Publishing

眠る木cover3.jpg

 上原沙也加『眠る木
    space01.jpg
  Book Design:鈴木千佳子 
  
  発行:赤々舎 

  Size: H219mm × W205mm
  Page:160 pages
  Binding:Hardcover

  Published in December 2022
  ISBN
978-4-86541-159-1

¥ 4,500+tax 

国内送料無料!

【国内/Domestic Shipping】 

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。

※先着購入の方に12ページの冊子が付きます。(なくなり次第終了)


【海外/International Shipping】
Please choose your area from the two below
      




About Book


見慣れたはずの風景の細部のなかに、いく層にも折り重なっていること


沖縄で生まれ、再びその地で暮らしながら写真を撮る、上原沙也加の初写真集。
身近な街を歩き、ときにバスで離れた街に降り立って撮影する風景には、ほとんど人は写っていない。
マネキンの指、レストランの客席、ジュークボックスを掠める機影、布貼りの聖書、マクドナルドのサイン......。
すべて日常的な光景は人の営みを湛え、声なき声で語りかけられているような気配を帯びる。自分の生活の場所から、それぞれが経てきた時間を想像するような地続きの眼差しが、写真にある。
いくつもの痕跡を秘め、歴史の層を重ね、存在が消失してもなお、そこに在る風景。複雑な時間への回路と、沈黙の奥にある痛みを写真は指し示す。

タイトル『眠る木』は、本書に収められたさまざまな木のシルエットと同時に、ギンネムを殊に想起させる。
又吉栄喜が小説「ギンネム屋敷」の扉に、「終戦後、破壊のあとをカムフラージュするため、米軍は沖縄全土にこの木(ギンネム)の種を撒いた」と記すように、沖縄のどこにでも繁茂しているギンネム。土地に根を張ったこの木から、フェンスのような表紙の模様は施された。その上に、明暗のあいだに浮かびながら、マネキンの指の写真はある。



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

"上原沙也加は、沖縄というものを決して理想化しない。上原の撮る沖縄はどれも優しいが、しかしその底には、断固たる強い決意がある。お仕着せの話法を使うのではなく、あくまでも自分の目で見た、そこにある沖縄を撮るのだ。そしてそれが、例えようもなく美しい。おもろまちのモノレール駅や免税店をそのまま写すことで、これほど美しい作品になるとは、誰も想像もしなかっただろう。ここに写されているのは、あくまでもふつうの、どこにでもある、しかしほんとうに美しい沖縄の姿である。"
『眠る木』帯文 より
岸政彦(社会学者・作家)

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

"風景とは自然と人間との関係だと地理学者であり思想家のオギュスタン・ベルクは言ったが、風景とは自然と人間と時間とそこで起きたことの関係であると今の私は思う。見えるものと見ることができないものと想像することで見ることができるものを、結び、関係させ、出会うことを可能にするのが、写真なのかもしれない。  どうすれば「見る」ことができるのか。  写真の中にあるそれを、私は探す。"

『眠る木』寄稿
柴崎友香(小説家)「そこで起きたこと そこで続いていること」より

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

『眠る木』には、前世代の物語のその後を、写真という光の鉛筆によって加筆した、といっても的を外したことにはならないはずだ。あたかもこの地に根づき、長い時のなかで繁茂したギンネムが繁茂の果てに〈眠る木〉に変わるように、「記憶素」 や「歴史素」や「経験素」などいくつもの〈素〉の 呟きや瞬きをレンズの詩学に翻訳していったのだ。(中略)

光と影の、物と物の、色と色の、此処と彼方の結び目をむき出しの線描ではなく、静かに浸透してくる陰翳を帯びた印画に組成していく、そんな風の話法のようなものである。風景の内側を渡っていく残影と残光をやわらかく結像させる眼力が、そこにはたしかにある。"いま"と"ここ"にあって〈どこか〉へと誘ってもくれる。
『眠る木』によって、写真とは哀しみと淋しさを織るメディウムであること、そして写真とは旅であることを思い知らされる。亜熱帯の光と色の〈あいだ〉を調律するニューカラーな上原沙也加の路上の光学にして詩学は、写真集のページを繰る者の眼の経験を新しくしていくだろう。"

