Publishing


Niyoko Ikuta.cover03.jpg


 生田 丹代子『空 Ku - Free Essence-
    space01.jpg
  Book Design:大西正一

  発行:赤々舎

  Size:H257mm x W182mm
  Page:168 pages
  Binding:Softcover

  Published in November 2024
  ISBN:978-4-86541-192-8
¥ 7,000+tax 

国内送料無料!

【国内/Domestic Shipping】 

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About Book


重なり合う光の層が生み出すイメージ(像)を表現する

光の表象としてのガラス造形


日本を代表するガラス造形家であり、世界中でその作品が高く評価される生田丹代子。生田は、光を透過するガラスの特質を深く理解し、それを自身の表現手段として追求してきました。
とりわけ本書を構成する、40年以上にわたる制作活動の中で行き着いた近年の代表作「空」(Ku)シリーズでは、ガラスとその周りを取り囲む空間、すなわち、ガラスと空気という2つの物質が接する面において光が反射、透過、屈折することで現れる「光のかたち」を追求しています。

生田にとってガラスとは、形態そのものを目的とする素材ではなく、光を解き放つための媒介といえます。ガラスの持つ透過性を活かし、重なり合う光の層が生み出すイメージ(像)を表現する。それを通して現れるのは、彫刻家が塊を削り出すような形の固定ではなく、鑑賞者が受け取ることができる、光の流動性と無限の広がりです。

個々のガラス片を積み重ねながらも全体としては一つの層を同時に彫り出していく、外側の現象と内側の構造との間の矛盾から生じる緊張感。板ガラスにガラスカッターで傷を入れて割った断面の微妙な揺らめきや、柔らかさ。透明なガラスを幾重にも重なり合わせることで屈折しながら生まれる光の渦は、見る角度や周囲の明るさによっても、無限の変化を呼び起こします。
また、"ガラス表面の光の反射が多ければ量感が増し塊となり、光がガラス内部に入り内面で反射すると量感が消え空間が現れる"といった特徴的な反射は、かたちあるすべてのものは実体のない仮の姿である「空」の概念を、翻ってわたしたちの生命の光の中に浮かび上がらせます。

巻末には、作家本人により、当時の制作の背景や想いと共に書き下ろされた、作家活動の全容をたどる年代記「光をたどる」や、美術批評家による寄稿も収録。
光の表象としてのガラス造形と、  空(ku)によって立ち現れる世界は、現代に生きる私たちに「見る」という行為の本質を問いかけます。



------------------------------------------------


"生田丹代子は、そのガラス素材が持つ特質、光を透過しながら存在する物質である事を知悉することによって、自らの表現媒体として取り組み、制作を続けてきた。特に近年、生田が挑んでいる新しい作品と対峙する者は、その透明な素材が無数に重なって生じる光の渦が、まるで煌めく光の音が奏でられるかのように自らを覆い尽くすことを体験するだろう。それは視覚的感覚を超越した不可思議な世界観を表し出している。(中略)

「芸術の本質は、見えるものをそのまま再現するのではなく、見えるようにすることにある。」これは、パウル・クレーのエッセイ『創造の信条告白』冒頭部に掲げられた夙に有名な文書である。表現する者が「見えるもの」をイメージして(心に描き)、そのイメージ(像)を「見えるように」するために、クレーをはじめとした画家たちは「線」を用い、また、彫刻家たちは土のような造形素材を通して3D の「線」を空間にイメージしていく(像を造り出す)だろう。それに対して、生田がイメージする(心に描く)のは、作家が素材として用いる板状のガラスが折り重なるように集積して出来上がるオブジェ状の形態ではなく、その透過性に優れた物質を通して解き放たれる光の連続が生み出すイメージ(像)なのである。"

── 中井康之(美術批評家・京都芸術大学大学院客員教)
本書寄稿「授光の表象として--生田丹代子作品考--」より抜粋

------------------------------------------------


"生田丹代子の作品は、独自のモデルとしてイメージする物体のいわば地図製作として生まれた像であり、それはただ近似値でのみ表現が可能である。そこではグラフィック的な効果と立体的な効果が解け合い、 これまでの伝統的な分野の境界線の解消へとたち至っている。

