Publishing

長沢慎一郎『Mary Had a Little Lamb』

長沢慎一郎『Mary Had a Little Lamb』 Art Direction：林規章 Book Design：乗田菜々美発行：赤々舎 Size：H224mm x W343mm Page：113 pages Binding：Softcover with slipcase Published in October 2024 ISBN：978-4-86541-193-5	¥ 6,000＋tax 国内送料無料！【国内／Domestic Shipping】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。【海外／International Shipping】＊ Please choose your area from the two below

About Book

小笠原の壕、その空洞に見る秘められた戦後史

前作『The Bonin Islanders』（2021年）において、小笠原の先住民がもつアイデンティティを探り、複雑な歴史の糸を提示した長沢慎一郎。2008年から小笠原に通いつづけ、島の人々や場所との交流を深めるなかで、第二次世界大戦後の米軍占領期間（1945~1968）の影響や痕跡に目を向けるようになった。

「米軍占領下の父島には『メリーさんの羊』と名付けられた核弾頭が配備されていた」

本書の冒頭に記された言葉は、アメリカの童謡「Mary Had a Little Lamb」（メリーさんの羊）に由来する名をもつ核弾頭がこの島に存在したとされることを告げ、山中の壕の内部へとカメラは歩を進める。ある壕の奥、闇は深まり、そこには白い塗装で覆われたもうひとつの壕が現れた。腐食した重々しい鉄扉を開け、その密室の空洞に光を当てる。銅板で覆われた壁や天井。わずかに残る金具や椅子。一歩ごとに照らし出される異様な質感と同時に、内部の空洞が迫ってくる。ないはずの核が置かれた場所。今はそれが不在である空間を写した写真は、失われた時間と記憶の圧倒されるような量感を湛えている。
ページを進める合間に不意に現れる小笠原の光に満ちた海。巻末の、壕を抜けた向こうに見える椰子の木。長い時間を彷徨った果てに、「メリーさんの羊」が異なる相貌で立ち現れる。

《第49回木村伊兵衛写真賞受賞作品》

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"童謡の「メリーさんの羊」は、戦争の対極にあるものを歌っている。なぜ子羊はそんなにメリーが好きなのかとたずねる子どもたちに対し、先生が「メリーも子羊のことが大好きだから」と答えているように、この詩は愛と互恵性についての歌である (詩の原文ではこのあと「心やさしい動物は　見えない絆で結ばれて　呼べばいつでもついて来る　いつも優しくしていれば。」と続く)。つまり、「メリーさんの羊」と名付けられた核兵器貯蔵施設が小笠原にあったというローカルナレッジは、核兵器に「ファットマン」や「リトルボーイ」などという名前が気まぐれにつけられることがあるように、愛を歌った童謡にちなんだ名前が核兵器貯蔵施設につけられることもある、だから物事は必ずしも見たままのものとは限らない、という別のローカルナレッジも表している。この力強い写真集には、この矛盾と、矛盾が残した亡霊を内包しているのである。"

── デイビッド・オド（ジョージア美術館館長）本書寄稿「戦争の対極にあるもの」より抜粋

"今日、もしもあらゆるものが写真として存在させられるとするのならば、失われるはずだった場所の記憶、埋もれるはずだった父島の奥深い山の中の壕の密室、ないはずの存在を求め、それらは場所の記憶として写真に宿された。「Mary Had a Little Lamb」がここにあったこと。「Mary Had a Little Lamb」が、この場所からなくなったこと。しかし「Mary Had a Little Lamb」はこの世界のどこかに消えたわけではない。長沢の写真は、いまを生きるわれわれに問いかける。これらの写真は、これからを生きるあなたの未来に向けて記憶される。われわれは、この場所を忘れ去ろうとしていた。しかし、もうこの場所を忘れることなどできない。 ── 田根剛（建築家 Atelier Tsuyoshi Tane Architects代表）本書寄稿「忘れられない場所」より抜粋
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Mary Had a Little Lamb

Shinichiro Nagasawa

There are places in the world that we must not forget. And yet we have forgotten those places.

The Ogasawara Islands lie in the Pacific Ocean approximately 1,000 kilometers south of Tokyo. On Chichijima, one of the islands, a mountain was gouged out and coated with concrete that hardened to form a bunker. There are three openings, two of which are connected by tunnels. This place was never to be known that had been closed off for many years-it was a place that should not be known. A place that was forcibly meant to be forgotten by both time and history.

Photographer Shinichiro Nagasawa spent 13 years beginning in 2008 making numerous trips to the Ogasawara Islands. The one-way trip by boat from Tokyo takes 24 hours over rough seas to reach the islands. He photographed the way of life of the island's indigenous Bonin Islanders, their portraits, and the island's nature and landscapes. These were later published in the photobook The Bonin Islanders. He included old photographs throughout the photobook and interspersed scenery from the past with scenes of everyday life in the present. Turning the pages of the photobook, we are drawn in by the tranquil natural landscapes of the island, both beautiful and rugged, cut from the fabric of time. The collection of photographs is also a record of materials gathered periodically by a cultural anthropologist during fieldwork, as well as a story filled with literary emotion. However, there are unpublished photos that were not included in that photobook. These are compiled in this collection, Mary Had a Little Lamb. At the beginning of the book, Nagasawa states, "A nuclear warhead named Mary's Lamb was deployed on Chichijima under U.S. military occupation."

Mary Had a Little Lamb is an American nursery rhyme written in the 19th century. It's a story about a little girl named Mary who has a pet lamb that is very attached to her. One day, her brother encourages Mary to bring the lamb to school. The sudden appearance of the lamb at school causes a commotion among the students. The students panic because Mary broke the rules by bringing the lamb to school where animals are not usually allowed. The nursery rhyme includes a line about the students wondering, "Why does the lamb love Mary so much?" Something that was wasn't supposed be there was there. The name almost seems to be metaphorically intended. [...]

Japan promised by law to adhere to the Three Non-Nuclear Principles not to possess, produce, or permit the introduction of nuclear weapons. But nuclear weapons were brought here. Nuclear bombs were stored and retrieved here. Something that shouldn't be had existed here. Nagasawa's photographs of this place bring to our attention faint memories that lie behind what is shown in the photographs. The people who knew that time are disappearing, giving way to a new generation of Bonin Islanders. It is a past of loss and forgetfulness. Nagasawa has unearthed and made visual the secret room-a void severed from time and space. [...]

