occupied by GHQ until 1968. The GHQ allowed only "Western Islanders" to return, and for 23 years, every aspect of islandersʼ life, including language and education, was influenced by American culture. They were only informed of the territorial restoration to Japan right before it happened.
About forty years later, I came across an old family photograph in a travel magazine. In front of a thatch-roofed hut were two men and three children wearing kimonos, and they all looked European or American. "Is this really Japan?" The image left a deep impression on me. It spoke of a history, something dramatic, that our textbooks don't tell. I felt an urgent need to take photos of those people. I made my way to Chichijima for the first time in February 2008.［...]
Who are the "Bonin Islanders"?
I kept looking for the answer as I took photos. They lived alone for 46 years, from when the first settlers arrived until Japanese territorialization in 1876.
It was a racially mixed international community. Many Japanese moved in
too afterwards. There wasnʼt a so-called traditional or unique culture. As I proceeded, I realized that the identification of "Bonin Islanders" is limited to those who were born before the GHQ occupation. It took even longer to realize that this was underpinned by the birth certificates and passports that the American army issued.
I might have taken too long to finally compile this book. Last year, Aisaku Ogasawara, a clergyman and my first subject, passed away. We also lost George Minami, nicknamed "little George", who always gave me a ride on his boat. Aisaku once told me: "photography has a great power. That's a good thing for us islanders", while Gorge introduced me to the island, saying "this is our Ogasawara." Both of them motivated me greatly. I wish I could have shown this book to them. At the same time, I somehow understand that it is impossible:
the history of Ogasawara (as the Bonin Islands are also called) is so deep and complicated that I needed enough time to prepare. I dedicate this book to them, and I deeply appreciate all the people I met in the process of compiling this book.
長沢慎一郎
Shinichiro Nagasawa
1977 Born in Tokyo
2001 Apprenticed toTamotsu Fujii
2006 Independent as a Photographer
2021 The solo exhibition "The Bonin Islanders" at Nikon Salon
|
|
|---|
中山博喜『水を招く』
Book Design：大西正一 発行：赤々舎 Size： H210mm × W148mm Page：128 pages Binding：Hardcover Published in June 2021 ISBN：978-4-86541-138-6 |
¥ 2,700＋tax
国内送料無料！ お支払い方法は、銀行振込、郵便振替、 クレジットカード支払い、PayPal、PayPay よりお選び頂けます。 |
|---|
Lead The Water
Hiroki Nakayama
Doctor Tetsu Nakamura and his friends dug wells and created waterways in the drought-stricken land.
《Lead The Water》 can be said that is a valuable photographs that the artist himself rediscovered.
Hiroki Nakayama, who worked in Pakistan and Afghanistan as a field worker for the PMS（Peace Japan Medocal Services）for 5 years from 2001, took photos of Dr. Tetsu Nakamura and his friends from time to time with his camera. They all worked together in those days, regardless of nationality, gender, age, or occupation.
Here is no dramatic turn of events or stories, but the existence and activities of each person rooted in the land are calm captured, comes to life.
The act and prayer of "Lead the water" will be one that primitive strikes a chord to each of us too.
|
中山博喜 個展「水を招く」 会期：2021年5月27日(木)〜6月21日(月) 時間：当面の間、10:30～16:00までの時短営業 休廊：火・水 会場：リコーイメージングスクエア東京 ギャラリーA （東京都新宿区西新宿 1-25-1 新宿センタービル MB(中地下 1 階） 入場無料 関連記事 AERA Dot. |
|
中山博喜 (Hiroki Nakayama)
福岡生まれ。大学卒業後5年間にわたり、NGO 団体・ペシャワール会の現地ワーカーとして活動に参加。 活動の傍ら、パキスタン、アフガニスタンの日常を撮影する。帰国後は撮りためた写真を個展などで発表するとともに、色彩をテーマとしたカラー作品の制作を行っている。京都芸術大学准教授。
【写真展】
2008 年 「at PK」
2011 年 「OWN LAND」
2021 年「水を招く」(リコーイメージングギャラリー/東京) 2021年5月27日(木)〜6月21日(月)