生田丹代子は今日、日本の最も 重要なガラス造形家の一人に数えられるであろう 。彼女はわずか数年間のあいだに、比類のない作品の世界を創造するのに成功した。作品ではガラスという材料が時代の意識に合致した方法で投入されている 。彼女はガラス造形で真なるものを表現しているが、同時にそれが一時の仮の表現でしかあり得ないことを明らかにしたのである。"

── ペーター・シュミット(カールスルーエ・バーデン州立美術館)
本書寄稿「生田丹代子の作品に対するいくつかの所感」より抜粋

------------------------------------------------


"光り輝く 「空」 は様々な心象を映すと云われる。
ただ、瞳を閉じてこそ、見える世界もある。
作品は水鏡。
敬愛する生田丹代子さん。
そのガラスに、稀代の作家の生き様が映る。"
                           
── 青山和平
本書寄稿「水鏡に映るもの」より抜粋

------------------------------------------------


「空」 は私の生命の光のように感じます 。時を重ね、作品が出来上がるごとに、生きていることを実感しています。40年にわたり 、様々な作品を制作してきて 「空」に行き着いたのは運命だと思います。

今、 この時を大切に生を全うしようと思っています。


── 生田丹代子
本書寄稿「光をたどる」より抜粋

------------------------------------------------



Ku - Free Essence- 

Niyoko Ikuta


"Ikuta Niyoko has made glass her chosen medium, and fully embraced its unique properties of transparency and substantiality, which allow light to pass through while still asserting the presence of the material. In recent years in particular, viewers of Ikuta's new works find themselves immersed in swirls of light produced by countless layers of this transparent substance, as if bathed in a glittering, luminous melody. The effect transcends mere visual perception, conveying a mystical worldview. Ikuta's glass works manifest a dreamlike realm that invites comparisons to visionary experiences.There is an uncanny sense of differentiation from the everyday, an effect that speaks to the age-old relationship between glass and humankind. This magical force casts a spell on the human spirit, making viewers feel as if they are part of an illusion, reveling in the luminous spectacle emitted by these transparent objects as if experiencing hallucinations. Put another way, Ikuta's glass works are imbued with a system that manifests miraculous phenomena, extending beyond her personal artistic vision into the universal. 

"Art does not reproduce the visible but makes visible." This famous line opens Paul Klee's essay "Creative Credo." It encapsulates the ways in which artists, including Klee himself, use lines to visualize images in their minds and then "make visible" the images they conceive on physical surfaces. Meanwhile, sculptors might imagine 3D lines in space and then render them visible using pliable materials such as clay. In contrast, Ikuta Niyoko envisions not physical objects constructed from layered sheets of glass, her chosen material, but rather the light continuously transmitted through the highly transparent substance, creating images unlike those traditionally envisioned by painters and sculptors. The elements within her control are limited, and mastering the luminous images emanated by her objects has undoubtedly been an arduous journey[...]

The primary structures of the works in this series are arcs and rings. Swirls of light emerging from the Ku works engender infinite variations as the viewer's perspective shifts, maintaining an ever-changing melody of light that captures the unique spirit of the artist. In Japanese Ku is written with the kanji character 空, which can also signify the sky or heavens, evoking an interface between the everyday spaces where people live and the scale of the cosmos, which is so vast, spanning billions of light-years, that it can only be grasped conceptually. Essentially, Ku implies a realm where this world and the transcendent intersect. It also connects to the fundamental Buddhist principle of "Form is emptiness, and emptiness is form," representing an infinitely malleable state in which "all things lack a permanent and unchanging essence." Ikuta's titling her work Ku suggests that she aims to open up a vast, void-like realm anchored in this fundamental concept, wherein her works spontaneously play luminous melodies. This is the state that Ikuta Niyoko's works have now reached."


Excerpts from the text "Making Luminous Melodies Visible: On the Works of Ikuta Niyoko"

by  Nakai YasuyukiArt Critic Visiting Professor, Graduate School of Kyoto University of Arts)


------------------------------------------------


"A greater chance of development might be found in those free shapes which gain their tension from a certain contradiction between their outer appearance and their inner structure. For their shape seems to be the result of excising parts from a solid block and thus revealing its different layers--i.e. the method of a sculptor in the strictest sense of the word--though actually it is created by putting single elements together. Niyoko Ikuta's sculptures can be understood as models, as cartographical descriptions of ideal, perfect shapes which can only approximately be translated into reality. Her work combines sculpture and graphics and goes beyond the traditional boundaries of artistic genres.