『眠る木』寄稿
仲里効(映像批評家)「路上の詩学 ニューカラーな邦のさみしさの思想」より


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


Sleeping Trees 

Sayaka Uehara


"Walking through the city, there are times that I feel as if I am the one being stared at by the objects around me, capturing my attention. Ordinary residential areas and restaurants, hanging laundry, posters, graves, Japanese flags, mannequins. Various things that people have left behind. Ashtrays and flowerpots, who can only tell us that someone was definitely there but now is here no longer, rapidly reveal the silhouettes of these people. As if doing as I am told with a slight feeling of unease, I quietly pull out my camera and take photographs. Looking at what is fixed in the photographs, what can be seen is still only a modest record of what has been captured. However, in the details of a supposedly familiar landscape, one discovers layers upon layers of brutal traces of the past, a history of political choices and division being constantly imposed on the inhabitants, and various symbols and images. A photograph is always presented as a small fragment before it becomes a part of a collective. There is nothing in a photograph that cannot be seen by the eye. I cannot help but think that within each photo there are multiple connecting pathways to the time when these events occurred. It is like the time I spent visiting a place, or like making eye contact with someone whose face and name I do not know. Or like the fact that there were days that trickled by in that place like small grains, similar to what I am living right now. It quietly demonstrates that the landscape, as well as you and I who are looking at it, will also disappear someday. Yet, no matter how many times the landscape is repainted, the scars that grazed this place will never disappear, no matter how much they are wiped or scrubbed at, and they will continue to stand there firmly and motionlessly in silence. Deeply ingrained memories are always wavering between the open gap between objects." 


Exracted from the afterwords 

by Sayaka Uehara



"Uehara was born in 1993 in Tomigusuku City, south of Naha on Okinawa Island. She grew up and remained in Okinawa until the end of high school, after which she went on to enter the photography program at Tokyo Zokei University, where she took on the mak- ing of her photo series In the White Season as her graduation exhibition. Following the creation of this project, she returned to Okinawa in 2016 and transformed this work into another series, The Others the present series presents a brief history of Sayaka Uehara's 29 years of life in raw time fast-forwarded at ultra-high speed. During these moments when the surge of emotions that resurface with each piece in Sleeping Trees intersects with Uehara's bi- ographical profile that has been compressed into 1/29th of a whole, we come to notice that there are two connecting points in this in- tersection.

What exactly are these two connecting points? One is that of being exposed to an excessively othering gaze when leaving Okinawa and living in an unfamiliar land. It could be considered as a kind of force is drawn to the land known as Okinawa, a land that has experienced repeated yuugawai and border changes. This concentrated and excessive gaze, which was a common expe- rience among other photographers who have left a particularly lasting impression on the profession such as Yasuo Higa, Takashi Ishi- mine, Koshichi Taira, and Kenshichi Hira- shiki, has tried to enclose these figures and their work in a sort of cliché. Sayaka Uehara's case is not quite as blatant as those of these other photographers, but she nonetheless un- doubtedly feels troubled by the proliferation of mass-produced and deformed images of Okinawa in the post "reversion" era. In con- trast to the dark and heavy "Okinawa as an issue" mentality of the previous generation, these new images are created from a brightly colored touristic perspective that has been solidified as the symbolic and mass image of Okinawa and could be said to be a political variant of the aforementioned gaze.

The other is the paradoxical experience of being drawn back to Okinawa precisely because one has left. This is what drove Uehara to create The Others. This drive produced the urge to present an Okinawa that differs from the rhetorical Okinawa, which led Uehara to uncover the discovery of diffracted and plu- ralized "color" and the day-to-day continuous flow of "time." [...]

It also differs slightly from what Sho- mei Tomatsu once referred to as "light that surrounds even the shadows" in The Shining Wind: Okinawa. Rather than dividing light and shadow, Uehara contours the space between light and shadow, weaving shadows with- in light and light within shadows, and it is precisely this class of New Color that marks a new page in the history of Okinawan photography.[...]


It would not be far from the point to say that in Sleeping Trees the photos are akin to drawing tools used to touch up and improve upon the succession of the stories of the previous gen- eration. The murmuring and twinkling in the foundation of several elements such as "mem- ory," "history," and "experience" are translat- ed into poetry of the lens, as if the white lead tree that took root in this land and flourished overabundantly over a long period of time has transformed into a "sleeping tree" at the end of its overgrowth. [...]