Nagasawa's photographs reflect the memory of the place. Like archaeology, by recording substance and texture, the memory of the place is unearthed and brought to light. Memory holds neither negative nor positive matter. Entering the bunker in Chichijima,Astanding there, shining light on the memory, and digging and digging as if to unearth it, Nagasawa sought to capture the 'void' in front of him in photographs. Today, if everything can exist as a photograph, the memory of the place that should have been lost, the secret room in the bunker deep in the mountains of Chichijima that should have been buried, things that should not exist have been brought together to dwell in the photographs as memories of the place. Mary's Lamb was once here. Mary's Lamb is no longer here. But Mary's Lamb has not disappeared to some other place in the world. Nagasawa's photographs pose a question to those of us living today. These photographs are memories to take into the future by those who will live from now on.

We were on the verge of forgetting this place. Now we cannot forget.

Excerpts from the text "An Unforgettable Place"

by Tsuyoshi Tane (Architect Atelier Tsuyoshi Tane Architects)

His images feel almost immersive in their darkness, even though he curates our glimpse through that darkness with brightly illuminated areas. This body of work forefronts the uncanny nature of the caves, devoid of obvious markers of their past purpose, but full of intriguing if unfriendly surfaces and textures. The massive, empty volume of the space is given form through the metal covered walls with exposed seams and jutting rivets. Their rusty patinas speak to the passage of time but deny us any obvious markers of their past purpose. Even the plastered, white surfaces seen in some images, which brightly reflect back the photographer's light to the camera, are dirty, possibly stained with rust. There is an overwhelming sense of lost time and memories never to be recovered. [...]

We have some relief from the relentlessness of the caves and tunnels with the interjection of seascapes. [...]

He has transmuted the lack of explicit visual evidence of nuclear weapons to his advantage by focusing his lens on the glaring absences within the caves. They are rich enough to communicate on their own, speaking of troubled and tortured histories, now at least completed, if not truly resolved. The spectral absence/presence of "Mary's Lamb" haunts every photograph. It fills the book with its complicated story of catastrophic destruction - and catastrophic destruction averted - lurking beneath the beauty of the Islands.

"Mary had a little lamb" is actually a nursery rhyme about the opposite of war. It is about love and reciprocity, as the teacher explains to the children, when they ask why the lamb loves Mary so, that it is because Mary loves the lamb. (Indeed, the original version of the rhyme states further that "you each gentle animal/In confidence may bind/And make them follow at your call/If you are always kind.") Thus, the local knowledge of the nuclear weapons storage facility named "Mary's Lamb" on the Islands represents a local knowledge that all is not what it seems, that just as weapons of nuclear annihilation can have whimsical names like Fat Man and Little Boy, a nuclear storage facility can be named after a children's rhyme about love. This powerful collection of photo- graphs holds within it this contradiction and the ghosts it has left behind.

Excerpts from the text "The Opposite of War"

by David Odo（Georgia Museum of Art)

Artist Information

長沢慎一郎

写真家

1977年東京生まれ

2001年藤井保氏に師事

2006年独立

2008年小笠原父島での撮影をはじめる

2021年 5月写真集「The Bonin Islanders」赤久舍より刊行

2021年〜22年にかけて、「The Bonin Islanders」を、Nikon Salon、T3 PHOTO FESTIVAL TOKYO、Hotel Patinn 父島、PRIX PICTET Japan Award（東京都写真美術館）にて展示。

Shinichiro Nagasawa

Photographer

1977 Born in Tokyo

2001 Studied under Tamotsu Fuji

2006 Began working independently

2008 Began photographing Chichijima in the Ogasawara islands

2021 Published the photobook, The Bonin Islanders, in May (AKAAKA Art Publishing Inc.)

The Bonin Islanders Photo Exhibition

2021 May Nikon Salon

2022 Oct T3 PHOTO FESTIVAL TOKYO.

2022 Oct Hotel Patinn,Chichijima

2022 Dec Prix Pictet Japan Award at Tokyo Photographic Art Museum

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Posted at : 2024.12.13 07:07

『New Born ー乳房再建の女神たちー』

『New Born ー乳房再建の女神たちー』 Photo：蜷川実花 Book Design：脇田あすか企画 : NPO法人E-BeC 発行：赤々舎 Size：H225mm × W188mm Page：88 pages（カラー写真） Binding：Softcover Published in October 2024 ISBN：978-4-86541-189-8	¥ 2,700＋tax 国内送料無料！【国内／Domestic Shipping】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。【海外／International Shipping】＊ Please choose your area from the two below

About Book

乳がんを経験し、

乳房再建をした12人の写真とメッセージ

本書は、乳房再建手術経験者がモデルとなっており、写真集として流通させることで、広く社会にも「乳房再建手術」とその意義について理解を持ってもらうための一冊です。

企画は、「乳房再建手術」の正しい理解と乳がん患者さんのQOL向上を目指して2013年より活動する「NPO法人 E-BeC」（前身母体：STPプロジェクト）によるもので、2010年に、前作『いのちの乳房～乳がんによる「乳房再建手術」にのぞんだ19人～』を刊行しています。

当時はまだ再建手術のできる施設が限られていましたが、出版後「写真集を見て勇気づけられた」「再建のことを知り前向きに治療を受けることができた」など多くの声を頂き、刊行から13年が経ち完売となった今も「写真集を手にしたい」という声を多く頂いています。

シリコンインプラントによる乳房再建が保険適用となり、再建手術を行う医療機関も増えた現在では「乳房再建手術」を取り巻く環境は大きく変化しましたが、情報を手にすることができる人の地域格差、年齢格差は未だ大きく、治療者のうち乳房再建手術を受けられた方の割合は、日本ではわずか13%程度となっています。
乳房再建手術経験者がモデルとなり、元気で明るい姿を写真集で見てもらうことは、多くの乳がん患者さんを勇気づけます。また、術式や手術後の状態など、治療を始める前に乳腺外科や形成外科の外来で目にとめてもらえる形で写真集を活用していただくことで、乳がんに罹患した女性たちが前向きに治療に向き合い、この先の人生も自分らしく生きられる、この時代にあった新たな写真集を届けたいと考えています。
『New Born ー乳房再建の女神たちー』では、国内外の幅広い世代に人気のある写真家蜷川実花氏に写真を撮り下ろして頂いています。また、モデルの方によるテキスト「わたしのストーリー」も和英併記で掲載し、日本のみならず海を越えた先にいる方々にも広く届いていくことを願っています。

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"再建を終えたばかりの私がいま伝えたいのは「そんなに怖がらなくて大丈夫だよ」ということ"
── 本書収録「わたしのストーリー」より