Niyoko Ikuta is, in my opinion, one of the most important avant-garde glass artists in Japan today. Within a few years, she has succeeded in creating a unique, individual style, which uses glass in a way suitable to the spirit of our time. Her glass sculptures are statements about reality, conscious of the fact that such statements can only be preliminary."


Excerpts from the text "Some Remarks on the Work of Niyoko Ikuta"

Peter SchmittBadisches Landesmuseum Karlsruhe West Germany)


------------------------------------------------


"Fifteen more years now have passed. The Ku series has grown to over 170 works, and I am happy to say they have homes with collectors and museums worldwide. Each one holds a special place in my heart. [...]

The radiant Ku series is said to reflect various mental states. There is a world only visible with the eyes closed, and the works are a reflecting pool revealing this world.

Ikuta Niyoko is an artist I truly revere, and the life and spirit of this extraordinary artist are reflected in her glass creations."


Excerpts from the text "What Lies Withint"

by Aoyama Wahei


------------------------------------------------


"Ku (which variously translates to "space," "the sky," or "emptiness," and is the title of my series called Free Essence in English) has become the beacon of my existence.

With each moment and each work I complete, my sense of being alive intensifies. I feel it was my destiny, after four decades of producing a wide range of works, to arrive at Ku.

Now, I am dedicated to cherishing each moment and living the time remaining to me as fully as possible."



Excerpts from the text "Trajectory of the light"

by Niyoko Ikut




Artist Information 


生田 丹代子

1953年、京都府京都市生まれ。ガラス造形作家。板ガラスの断面を積み重ねて空間に線を描いた作品や量感のある作品を制作。

1983年 アートスペース虹での初個展から、ワコール銀座アートスペース、天野画廊、番画廊などで個展を重ね、1985年チェコスロヴァキアのガラス会議に招待される。1987年 ローザンヌ装飾美術館で個展開催、海外での展示も多数。1996年国立国際美術館にて「近作展:20」が開催される。

神戸新聞社松方ホールや東京霊園などにモニュメントを設置する。主なパブリックコレクションに、横浜美術館、石川県能登島ガラス美術館、サントリー美術館、東京国立近代美術館、国立国際美術館、ローザンヌ装飾美術館、ヴィクトリア&アルバート美術館、メトロポリタン美術館など



Niyoko Ikuta

Niyoko Ikuta (b. 1953) was born and raised on Kyoto. Glass Artist. Created the works drawing the line within the space by piling the section of flat glass or that with massiveness. 

First solo exhibition at Art Space Niji (Kyoto) in 1983, followed by solo exhibitions at Wacoal Ginza Art Space (Tokyo), Amano Gallery (Osaka), Ban Gallery (Osaka) etc. In 1985, she was invited to Interglass Symposium, Novy Bor, Czechoslovakia. Solo exhibition at the Musée des Arts Décoratifs Lausanne (Switzerland) in 1987 and numerous overseas exhibitions. "Recent Works 20 exhibition, Niyoko Ikuta"  was held at the National Museum of Art (Osaka), 1996. 

She has installed monuments at the Kobe Shimbun Matsukata Hall (Hyogo) and Tokyo Memorial Park. Selected public collections include Yokohama Museum of Art, Notojima Glass Museum (Ishikawa), Suntory Museum (Tokyo), The National Museum of Modern Art (Tokyo), The National Museum of Art (Osaka), The Musée des Arts Décoratifs Lausanne (Switzerland), Victoria and Albert Museum (London) and The Metropolitan Museum of Art (New York) etc.




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 岩波友紀『Blue Persimmons
    space01.jpg
  Book Design:大西正一

  発行:赤々舎

  Size:H217mm x W276mm
  Page:230 pages
  Binding:Hardcover

  Published in October 2024
  ISBN:978-4-86541-181-2
¥ 6,000+tax 

国内送料無料!