It is not a bare drawing like that which ties together light to shadow, object to object, color to color, or here to yonder, but rather a storytelling method that composes itself into causality from quietly permeating shadowy images. There is an insight that ten- derly forms images from the remnants and afterglows crossing over the interior of the landscape. It is in the "here" and "now" and invites you to go along "somewhere."

Sleeping Trees reminds us that photography is a medium that weaves sorrow and loneli- ness, and also that photographs represent a journey. Sayaka Uehara's New Color poetics expressed through street optics, which fine- tune the "in-between" of subtropical light and color, will bring a fresh and new experi- ence to the viewpoints of those who explore the pages of this photo book."


Exracted from the text 

"Street Poetics ----The Ideology of a National Loneliness though New Color Photography"

 Isao Nakazato




Related Exhibiton



上原沙也加「眠る木 


会期:2022年12月13日(火)~12月26日(月)

時間:10:30~18:30(最終日15時まで、日休み

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28F)


【トークイベント】

「見えるものと見ることができないもの」

出演:上原沙也加 × 柴崎友香 × 北野謙 

日時:2022年12月17日(土)16:00~

定員:20名(先着順)、参加無料


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


上原沙也加「眠る木」


会期:2022年12月3日(土)~12月29日(木)

時間:13:00〜19:00(無休)

会場: Foto Space Reago(沖縄県那覇市牧志2-7-18-3F)

入場:500円


【トークイベント1】

「写真を編むこと」 

出演:上原沙也加、仲里効(映像批評家)、姫野希美(赤々舎)、髙橋健太郎(写真家)

日時:12月18日(日)17:00〜

入場:1,000 円 ※オンライン配信あり


【トークイベント2】

「沖縄 で/から 語ること」

出演:上原沙也加、オーガニックゆうき(小説家)、福地リコ(映画監督)、元山仁士郎(アクティビスト・ 研究者)、安里琉太(俳人)、林立騎(翻訳家)

日時:12月24日(土) 16:00

入場:1,000 円 ※オンライン配信あり







FhshydsaMAEoEwi.jpeg






b0187229_09364012.jpg


Artist Information 


上原沙也加 

1993年沖縄県生まれ。写真家。2016年、東京造形大学卒業。同年、消費の対象として作り上げられた「沖縄」の記号的解釈による既存のイメージではなく、誰かの生活の延長線上にある地続きの場としての沖縄の日常の風景を捉えようとしたシリーズ「白い季節」を発表。2019年、写真プロジェクト「沖縄写真タイフーン〈北から 南から〉」に選ばれ、東京・沖縄の二会場にて展覧会「The Others」を開催(キヤノンオープンギャラリー 1、INTERFACE - Shomei Tomatsu Lab.)。風景のなかに立ち現れる記憶や傷跡、場所が保持している時間の層の断面を捉えようと試みる一連の写真を展示した。 2020年、同作で第36回写真の町 東川賞新人作家賞受賞。2021年、 シリーズの続篇となる「The Others 2020-2021」展を開催 (IG Photo Gallery)



Sayaka Uehara

Born in Okinawa in 1993. Graduated from Tokyo Zokei University in 2016. Received Zokei Award 2015 for her graduation work "White Season" in which she tried to capture Okinawan everyday scenery as an extension of someone's life, not the existing Okinawa image by symbolic interpretation as something to be consumed. Went back to Okinawa and continued shooting after graduation.In 2019, Chosen to "Okinawa Photography Typhoon: From North From South", project to discover and present young photographers by PHOTONESIA OKINAWA, and  she had an exhibition "The Others" both in Okinawa and Tokyo (Canon Open Gallery1, INTERFACE-Shomei Tomatsu Lab.,). The exhibition projected the moments that accidentally touched someone's time in familiar landscape and the history and problems of Okinawa lying in even very small living spaces, which including memories and scars appear in landscape, as well as a cross-section of the layers of time that a place holds. In 2020, she won The 36th Higashikawa Awards for The New Photographer for the same work, and in 2021, she held the exhibition "The Others 2020-2021," a continuation of the series (IG Photo Gallery).




Related Items








(out of stock)




(out of stock)



cover_zk_h0b.jpg  

 石川竜一『zk
    space01.jpg
  Book Design:町口覚 
  
  発行:赤々舎

  Size: H325mm × W262mm
  Page:208 pages
  Binding:Hardcover

  Published in December 2022
  ISBN
978-4-86541-160-7

¥ 6,000+tax 

国内送料無料!