" この企画で素晴らしいと思ったのは「乳房再建をすすめるものではなく、乳房再建を希望する人にとって『自分で判断するための情報のひとつ』になる写真集」だというところです。モデルの皆さんの写真、そして語られた言葉から「こんな方法があるのか」「こういう人生があるんだ」と知ることで、この本を開く前より、少しでも前向きな気持ちが芽生えるきっかけとなればうれしいです。"
── 蜷川実花（写真家）

"この写真集には12人のモデルをはじめ、写真集の制作にかかわったすべての方たちのワクワクと、喜びにみちた思いがこもっています。カメラの前に立ってくださったモデルの方それぞれの、悲しみや葛藤を乗り越えたつよさと美しさ。それは本書後半の「わたしのストーリー」とともに、乳がんになったことは不幸だったかもしれないけれど、その先にあるものは輝きに満ちた世界だと教えてくれます。この写真集を手に取る方にも、その世界を感じてもらえることを願っています。" ── 企画：NPO法人E-BeC 真水美佳

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企画：真水美佳（NPO法人エンパワリングブレストキャンサー/E-BeC）
メイク：早坂香須子ヘア：shuco（3rd）フラワークリエイター：篠崎恵美（edenworks）記録撮影：大野咲子
制作：篠宮奈々子　兼田佳依（NPO法人エンパワリングブレストキャンサー/E-BeC）
モデルインタビュー：山崎多賀子 (P.8 ~ 55、P.58 ~ 81) &テキスト蜷川実花氏インタビュー：瀬田尚子 (P.2 ~ 3、P.57、P.82 ~ P.86) &テキスト
医療監修：片岡明美（がん研究会有明病院　乳腺センター）　寺尾保信（がん・感染症センター都立駒込病院形成再建外科）

New Born

Photo by Mika Ninagawa, Planning by Mika Masui (Nonprofit Organization E-BeC)

This is the second photobook from E-BeC featuring women who have undergone breast reconstruction surgery.

The first photobook was published in 2010 by the STP Project, the predecessor of E-BeC.
There was not much information about breast reconstruction surgery at that time. The photobook was conceived from the desire to make it more generally known, so 19 women including myself who had experienced breast reconstruction became models and shared our stories.

Fourteen years have passed since then.
The number of breast cancer patients increases every year and various treatments for breast cancer and methods for breast reconstruction continue to evolve.
Unfortunately, with respect to breast reconstruction surgery, the same cannot be said for the environment surrounding patients, which has not changed much at all.

What we feel on a daily basis through our E-BeC activities is the large regional disparity in the information that is available.
In the Tokyo Metropolitan Area, the flood of information and number of options leaves many patients troubled as to what to decide on and what to base their decision on.
Contrastingly, women living in areas removed from major cities haven't heard about breast reconstruction surgery. Even if they do know about it, they may not know where they can have the procedure done or what types of surgery are available and so they give up or are unable to opt for the surgical method they want. Some patients cannot go ahead with surgery due to opposition from the people around them. I've also heard that there are more women than you would imagine who don't have surgery because they don't know of anyone else who has had reconstruction and they don't fully understand what it involves.

We have decided to publish this second photobook from the desire to let as many women as possible know about breast reconstruction surgery and understand what it involves.

When you are not in a condition to be able to assess things calmly and logically, it is very difficult to gather the information necessary. This was also my experience. In those circumstances, the doctor told me about breast reconstruction surgery, which was not typical at the time, and that helped me to be able to move forward.

Our aim for this second photobook is to provide encouragement to breast cancer patients who feel as if their heart is breaking and to many other women as well.
"Mika Ninagawa is the only one who can truly capture our message in photographs!" I thought. In a leap of faith, I asked if she would consent to take the photographs and she graciously accepted.

More than 80 women applied to be models, which far exceeded our expectations. It must have been a big decision to show people a breast with a surgical scar. We selected 12 women who expressed desires such as to be photographed by Mika Ninagawa, to let more women know about breast reconstruction surgery, or to do something to help fellow breast cancer patients.

In recent years, breast reconstruction surgery has come to be perceived as part of taking care of changes to appearance caused by cancer treatment the same way as caring for one's appearance with wigs, makeup, and nail care. As with other kinds of care, it is up to the patient to decide whether or not to have reconstruction done. But not having surgery because you don't know about breast reconstruction and choosing not to have surgery based on knowledge of it are two entirely different things with different effects on a woman's mental and emotional quality of life.

E-BeC aspires to a society in which anyone anywhere can receive breast reconstruction surgery that meets a certain standard if that is what they desire. If this photobook is successful in stimulating interest in breast reconstruction surgery and providing an opportunity for women to obtain accurate information about it, then there is nothing that could bring us greater happiness.

Excerpts from the forewords

Nonprofit Organization Empowering Breast Cancer / E-BeC

Mika Masui, Director

When I was approached to take the photographs for this photobook, I immediately accepted with the feeling that I wanted to do whatever I could to help. There is nothing that gives me greater happiness than being able to give even a little encouragement to someone move forward.

I wanted to create photographs that radiate an absolute sense of happiness. I approached the work with the desire to keep the focus away from the troubling and painful experiences the models had gone through and instead celebrate the shining "Now" that is possible exactly because they had endured and overcome those experiences.

Compared to a typical photoshoot, I planned a more relaxed schedule because I wanted to have enough time to genuinely engage with each model to be able to draw out the best in each one. Together with hair and make up staff, we worked as one team to help the models feel more confident and elicit even more self-love, and we concentrated on discovering and amplifying each woman's unique beauty.

All of the models got a direct feel for the radiance they embodied and translated it into strength that they projected outwardly to a degree above and beyond our expectations. I and all of the staff members were energized by that strength. It is my hope that the photographs will convey this beautiful positivity to everyone who views the photobook.

In conclusion, what was wonderful about this project to me was that it wasn't trying to promote breast reconstruction but rather to be a photobook that provides a source of information for women contemplating breast reconstruction that can assist them in making an informed decision. Through the models' photographs and their accounts of their experiences, people can learn about methods of breast reconstruction that are available as well as something about the lives of women with actual experience of breast cancer and breast reconstruction. If this photobook leaves readers with a more optimistic outlook than they had before encountering it, then that gives me much joy.

from the afterwords

Mika Ninagawa 《Photographs That Celebrate a Shining "Now" 》

Artist Information

写真：蜷川実花

写真家、映画監督。写真を中心に、映画、映像、空間インスタレーションも多く手掛ける。クリエイティブチーム「EiM」の一員としても活動。木村伊兵衛写真賞ほか数々受賞。『ヘルタースケルター』（2012）はじめ長編映画を5 作、Netflix『FOLLOWERS』を監督。最新写真集に『花、瞬く光』。個展「蜷川実花展 : Eternity in a Moment 瞬きの中の永遠」（TOKYO NODE 2023年12月ー 2024年 2月）にて 25 万人を動員。 https://mikaninagawa.com

Photo by Mika Ninagawa

Photographer, Film Director

Mika Ninagawa works mainly in photography, but also in film, video, and spatial installations. She is also a member of the creative team "EiM."