【国内/Domestic Shipping】 

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About Book


見えない放射能 見えない分断 見えない被害。 福島を可視化する


新聞社のフォトグラファーだった岩波友紀は、東日本大震災後に福島県に移住し、震災と原発事故に関連した写真作品を作り始めます。3冊目の本格的な写真集となる今回の作品は、原発事故を受けた福島と真正面から向き合うものです。

「初めて汚染された村を見た時、そこには何も見えませんでしたが、見えないからこその恐怖を感じた」と岩波は言います。写真に写らないことを理解した岩波はその後福島に住むことによって、原発事故の被害は人の心の中にこそあると気づきます。それらを写真によって可視化することはできるのかーと、10年間に渡って撮影しました。

風景とポートレートで構成されるこのシリーズは、土地と人との関係と、人間の生そのものを表します。なにかを覆い隠すような深い霧、放射能のように降り続く白い雪。見えない放射能、見えない被害を、イメージによって立ち上げようと試みています。植物に覆われた朽ちた人工物と、突然現れた真新しい人工物が併存し、時間と空間の概念を歪ませます。

複数の写真が交錯するページでは、岩波自身が感じた不安や恐怖、悲痛な思いが伝わってきます。
答えを出すのではなく、揺れつづけ、見続けることにより、土地と人との在り方を記録した本作『Blue Persimmons』(青い柿)は、痛みに貫かれつつ、まだ誰も体験したことがない時間の入口に立つものです。


《 Pictures of the Year - Photography of the Year 部門  "Award of Excellence"(優秀賞) 受賞作》



------------------------------------------------


"真実により近いものがより目に見えにくい、とここではよくわかる。放射能を五感で感じられないのと同様に、その被害も、その先の肝心なことも確かな実物として感じられない。おそらく何が真実なのかを認識することの難しさは、福島に限らず世界中で共通していることかもしれない。(中略)

事故から10年以上経っても正反対のものが隣どうしで混在し、そのどちらも真実だとも言える。ある人はなすすべなく見つめ、心に蓋をする。ある人は何かを決意し自分の信念によって進んでいる。しかし何が正しいのかは、誰にもわからない。今までもそして今後も。それでも福島では、ただそこに土地は存在し人々は生き続けている。その事実だけがいちばん真実らしいものとして存在している。

私は福島の写真を撮ることの意味を自問自答し続けたけれども、結局答えを見つけられていない。今の私には生きることと写真を撮ることは同義だから、ただ生きていくことと同じように、ただ撮ってきただけなのかもしれない。福島の人たちも、存在する限りただ生き続けている。生きて、生きて。生きていくということは進んでいるということ。たとえ、どこへ向かってかわからなくても、意味が分からなくても。この時間と空間からは逃げ場などなく、降り注いでくるものを受け入れるしかないのだから。 "



岩波友紀



------------------------------------------------



Blue Persimmons

Yuki Iwanami


It was March 2011. The Fukushima Daiichi Nuclear Power Station dispersed radioactive material. In Tokyo, I felt a sense of fear watching footage of reactor buildings exploding that brought home to me the reality of my own and my family's lives being in danger and the demise of Japan. It was the moment when I realized my mistake up to that point in taking things for granted without even a second thought.

This was an accident involving radioactivity that was unforeseen. I felt compelled to begin visiting Fukushima even though I had no prior knowledge of the area and no idea what I could accomplish with photographs. But what I found there were ordinary rural landscapes of forests, fields, hills, and mountains. Radioactive material and radi ation as well as their effects are not visible to the eye. It is only the high numbers shown on a dosimeter that prove the factual existence of radioactive material. This undeni able reality in my mind merged with the peaceful and pic turesque landscapes that were there evoked in me an even more indescribable sense of dread. I became aware that we are unable to see what is truly terrifying. I won dered if it would be possible to make visible the loss of homeland and the invisible damage, and so I continued to photograph in Fukushima.

I moved to Fukushima three years after the accident and it was then that I faced my first inner conflict as a resident. Enough time had already gone by since the accident so that many people had resumed their normal lives. But I couldn't help noticing the abnormal state of constant anxiety and inner turmoil that burdened people as they were going about what appeared to be life as usual.[...]

It became quite clear to me here that what is closer to the truth is often less visible. Just as radiation cannot be perceived with the five senses, the resulting damage and what is essential moving forward also cannot be felt as tangible reality. Perhaps the difficulty in perceiving what is true is not unique to Fukushima but is shared worldwide.[...]

More than ten years after the accident, opposing views and ways of being intermingle. All can be considered the truth. Some people, feeling helpless to do anything, silently observe and suppress their feelings. Others are firmly resolved to act based on their convictions. No one can really say what is right in the past, at present, or in the future. Nevertheless, in Fukushima the land is still there and people continue to live there. This fact alone may be the most significant truth of all.