【国内/Domestic Shipping】 

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。

【海外/International Shipping】
Please choose your area from the two below
      





About Book


「絶景のポリフォニー」から「zk」へ。

人間のいまの流れと自然の在り方。



常に新たな表現の可能性に分け入る石川竜一の最新作「zk」は、石川が2014年に発表した「絶景のポリフォニー」を継ぐシリーズ。時間や場所を超えて徘徊し思考された、世界の流動する力と関係性を写し出します。

自己のコントロールを超える自然やノイズの現れ。受け入れ難いものに向き合い思い知らされるところから、写真を通して、その構造や自身の輪郭を見出そうとします。
ストリートに、国家に、宗教に、性に、歴史に、いまあるところに、いのちに、バグを内包しながら接続する「zk」。
メディアとしての写真を考え、デジタルの、人間の、いまの流れと自然の在り方を捉えるものです。


 
「zkとは絶景、即ち不定形な景色によって視覚を通して全身体に影響する感情の高鳴りを表す記号だ。それは、景色と感情、外と内の関係を意味する。目に映った瞬間から訪れるその感情、カメラのシャッターを切った身体の反応、それを解釈する思考は、今このときまでのすべてを内包した自分自身だ。記号は文化だ。文化とは集団だ。集団とは運動だ。運動とは存在だ。存在とは意志だ。意志とはすべての外側だ。......」
(写真集『zk』あとがきより 抜粋)


zk 

Ryuichi Ishikawa


"zk" is a coded symbol for a spectacular view (zekkei in Japanese), and for the surge of emotion that floods the entire body, via the sense of sight, when we encounter certain amorphous views. It signifies the relationship between landscape and emotion, between outside and inside. The feelings that emerge the moment the view is seen, the body's reaction to the camera's shutter release, the thought process of interpreting them, the self which encompasses all that has occurred up to the present moment. Symbols are culture. Culture is the collective. The collective is movement. Movement is existence. Existence is will. Will is the exterior of everything. All things exist, not for the purpose of someone or something in particular. The world is both outside and inside. It is only being that connects everything, and being overlaps with nothingness. Overlapping, fluctuation, entanglement. Go beyond "meaning." Simply exist as part of the world that is.

People cannot help being born and cannot help dying. To live means to accept that helplessness. All unnameable things cast their shadows under the light of the world. No one can see the world as it is, we can only ceaselessly trace its shadows. We are simply driven by emotions, and while we may be able to think about things, we can never truly know anything about them. There is certainly no way to know where we ourselves are headed.

Where is the boundary between outer surface and interior? Where do the concrete and the abstract connect? Objects, as we see them, are not absolute. To see objects is to see the relationship between them, it is simply a state of flowing energy. The world appears to be saturated with objects and information, but even blank spaces only exist in relation to objects, and all the while, the world is filled with energy and bound by relationships.

There are things that photographs cannot capture, too. Still, they enable us to engage with and interpret things to which it is difficult to give form. A photograph is nothing but a photograph, and for us similarly to be nothing other than what we are, the best we can hope for is to face what is occurring in front of us and around us, to stop adopting an aloof or defiant attitude, to abandon the idea that we are unconcerned and uninvolved. So many things are sad, so many things are painful, that's why I hate a world like this. That's why even if I have to grapple with these things, struggle, feel like I'm about to be crushed, I like and admire people who can simply be happy to be alive, even if there is no meaning to it. And as time goes by, as it always does, I long for the past that must have been, look ahead to the future that is still unknown, and simply look at what is in front of me. At the people who are always with me, the people who have left my life, the people I only encountered briefly. At the misery, the emptiness, the isolation of wandering lost in a concrete jungle. Because otherwise, all connections would be broken.

A spectacular view is an idea. To me, a spectacular view is whatever one sees when living life with eyes wide open, looking straight ahead.

In editing this photo book, I was thoroughly confronted with and inevitably reminded of where I am at the moment. Ah, this is how I see the world. This is how I live my life. Did I will myself to be this way, and if so, how did I become the way I am? Did I just click-click the camera shutter as if nodding my head for a brief instant? Am I that empty and hollow? If so, how do I really want things to be?

Just before I had finalized the layout of the book, I awoke from a dream in which my father had killed me, and was surprised to find tears streaming down my cheeks. The emotion that lingered was not fear, but a kind of loneliness bordering on insanity, or the nostalgic sense of being left behind in a void.