Recipient of numerous awards including the Kimura Ihei Photography Award. She has directed five feature films, including Helter Skelter (2012), and the Netflix original drama FOLLOWERS. Her latest book of photography is "Flowers," Shimmering Light. Visitors of her solo exhibition "Mika Ninagawa: Eternity in a Moment" (TOKYO NODE, December 2023-February 2024) were over 250,000.

企画：NPO法人 E-BeC

乳がん患者さんが、乳房再建手術について正しい情報を得たうえで、自ら再建手術をするかしないかを選択し、希望する誰もが一定水準の再建手術を受けられる社会を目指して活動している。https://www.e-bec.com/

Planning by E-BeC

The nonprofit organization Empowering Breast Cancer/ E-BeC works toward development of a society in which breast cancer patients have accurate information concerning breast reconstruction surgery that enables them to make an informed choice about whether or not to undergo reconstruction surgery so that anyone who desires reconstruction has access to reconstruction surgery that meets a certain standard.

Posted at : 2024.10.09 16:17

紀成道『かぜとつちと x elements』

紀成道『かぜとつちと x elements』 Book Design：中島雄太 (YUTA Design Studio) 発行：赤々舎 Size：H250mm x 182mm Page：168 pages Binding：Double-sided, Softcover Published in September 2024 ISBN：978-4-86541-191-1	¥ 4,500＋tax 国内送料無料！【国内／Domestic Shipping】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。【海外／International Shipping】＊ Please choose your area from the two below

About Book

土を守る力と見なせば、風は変える力を表す

風と土が交わる場所から──

前作『MOTHER』（2020年土門拳賞林忠彦賞最終候補）では、製鉄と金型の技能継承の現場を撮ることで、世代間の時空のつながりと断絶の両面を一冊のかたちにしてみせた写真家紀成道。本書では、島根県の奥出雲と呼ばれる地域で1,000年以上にわたって受け継がれているタタラ製鉄への興味を入り口としつつも、「かぜとつち」（＝風土）へと視野を広げることで、土地の自然・文化と人々の暮らしがどのように影響を与えあっているか── その関わり合いに生起する事象が、現在に交錯するようにしなやかに写し込まれている。空の色や天候が頻繁に変化し、まるで生きているかのように感じられる風土の様相。自然の力が織りなす独特の環境と、人々の信仰・生活文化が密接に結びついていることが見出される写真は、遠い過去から接続する記録であると同時に、流動的な現在の、これからを写すものにも見える。ダブルジャケット（両面表紙）となっている本書のテキストパートでは、「伝統を守ろうとしてやっているのではない。ただ楽しいから続けているんだ」という地域住人の伝統行事に関しての言葉も紹介される。また、歴史を重ねながら土に還ろうとするわら蛇との出会いや、スリランカ移民として観光協会で働く人物の、過疎である辛い部分も隠さずに伝えようとするアプローチなどにも導かれながら、「土を守る力と見なせば、風は変える力を表す」── 風と土が交わる場所で実現される生物の多様性や復元力が、地域の未来を形作る力となるのではないか、と問いかけがなされる。風と土とが摩擦する場所から、現在に続くこの先の在りようを眼差そうとする意欲作。

《第49回（2024年度）伊奈信男賞受賞作》

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"島根にいると自然は人間が操るものではなく、意思疎通の対象という認識がしっくりくる。たゆまぬ季節の移り変わりは恩恵を与え、悲しいことに災難と表裏一体でもある。風土が餅つきに笹巻き、酒、わら蛇をもたらせば、獣害も洪水も土砂崩れも引き起こす。しかしまた時が経てばそこに草木が茂る。だってそう、生物の多様性や復元力は、風と土とが摩擦する場所でこそ、確かなものとなるのだから。このまなざしを社会生活に向けてみる。土を守る力と見なせば、風は変える力を表すだろう。老いと若き、先住者と移住者、双方の論理をわかり合うまで擦れて生まれる力が、地域の課題を解く時がある。島根ではまさにそんなたくましい人たちにたくさん出会えた。大自然に比べれば、また都市に比べても、密やかかもしれない。でも確実に、豊かな営みがそこにはある。" ── 本書作家テキストより抜粋
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x elements

Seido Kino

Although I had no relation at all to Shimane, my interest in the ancient technique of Tatara smelting brought me here. The process of pouring iron sand and charcoal into a furnace to produce Tamahagane (precious steel), the material used in making Japanese swords, was a perfect example of the workings of people and forests. I wanted to learn in what form this activity survives in the Unnan and Okuizumo regions today. I had the opportunity to attend a traditional year-end event still held by the Tanabe family, formerly a powerful business family of iron masters in the Tatara ironmaking industry centered in Yoshida Town in Unnan City where iron was produced from the Muromachi period (1460 A.D.) to the Taisho period (1923).

Choemon Tanabe, the 25th-generation head of the family, said, "I'm not doing this to preserve tradition. I do it just because it's fun." His son, joining in the festivities, certainly was smiling with true enjoyment. I guess I had misunderstood something. Tradition does not spring solely from hardship. In Yoshida Town, the population of just over 1,400 people facing a declining birthrate and aging population have preserved long-standing annual events that transcend eras no doubt due to their unpretentious resilience.

In Shimane, clouds form and dissipate frequently, perhaps because of the strong winds there. This phenomenon is perfectly described by the words from an ancient Japanese poem --Yakumo Tatsu (eight clouds rise). On some days, the rain falls and stops repeatedly and rainbows appear every 30 minutes. At Inasa Beach, where the priests of Izumo Oyashiro welcome the gods, rays of sunlight shine through the clouds and disappear and the sky is rich in color. I could watch the seashore for hours. Weather, when it changes this often, seems to be alive rather than simply a physical phenomenon. It's easy to see why myths are born from such a land. Wind and earth are in constant interaction, bringing changes and shaping our ways of life and thinking. The smooth transition of the four seasons brings diversity to landscapes and living creatures and is the reason why the power of restoration is strong. A huge rock appears deep in the forest with the help of orogeny (mountain-building activity) and moss grows on it. Things of rare unnaturalness found in nature exist at the point where inorganic contacts organic and they remind people of one thing or another. At first glance, people sense a unique aura that recalls to them the eternal nature of time and, not surprisingly, can even evoke reverence. Walking through Shimane, I often think that an improbable phenomenon is something to be grateful for.