I've continued to question the meaning of photographing in Fukushima but have yet to find an answer. For me, living and taking photographs are interchangeable, so I guess just continuing to photograph is the same as just continuing to live. The people in Fukushima, as long as they are alive, are just continuing to live their lives. To live life is to continue to move forward, even if you don't know where you are heading or what it all means. This time and space cannot be avoided. All we can do is accept the conditions we find ourselves in.






Artist Information 


岩波友紀

1977年長野県生まれ。新聞社の写真部勤務を経てフリーのフォトグラファーとなり、写真家としての活動も始める。現在は福島県に在住し、東日本大震災と福島第一原発事故に関したテーマを中心に作品を制作。人間の生きる理由、土地やモノに刻まれた記憶、などを制作の根底としている。

受賞歴にコニカフォトプレミオ(2003)、Critical Mass Top 50(2014)、NPPAベストオブフォトジャーナリズム 3位(2018)、入江泰吉記念写真賞(2020)など。
主な展示に「Blue Persimmons」(ニコンサロン銀座 大阪 2019、シンガポール国際写真祭 2020、大邱フォトビエンナーレ 2021、KG+SELECT 2022 )、「紡ぎ音」(入江泰吉記念奈良市写真美術館 2021 )、「写真展 福島、東北 写真家たちが捉えた風土/震災」(福島県立博物館 2023)、「Focus Photography Festival」(ムンバイ 2017)、「HOKKAIDO PHOTO FESTA」(札幌  2022)など。
主な写真集に「One last hug 命を捜す」(青幻舎刊 2020)、「紡ぎ音」(入江泰吉記念写真賞実行委員会刊  2021)などがある。
「Blue Persimmons」は、2020年のW ユージン・スミス財団の助成を経て完成した。



Yuki Iwanami

Born in 1977, Nagano, Japan, started his career as a photojournalist in 2001. He covered stories in Cambodia, the Balkans, Afghanistan, and Pakistan. In 2003, he joined the staff photographer team of a major Japanese newspaper based in Tokyo, Sendai, Osaka, and Fukushima.
In 2015, he became a freelance photographer and relocated his base to Fukushima Prefecture. He has since covered stories around the world, with a particular focus on the nuclear power plant disaster in Japan.

Recipient of awards, including the KONICA MINOLTA PHOTOPRIMIO(2003), Critical Mass Top 50 (2013), NPPA Best of Photojournalism (3rd place of Best Published Picture Story, 2018) , and Irie Taikichi Memorial Photography Award (2020).

Notable exhibitions include Blue Persimmons (Nikon Salon, Tokyo and Osaka, 2019; Singapore International Photography Festival, 2020; Daegu Photo Biennale, Korea, 2021; KG+SELECT, Kyoto, 2022), Threads in the Dark (Irie Taikichi Memorial Museum of Photography Nara City, 2021), Fukushima, Tohoku: The Climate/Disaster as Captured by Photographers (Fukushima Museum, 2023), Focus Photography Festival (Mumbai, 2017) and HOKKAIDO PHOTO FESTA (Sapporo, 2022).

Published works include One Last Hug (Seigensha) and Threads in the Dark (Irie Taikichi Award Executive Committee).

Blue Persimmons was completed with support from the W. Eugene Smith Memorial Fund in 2020.




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 長沢慎一郎『Mary Had a Little Lamb』
    space01.jpg
  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》



------------------------------------------------


"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

------------------------------------------------



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」赤々舎より刊行

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。

2025年 写真集『Mary Had a Little Lamb』(赤々舎)により、第49回木村伊兵衛写真賞受賞

2025年4月第49回木村伊兵衛写真賞 受賞作 長沢慎一郎 作品展(Sony Imaging Gallery)



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


2025 Received the 49th Kimura Ihei Photography Award for the photobook Mary Had a Little Lamb (AKAAKA Art Publishing Inc.)

2025 Apr Mary Had a Little Lamb exhibition, Sony Imaging Gallery





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『New Born ー乳房再建の女神たちー
    space01.jpg
  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 

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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。



------------------------------------------------------------


"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



------------------------------------------------------------


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.



x elements_ws3.jpg

 紀 成道『かぜとつちと x elements
    space01.jpg
  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 

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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






xelements_exhibition.jpg




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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