Suddenly, the Miyaji family cat appears from under the table and curls up on the keyboard on which I am writing this. "654eeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee"...

How can I see you from here?


(from the text "zk" by Ryuichi Ishikawa)




Related Exhibiton



石川竜一「zk」 



会期:2022年12月8日(木) 〜12月27日(火)

会期延長 2023年1月5日(木)〜1月31日(火)

時間:13:00〜20:00(土日 11:00〜19:00、水休み)

会場:PURPLE(京都市中京区式阿弥町122-1 3F)

入場料: 500円



【トークイベント】「zk」をめぐって

石川竜一 × ダニエル・アビー(写真研究者)

日時:12月11日(日)15:00

会場:PURPLE  +オンライン配信(instagram: @purple_kyoto


【トークイベント】「zk」をめぐって2

石川竜一 × 木村絵理子(横浜美術館・主任学芸員/ヨコハマトリエンナーレ学芸統括)

日時:12月25日(日)15:00

会場:PURPLE  +オンライン配信(instagram: @purple_kyoto









Artist Information 


石川 竜一 


1984年沖縄県生まれ。2010年、写真家 勇崎哲史に師事。2011年、東松照明デジタル写真ワークショップに参加。2012年「okinawan portraits」で第35回写真新世紀佳作受賞。2015年、第40回木村伊兵衛写真賞、日本写真協会賞新人賞受賞。 
主な個展に2014年「RYUICHI ISHIKAWA」gallery ラファイエット(沖縄)、「zkop」アツコバルー(東京)、「okinawan portraits」Place M(東京)、2015年「okinawan portraits」The Third Gallery Aya(大阪)、「A Grand Polyphony」Galerie Nord(パリ)、2016年、「okinawan portraits 2012-2016」Art Gallery Artium(福岡)、「考えたときには、もう目の前にはない」横浜市民ギャラリーあざみ野、2017年「OUTREMER/群青」アツコバルー(東京)2018年「zkop: a blessing in disguise」Yamamoto Keiko Rochaix(ロンドン)、2019年「home work」The Third Gallery Aya(大阪)、2021年「いのちのうちがわ」SAI(東京)、2022年RECORDry」BD Gallry(名古屋)など。 
主なグループ展に2016年「六本木クロッシング2016展:僕の身体、あなたの声」森美術館(東京)、「Body/Play/Politics」横浜美術館(神奈川)、2017年「日産アートアワード2017:ファイナリスト5名による新作展」BankART Studio NYK(神奈川)、2019年 「Oh!マツリ★ゴト 昭和・平成のヒーロー&ピーポー」兵庫県立美術館(兵庫)「作家と現在 ARTISTS TODAY」沖縄県立博物館・美術館(沖縄)、「Reborn-Art Festival」石巻(宮城)、2022年「国際芸術祭 あいち2022」常滑(愛知)など。 
主な写真集に『okinawan portraits 2010-2012』『絶景のポリフォニー』『adrenamix』、『okinawan portraits 2012-2016』、『いのちのうちがわ』(いずれも赤々舎)、『CAMP』(SLANT)。 


Ryuichi Ishikawa


Born in Okinawa in 1984. In 2010 he studied under photographer Testushi Yuzaki. In 2011 he participated in the Shomei Tomatsu Digital Photography Workshop. He received the 35th New Cosmos of Photography Honorable Mention for "okinawan portraits" in 2012. In 2015, he received the 40th Kimura Ihei Photography Award and the Photographic Society of Japan Newcomer's Award.

Major solo exhibitions include, 2014 "RYUICHI ISHIKAWA" gallery Lafayette (Okinawa), "zkop" Atsukobarouh (Tokyo), "okinawan portraits" Place M (Tokyo), "A Grand Polyphony" Ginza Nikon Salon (2015 Osaka Nikon Salon); 2015 "okinawan portraits" The Third Gallery Aya (Osaka), "A Grand Polyphony" Galerie Nord (Paris); 2016, "okinawan portraits 2012-2016" Art Gallery Artium (Fukuoka), "Once thinking, nothing before eyes" Yokohama Civic Gallery Azamino(Yokohama); 2017 "OUTREMER / Ultramarine" Atsukobarouh (Tokyo); 2018 "zkop: a blessing in disguise" Yamamoto Keiko Rochaix(London); 2019 "home work"The Third Gallery Aya(Osaka)2021 "The Inside of Life" SAI(Tokyo); 2022 "RECORDry"(Nagoya) etc.