The period of rapid growth made daily life more convenient but in exchange severed people's connection to nature. In Unnan and Okuizumo, if a mountain or river is dug up just a little Kanakuso, the slag produced from old Tatara ironworks, appears to remind one of the land's history. Even in this region, forests have been redefined from living spaces to sacred, distant spaces or irrelevant areas. Except for those who work in the mountains, most people lead their daily lives flat.

Thus, the choice to live in harmony with nature is conspicuously equivalent to actively embracing the existence of both special and everyday aspects, and, wind and soil.

Japanese iron created by Tatara smelting blends many elements woven by the wind, earth, and people that are unique to Unnan and Okuizumo.

These are not simple straightforward connections, but are deeply immersed in nature and culture, history, and other elements not easily explained. This is what I sensed from my journey. They are what make up the unique character of a land and the people themselves are also part of that character. Among these, the versatility of iron and rice have brought people together, formed the base of power, and brought about civilization. The intimate relation between these two elements in Unnan and Okuizumo is what has captured the imagination of an outsider like myself. They say that over a third of the myths narrated in the Kojiki (records of ancient matters) are set in Izumo. When you visit the coastline of the Shimane Peninsula, you can see signs of crustal movement. The distant past has drifted over hundreds of years to be visible to us today.

In Shimane, it makes sense to recognize that nature is something people share communication with rather than something they control. The tireless change of seasons is a two-sided coin that benefits the land but, sadly, also brings disasters. Delicious rice makes the tradition of Mochitsuki, Sasamaki, and straw snakes possible, but growing rice also brings about damage by animals. Besides climate causes flooding and landslides. In time, though, vegetation grows there again. After all, the interaction of wind and soil is what gives permanence to life's diversity and resilience.

I turn this way of seeing things towards daily life. If we regard the earth as a protective force, then wind represents a force for change. Friction between the elderly and young people, between long-term residents and newcomers, if it ultimately results in mutual understanding of each other's logic can act as a force for solving regional issues. In Shimane, I met many such robust and open-minded people. Compared to the vast natural world and even to cities, this land may seem quiet and unobtrusive. But the way of life here is undeniably abundant.

Related Exhibitons

紀成道‬ 個展「風と土と x elements / Earth」

会期：2024年9月3日（火）～9月16日（月）

時間：10:30～18:30（最終日15:00まで）

会場：ニコンサロン（東京都新宿区西新宿1-6-1

新宿エルタワー28階）

日休み

Artist Information

紀成道‬

愛知県名古屋市生まれ。東京と京都を拠点に活動している。京都大学工学部物理工学科卒。アジアとヨーロッパでの放浪後、京都の大原野で農業に親しむ人々にレンズを向けているうちに写真の道に進むことを決意した。ドキュメンタリー写真家として日本が直面している課題を見つめ、人々がいかに取り組み、乗り越えていくかを記録している。「人、もの、場所、時間、思考の接点で、ものごとは起こり、異質間の相互作用こそ我々に気づきを与えること」をテーマに制作。島国であるこの国と住民の営みから、何が日本を日本たらしめているかを探る。2017年、森の中にある精神科病院を舞台に、自然を媒介とした患者と健常者との関わりをまとめた写真集『Touch the forest, touched by the forest.』（赤々舎）、2019年に、高度成長期と現在の製鉄業の現場から世代間のつながりをまとめた『MOTHER（赤々舎）を刊行。展示「陰と陽と」（KG＋SELECT 2024 堀川御池ギャラリー）など、展示や写真集ならではの表現で発表を続けている。

Seido Kino

Born in Nagoya, Aichi Prefecture, graduated from the Department of Physical Engineering in the Faculty of Engineering of Kyoto University. His work is based on the idea that things happen at the 'contact points' between people, things, places, time, and thoughts, and that it is the interaction among these that gives us awareness. He explores what makes Japan what it is, focusing on how its people tackle the challenges the country faces.

In 2017, published a photo book "Touch the Forest, Touched by the Forest" (AKAAKA), which documents the interactions between patients and healthy individuals in a psychiatric hospital set in a forest. In 2019, "MOTHER" (AKAAKA), that explores the connections between generations through the context of the steel industry during the high-growth period and its current state.

Selected Awards & Nominations

2024 "KG+ SELECT" finalist, "Belfast Photo Festival" (UK) shortlisted

2020 "London International Creative Competition" (UK) HM , "Domon Ken Prize" finalist, "Hayashi Tadahiko Prize" finalist

2019 "Critical Mass" (US) finalist, "International Photography Awards" (US) HM, "Le Prix de la Photographie de Paris"(FR) HM

2018 "International Center of Photography" (US) library collection, "Domon Ken Prize" finalist, "Hayashi Tadahiko Prize" finalist and mores.

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‪紀成道『MOTHER』	紀成道‬ 『Touch the forest, touched by the forest.』	中井菜央『雪の刻』	菅原一剛『DUST MY BROOM 2』

『ノノかみと布の原郷』	小林紀晴『孵化する夜の啼き声』	百々武『草葉の陰で眠る獣』

Posted at : 2024.09.24 19:19

蘇厚文『流動的辺界 / SOMETHING VIBRANT』

蘇厚文『流動的辺界』 Book Design：周芳伃（Fan-Yu Zhou）発行：赤々舎 Size：H305mm x 235mm Page：152 pages Binding：Hardcover Published in July 2024 ISBN：978-4-86541-187-4	¥ 6,000＋tax 国内送料無料！【国内／Domestic Shipping】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。【海外／International Shipping】＊ Please choose your area from the two below

About Book

汽水域で揺らめくあらゆるものの騒めきに対して──

台湾の新進の作家である蘇厚文（SU HOU WEN）は、2014年から2023年までの約10年間にわたり、自身の住む地域の河川に沿って撮影を続けた。上流から下流まで変転してやまない河がかたちづくる地形、動植物の営み、人との関わり。水は、色濃い生命のあり様を映し、混沌と交じり合う。
蘇の身体も、遭遇する存在に反応し、見ることを通してすべてを受け入れようとする。河辺ではいかなるものも変容の只中にあり、目に見えない岸を行き来しているかのようだ。存在のなかに時間の層は浮かび上がり、河は記憶を書き換えながらこの時を流れゆく。
歩きつづけ、見つづけたのは、「流転する境目」という一本の河に他ならなかった。