Major group exhibitions include 2016 "Roppongi Crossing :My Body, Your Voice" Mori Art Museum (Tokyo), "Body / Play / Politics" Yokohama Museum of Art (Kanagawa); 2017 "Nissan Art Award 2017" BankART Studio NYK (Kanagawa); 2019 "Oh! Matsuri ★ Goto Showa / Heisei Heroes and People in the Japanese Contemporary Art" Hyogo Prefectural Museum of Art (Hyogo) ; 2019 "ARTISTS TODAY" Okinawa Prefectural Museum & Art Museum(okinawa) "Reborn-Art Festival" Ishinomaki (Miyagi); 2022 "Aichi Triennale" Tokoname(Aichi) etc.

Photo books include, "Okinawan portraits 2010-2012", "A Grand Polyphony", "adrenamix", "okinawan portraits 2012-2016","The Inside of Life" (all published by AKAAKA Art Publishing, Inc.), and "CAMP" (published by SLANT).

物語cover01s2.jpg  

 金サジ『物語
    space01.jpg
  Book Design:佐々木暁 
  
  発行:赤々舎

  Size: H320mm × W257mm
  Page:120 pages
  Binding:Hardcover(codex)

  Published in December 2022
  ISBN
978-4-86541-161-4 

¥ 5,500+tax 

国内送料無料!

【国内/Domestic Shipping】 

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。

【海外/International Shipping】
Please choose your area from the two below
      





About Book


トラウマと向き合い、魂を解き放つ、ハイブリッドな物語空間



「物語」は、金サジがここ十年来、民族、国籍、性別などといったアイデンティティを巡る問題について思考しつづけ、創出した作品群です。
それぞれの写真は緻密なセットアップにより、存在の根源に触れ、時間を跨ぎ、類を超え、営みや感情を掘り起こす世界を創造しています。
アジア的な神話世界と西洋美術史の引用が独自に融合されたイメージは強烈で、かつ尽きせぬ謎を投げかけます。

アイデンティティの揺らぎや葛藤。自己の立ち位置をぐらつかせる出来事との遭遇 ── そこでどうやって生きていくのか。
ジェンダー、家族制度、宗教、歴史......世の中の渦巻く状況の中、どこに足をつけて歩いていくのか。
それを見つけようとする「物語」がさまざまな時空で、写真と言葉(日・韓・英)によって展開されます。
あらすじやストーリーとは異なる、始まりも終わりもない「物語」に触れ、ひとりひとりが遡る痛みと、解き放たれる思いがあるでしょう。

あらゆる二項対立を受けて、表紙は鮮烈な赤と青。反転するオモテとウラ。
剥き出しの背表紙からは、赤と青の糸が傷のように、あるいは隔たりを縫い合わせるかのように覗きます。
ときにそれらの糸は、写真の上を静かに渡り、異なる時間を重ねています。

金サジ、待望の初写真集は、「漂い続ける人」の時代を深く穿ち、揺さぶる「物語」です。





金サジはコリアン・ディアスポラ(朝鮮系移民)が抱える重く苦痛に満ちた記憶に、新鮮な「トリッ クスター的エネルギー」を注入する。それは暗闇に光をもたらし、 歴史を回復し、新たな癒しの可能性を開いていく。 

本書収載「トリックスターとトラウマ」より抜粋
グレッグ・ドボルザーク(文化研究者)


誰もが頷く理想的で観念的な正しさの手前で、当事者の心にはわだかまりが溜まっていく。この本は、そのわだかまりの昇華である。 
REALKYOTO FORUM 文化時評6 「当事者性ということ」より抜粋
清水穣(美術、写真評論家)


Story  이야기

Kim Sajik  김사직


"In Story, Kim Sajik takes us on a mythical journey through the soul. Like the androgynous child muse figure whose gaze meets ours at the beginning and end of this collection of photographs, it is as if the artist herself is a trickster who stands at the edge of another dimension and beckons us in. In the mythology of all world cultures, a trickster is a figure who can cross boundaries and travel between dimensions. Here, she bends the rules and the established order of dominant narratives in order to dive deeply into important questions about identity, hybridity, gender, and existence.