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"このシリーズは、影像と文字を駆使して河の輪郭をすくい上げた作品で、2014 年から 2023 年までのおおよそ十年にわたって制作した。僕が新北市の新店区にある安坑に引っ越してから、ひらめいたアイデアでもある。（中略）
太古の昔、人と河は不可分の関係にあった。しかし、都市に住まう現代人にとって、河川はレクリエーション活動を楽しむための観光地となってしまった。河の始まりは神話となり、おかしな石もまた忘れられたモニュメントと化してしまった。僕は心から願った。俗世を離れ、様変わりしたこの桃源郷が、河の一部になってくれればと。僕は知る由もなかった。写真におさまってしまったものたちが、果たして古くからこの地で暮らしていた住民なのか、それとも時を超えて受け継ぐ子孫なのか、もしくは都市の喧噪から離れて身を潜める隠れ人なのかを。気の向くままに歩いた。僕を惑わせ、僕の好奇心を搔き立てた人々や光景、それら物事は、記録されてしまったことでメタファーとなり、目指した生活の奥にある異質性をあぶり出してくれた。河とともにある生命は独自のドラマを紡いでいる。糸の端は次第に綿密な線となって、流転する境目に僕を括り付けた。"　
あとがきより

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SOMETHING VIBRANT

SU HOU WEN

I am always amazed by everything burgeoning along the rivers - from the smallest thing like dust, the thriving and withering of vegetation, the hovering flies in golden blue, to those gargantuan rocks, the thick and damp forests, and the capricious weather. The winding roads lead people to join in on this natural mystique. Subtle details and activities are hidden behind the ever-changing rivers, and become the fleeting moments of difference in the repeating, quotidian everydayness that embody the root of my quest for the rivers.

This photo series was undertaken between 2014 to 2023. Spanning close to a decade, the project aims to not only document the rivers, but also create for the rivers. The inception of this series had first begun to emerge since my relocation to Ankeng, Xindian. It was also the moment when I started to realize that as someone new to the area, how close I could be to water. The small towns and mountains upstream, permeating with a touch of wildness and some lost memories, have since become the captivating and inclusive sceneries and episodes that have compelled me to continue my wandering along the rivers.

The development of human beings has been intertwined with rivers since time immemorial. Rivers nowadays have, however, become a mere resource for tourism and recreation to many an urbanite. The genesis of rivers was mythologized, while rocks with odd shapes transformed into memorials that have long been forgotten. Driven by my cravings for a unique paradise, I was eager to be a part of the river. I had little clues about whether these being documented are people who have long lived here with legacy passing down generations, or perhaps just those that arrive to escape from city life. I wandered through it all. All these people, activities, things, and sceneries that confused or intrigued me were documented and became my metaphors to demarcate a heterogeneity of life. These life stories developed along the rivers gradually evolved into distinctive narratives, which turned into a thick web of storytelling over time, to eventually fixate me within its fluid boundaries.

Related Exhibitons

蘇厚文個展「流動的辺界 SOMETHING VIBRANT」

会期：2024年12月12日（木）〜12月29日（日）

時間：13:00〜20:00（平日）

　　　11:00〜19:00（土日）

会場：PURPLE（京都市中京区式阿弥町122-1 3F）

休廊：月、火

12/13（金）14:00〜トーク

蘇厚文 × 飯沢耕太郎 × 周芳伃

蘇厚文個展「在溪流上蓋一塊布」

会期：2024年6月15日（土）〜7月15日（月）

時間：12:00〜20:00（金・土・日）

会場：好地下藝術空間（花蓮市節約街37號B1）

休廊日：月〜木

Related Articles（中国語繁体字）

・蘇厚文在溪流蓋上一張張影像｜黃建亮

・蘇厚文／從溪流到攝影創作──探索《流動的邊界》

Artist Information

蘇厚文

1980 台湾高雄市生まれ、台北市および台南市在住

学歴

2015 視丘撮影芸術学院全日課程
2009 国立雲林科技大学応用外国語学科学士取得

個展

2024「在溪流上蓋一塊布」（好地下芸術空間、花蓮）
2022 「The Figures」（未命名、台北）
2015 「The Mistakened」（視丘撮影ギャラリー、台北）

グループ展

2023 「Consensus? No; Resonance? Yes.-未命名」（182アートスペース、台南)
2022 「台南国際写真祭2022 Tainan Photo Go」（台南水交社文化園区、台南)
2022 「フォトブックフェア Fotobook DUMMIES Day #3 Live.../LIVE!」（春秋書店、台北）
2022 「An Untitled Document - 未命名オープニング展」（未命名、台北）
2021 「台南国際写真祭2021 Tainan Photo Go」（台南水交社文化園区、台南)
2020 「TAIWAN ANNUAL - Focal ANNUAL」（台北花博公園エキスポドーム、台北）
2019 「藤岡亜弥アーティスト・イン・レジデンス成果展」（好地下芸術空間、花蓮）
2019 「台南国際写真祭2019 Tainan Photo Go」（台南水交社文化園区、台南）
2019 「第二回陽台展」（Roof、台北）
2018 「TAIWAN ANNUAL - アートの平等展」（台北花博公園エキスポドーム、台北）
2017 「ABSTRACT CITY 写真展」（AHMギャラリー、台北）
2017 「TAIWAN ANNUAL - アートの平等展」（台北花博公園エキスポドーム、台北）
2017 「台北国際現代芸術博覧会 Taipei Dangdai」（台北国際芸術村、台北)
2017 「台北国際写真芸術交流展 Wonder Foto Day」（華山1914クリエイティブパーク、台北）
2016 「TAIWAN ANNUAL - アートの平等展」（台北花博公園エキスポドーム、台北）
2016 「Breaking the Stereotype of Photography」（台北市アートプロモーションオフィス、台北）
2015 「全国美術展写真部門」（国立台湾美術館、台中）

受賞

2022 「台南国際写真祭2022 Tainan Photo Go」PHOTO GO賞（台南）
2021 「台南国際写真祭2021 Tainan Photo Go」入選（台南）
2019 「Photo ONE ポートフォリオレビュー」入選（台北国際芸術村、台北）
2019 「台南国際写真祭 2019 Tainan Photo Go」入選（台南）
2015 「全国美術展写真部門」入選（台中）

トーク

2023 「Photography Afternoon Tea」写真サロン座談会（国家撮影文化センター、台北）
2022 「芸術鼎談|路上撮影とアーティストの視点」王涵智 x 汪正翔 x 蘇厚文（台北）
2016 「AKAAKA スライドショーツアー・台日フォトグラファー交流対談」（台北現代美術館、田園城市、視丘撮影芸術学院、台北）

インタビュー

報導者 The Reporter：周芳伃『One Another』と蘇厚文『The Figures』ふたりの対話

SU HOU WEN

1980 Born in Kaohsiung and lives in Taipei City, Taiwan

Education

2015 Full Program of FOTOSOFT Institute of Photography, Taipei, Taiwan
2009 B.A. Department of Applied Foreign Language, National Yunlin University of Science and Technology (NYUST), Yunlin, Taiwan

Solo Exhibition

2024 Draping the Cloth over the Endless Rivers, Good Underground Art Space, Hualien, Taiwan
2022 The Figures, WMM Space, Taipei, Taiwan
2015 The Mistakened, Gallery of FOTOSOFT Institute of Photography Taipei,Taiwan

Group Exhibition

2023 Consensus? No; Resonance? Yes. - Wei Ming Ming, 182 artspace, Tainan,Taiwan
2022 TAINAN PHOTO GO Photo Festival , Shueijiaoshe Cultural Park, Tainan City
2022 Photobook Fair - Fotobook DUMMIES Day #3 Live.../LIVE!, Athena Books ,Taipei, Taiwan
2022 An Untitled Document - WEI MING MING Inaugural Exhibition, WMM Space,Taipei, Taiwan
2021 TAINAN PHOTO GO Photo Festival, Shueijiaoshe Cultural Park, Tainan City
2020 Focal ANNUAL of TAIWAN ANNUAL, Taipei Expo Park, Taipei, Taiwan
2019 Aya Fujioka Workshop, Good Underground Art Space, Hualien, Taiwan
2019 TAINAN PHOTO GO Photo Festival, Shueijiaoshe Cultural Park, Tainan City
2019 2nd Annual Exhibition at Roof, Taipei, Taiwan
2018 Art Equality Proposals of TAIWAN ANNUAL, Taipei Expo Park, Taipei, Taiwan
2017 Abstract City Photography Exhibition, AHM Gallery, Taipei, Taiwan
2017 Art Equality Proposals of TAIWAN ANNUAL, Taipei Expo Park, Taipei, Taiwan
2017 Portfolio Review - Photo Eye of Young Art Taipei, Taipei Artist Village, Taipei,
2017 Wonder Foto Day, Huashan 1914 Creative Park, Taipei, Taiwan
2016 Art Equality Proposals of Taiwan Annual, Taipei Expo Park
2016 Breaking the Stereotype of Photography, Taipei City Arts Promotion Office,Taiwan
2015 Photography Category of National Art Exhibition, ROC, National Taiwan Museum of Fine Arts, Taichung, Taiwan

Award

2022 PHOTO GO AWARD of TAINAN PHOTO GO Photo Festival, Tainan, Taiwan
2021 Selected by TAINAN PHOTO GO Photo Festival, Tainan, Taiwan
2019 Selected by Portfolio Review, Photo ONE of ONE ART TAIPEI, Taipei, Taiwan
2019 Selected by TAINAN PHOTO GO Photo Festival, Tainan, Taiwan
2015 Photography Category of National Taiwan Museum of Fine Art Award, Taichung,Taiwan

Art Talk

2023 The series of "Photography Afternoon Tea" photography salon, The National Center of Photography and Images (NCPI)
2022 Road Photography and Photographer's Seeing "Han-Chih Wang x Sean Wang x Hou-Wen Su", WMM Space, Taipei, Taiwan
2016 AKAAKA slideshow tour From Photographs, From Taiwan and Japan, Museum of Contemporary Art,Taipei, Taiwan. Garden City, Taipei, Taiwan. Fotosoft Institute of Photography, Taipei, Taiwan.

Interview

The Reporter: Art Talk between Fang-Yu Chou's work, One Another and Hou-Wen, Su's work, The Figures.

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林詩硯（Lin Shihyen）『針の落ちる音』	清水裕貴『岸』	邢磊（XING Lei）『潮汐』	Ryu Ika 『The Second Seeing』

LILY NIGHT 『ABSCURA』	Ahn Jun 『Self-Portrait』	李岳凌（Yehlin Lee）『Raw Soul』	佐伯慎亮『riverside』

Posted at : 2024.09.24 06:43

頭山ゆう紀『残された風景』

頭山ゆう紀『残された風景』 Book Design：須山悠里発行：赤々舎 Size：H210mm × W152mm Page：176 pages Binding：Softcover Published in June 2024 ISBN：978-4-86541-188-1	¥ 4,500＋tax 国内送料無料！【国内／Domestic Shipping】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。【海外／International Shipping】＊ Please choose your area from the two below

About Book

頭山ゆう紀　待望の新刊

祖母の眼差しに寄り添う薄墨色の庭の景。

静かに息づく風景との出会い。

傍らに在って異なる時間を過ごした

介護の日々を経て

残された写真。続いていく対話。

頭山ゆう紀の「残された風景」は、亡き祖母の在宅介護の時間に撮影されたシリーズである。コロナ禍での介護の日々、ある閉ざされた状況のなか、近所に買い物に出るわずかな時間に切実な息抜きとして撮られた。瞬間の光と色が射す風景写真が並ぶ。一方、その合間に現れるモノクロ写真は、家から出られなくなった祖母の視線をイメージして撮影された。幻覚が見えるという祖母の視線に寄り添うように、部屋の窓から庭を撮った写真群。この二つの視点が混ざり合い、「残された風景」は編まれた。
祖母の姿は一枚も写っていない。介護する側と介護される側との時間の違いが克明に表れる。残された写真は不在を告げるとともに、残された者にとって、祖母との対話を続けるよすがとなった。本書の表紙には、境界が揺らぐようにカラーとモノクロの写真が透けて見えている。
頭山ゆう紀の最初の写真集『境界線13』（2008年）には、友人を亡くしたことへの喪失感が流れていた。写真を撮ることで息をし、喪失と向き合い、不在のひとを理解していく過程。いま『残された風景』も喪失を超え、人が人をケアすること、つづいていく対話へと開かれている。

"私に何ができただろうか。 私に残ったのは、買い物に出る僅かな時間に息抜きに撮っていた近所の写真と、家から一歩も出られず、幻覚で壁に墨絵が見えるという祖母の視線に少しでも寄り添えないかと撮った部屋からの庭の写真。 家の外は次々に季節を変えた。お互いの過ごしていた時間は確実に違っていた。時間を埋めるような言葉がもっと必要だったのではないか。残った写真を頼りに祖母との対話を続けようと思う。"
（あとがきより）

先着ご購入者様にステッカーをお付けしてお届け致します。
同時刊行の頭山ゆう紀『in fog』（Self-Published）収録のイメージです。

A sticker will be given to the first customers.
The image is from Yuhki Touyama's simultaneously published photo book, in fog (Self-Published).

Scenes of Absence

Yuhki Touyama

"I discovered a lump in my neck and had it checked by Dr. Maeda. I think it's cancer. Let's make my last send-off a grand occasion."
My grandmother hadn't been diagnosed with cancer yet and she acted cheerful over the phone.

The call came just before we were planning to visit my uncle's grave on the anniversary of his death in May. Due to the outbreak of the coronavirus in 2020, we had been unable to go for the traditional visit to his grave in March during the week of the spring equinox. Not being able to go out shopping because of the pandemic and the anxiety she felt at the possibility of having cancer was taking a serious toll on my grandmother's elderly body. By the time all the tests were done and I finally could go to see her in July, my grandmother's former vitality was gone.[...]

The doctor recommended natural therapy (no treatment at all). My grandmother, who had never experienced a major illness and had never been hospitalized, chose to stay at home. I made the decision to resign from my job of 11 years and move in with her.

From the time I was a young child, I often took the train back and forth between my parents' house and my grandparents' house on either the Musashino Line or the Chuo-Sobu Line--both were direct connections. Whenever I visited my grandparents they would always have Western sweets ready for me that I wasn't familiar with. During summer vacations, we would stay at the Keio Plaza Hotel and dine at fancy restaurants. My grandparents were quite indulgent toward their grandchild.When I enrolled in vocational school in the photography course and said I would love to have a darkroom at home, my grandparents immediately cleared out a room in the house and even installed plumbing to create a darkroom for me. They provided almost all of the photography equipment I needed and my grandmother always supported me, "Your dream is my dream, Yu-chan," she would say. [...]

In September, I began living with my grandmother. The first thing I did for an interview with the home care doctor who had been was to go referred to us. He explained my grandmother's condition again and, in a way that felt like an admonishment, firmly said to me, "According to the medical record, she has only three months at best. She won't make it to next year. You will need to be very resolute in taking care of her at home right until the end." Even being told that and even with my imagination operating at full strength it was difficult for me to picture what would happen from now on or what was involved in the process of dying. [...]

She even managed to make it to the year I was told she wouldn't make it to. Just as I began to relax when three more months had passed since the original three-month life expectancy prediction, my grandmother became unable to walk. The cancer had progressed, robbing her of her strength.

She reluctantly started sleeping in the nursing care bed she had refused to use before and had to constantly wear a nasal tube connected to an oxygen inhaler. She became able to breath and move a little on her own, but after three more months she gradually found it difficult to walk again. She couldn't take a bath even with assistance and couldn't make it to the toilet in time, so I put a portable toilet by her bedside. Delirium set in, conversation and eating became difficult, she started breathing through her mouth, and then she passed away.

It had become difficult for my grandmother to speak articulately, but on the day before she died she bid goodbye to her friends and family in a clear voice. Just before she passed, she had the nurse change her clothes, then beautifully and gracefully closed the curtain on her life.

In spite of loneliness at being unable to see her family during the coronavirus pandemic, it was a relief for me that she had chosen in-home care and didn't have to die in a hospital or hospice. But my time as a caregiver had not gone well.

Frustration at not being able to do what I wanted, at the days without any expression of gratitude, at the self-sacrifice situation created by the pandemic that didn't give me room to take my mind off things, at not enough sleep--all of these contributed to a buildup of stress without my being aware of it. I was dealing with everything alone and experiencing the loneliness of isolation. Little by little I felt trapped by the task I imposed on myself of doing everything in my power to be the perfect caregiver until the end from the desire to give back to my grandmother for all she had done for me. I was distant toward my grandmother who was losing mobility. [...]

I am filled with endless regret and questions. Although I read lots of articles and books on caregiving, in actual practice I couldn't keep up with what I learned.

What could I have done?

I am left with the photographs of the neighborhood that I took as a brief respite during the short times when I went out shopping and the photographs of the garden that I took from inside the room in the attempt to emotionally support my grandmother who, unable to go outside, sometimes hallucinated, declaring that she saw ink paintings on the wall. Outside the house, the seasons changed. My experience and my grandmother's experience were undoubtedly different.

Maybe we needed more words that could have filled up the time. Now I rely on the photographs that remain with the intention to continue the dialogue with my grandmother.

Yuhki Touyama

Special edition

写真集＋プリント付（Book with print）	¥ 40,000＋tax

A、B、２種類のプリントよりお選び頂けます。各限定15部

You can select from 2 images of prints. limited 15 copies each

国内送料無料！

Type-A (limited 15) Print size : H254mm x W203 mm（六切り） Image size : H225mm x W150 mm Type-C Print, Edition number with signed.	Type-B (limited 15) Print size : H203mm x W254 mm（六切り） Image size : H150mm x W225 mm Gelatin silver print, Edition number with signed.

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対談石内都 × 頭山ゆう紀

「不在の女たちとの対話の先にあるもの」」

2023年5月更新初出『IMA』vol.39 特別付録

インタヴュー・文＝IMA 写真＝高橋マナミ

Related Exhibitons

頭山ゆう紀「残された風景」

会期：2025年1月11日（土）〜2月23日（日）

時間：13:00〜18:00

会場：POETIC SCAPE（東京都目黒区中目黒4-4-10 1F）

休廊：月・火・祝（2月23日祝日は特別営業）

◉オープニングレセプション

日時：2025年1月11日（土）18:00〜20:00

Artist Information

頭山ゆう紀

1983年千葉県生まれ。東京ビジュアルアーツ写真学科卒業。生と死、時間や気配など目に見えないものを写真に捉える。自室の暗室でプリント作業をし、時間をかけて写真と向き合うことで時間の束や空気の粒子を立体的に表現する。主な出版物に『境界線13』（赤々舎 2008）、『さすらい』（abp 2008）、『THE HINOKI Yuhki Touyama 2016−2017』（THE HINOKI 2017）、『超国家主義−煩悶する青年とナショナリズム』（中島岳志著、頭山ゆう紀写真／筑摩書房 2018）がある。

Yuhki Touyama

Born in Chiba in 1983. In 2004, she graduated from Tokyo Visual Arts University's Department of Photography. In her work, Touyama captures invisible things such as life and death, time, sensations, and notions. Spending a lot of time creating prints in her darkroom, Touyama is able to express large swaths of time and grains of air in three dimensions.

Major publications include Line 13 (Akaaka, 2008), Sasurai (abp, 2008), THE HINOKI - Yuhki Touyama 2016-2017 (THE HINOKI, 2017), and 'Supranationalism: An Anguished Youth and their Nationalism' (written by Takeshi Nakajima, with photos by Yuhki Touyama; Chikumashobo, 2018).