As a third-generation Korean immigrant to Japan (Zainichi Korean), Kim uses her art to address the intersecting traumas of colonialism, war, cultural displacement, and subjugation. This is an alternate dream universe, inflected with the "stories" of intergenerational wisdom and experience passed from mothers to daughters, through waves of Korean migration to Japan; yet it is also a surreal and often playful depiction of universal themes that speak to the shared, global human experience of survival and resilience in the face of unspeakable violence. Though there are obvious hints of Korean iconography in her work, her imagery is in fact an elaborately imagined cosmos of hybridity hewn from the visions of her dreams. Even the clothing and adornments worn by the figures in these images are neither traditionally "Korean" nor belong to any ethnic group; they are entirely the creation of the artist. Like the collective unconscious about which Jung wrote extensively, there is an archetypal nature to these images that traces the mysteries of birth, life, light, darkness, death, and rebirth. But in some ways, Story is a self-portrait of the artist herself, a personal dream world in which pine trees speak of omens and earthquakes are the outcome of the earth and the sky making love.


In this other dimension, our earth has emerged from a violent disturbance in the proverbial timeless cosmic cycle of egg versus chicken. The world has spilled from the neck of this decapitated chicken, and the land, puckered with inflamed wounds, is a vast lava field, bleeding like exposed viscera. A great eternal pine tree towers over this planet, her branches resembling human limbs and bones, passing wisdom from generation to generation, auspicious pinecones exploding and spawning, planting seeds for more life. Animal and plant deities guard over this abundant planet. A womb, hewn of bark and feathers, comes into view--merging of sky and earth. Two female twins are born to a woman who prays for children deep in a forest. They are blessed by sanshin harumoni, the grandmotherly guardian goddesses of childbirth, and watched over by natural spirits, but also haunted by evil ogres. In two mirror-image self-portraits of the artist, we watch how these twins each grow up into young women whose worlds contradict--torn apart by the colonial violence of patriarchal power on one hand and the maternal, primordial forces of nature on the other. Citing Renaissance-era paintings of the biblical battle between Cain and Abel, the artist portrays the brutal struggle between these sisters as a representation of her own intergenerational identity struggle between Korea and Japan [...]


Yet, this mythical journey leads beyond death and towards rebirth, through song and celebration, through rituals of new beginnings. For the artist, the boat that carries the soul to another realm is not just a vehicle but a companion who walks with the dead. And from the shells of myriad cicadas, a lotus flower breaks through the surface, in an allusion to the endless Buddhist cycle of samsara.  [...]


Inspired not only by traveling and encountering fairy tales passed down from elders, many of these scenes were imagined from Kim's own sense of embodied knowledge gleaned from rehearsing traditional Korean dances that have been reinterpreted by successive generations of Zainichi Korean immigrant communities in Japan. She celebrates the body in all its rawness, honoring women's bodies' deep links to land and nature, as agents of creation. As a dancer, she recuperates in her own body the memory of previous generations while also embracing the shifts, ruptures, and transformations that have come about through trauma and contradictory contexts. Her photographs, many of which are self-portraits of her own body, celebrate the complexity of these postcolonial identities, not shying away from the brutal wounds of war and colonial subjugation, and the ensuing sense of disorientation and displacement. [...]


Emphasizing the power of women, the male protagonists who appear in Story are faceless, with the exception of those who are dead or social outcasts. The figure of the man who has beheaded the cosmic chicken, the holy man who imposes his religion, the groom who marries one of the twins, the invading colonist who sits proudly with his rifle upon the skin of a slain tiger--each of these characters and many others have their faces obscured from view. Most conventional nationalistic histories around the world, especially those of colonization and war, highlight only the names and faces of male heroes. By exposing the struggles and contributions of women, Kim reverses this erasure and calls attention to matrilineal heritage and continuity. She also shows how in many ways, the patriarchal violence carried out by men--such as Japanese imperial military atrocities and harsh, racist colonial rule--was often carried out by "faceless" actors who were never held accountable for their crimes. Rather than blame all men for these traumatic trespasses, Kim shows how the ideology of gender itself can result in the perpetuation of harm. [...]


Story is a ceremonial dimension that attempts to soothe the wounds of colonialism and recuperate stolen memories and roots. As Kim Sajik herself points out, rituals are liminal moments when unexpected, even absurd events take place, and yet we fully accept these otherworldly experiences without even really understanding what has just taken place. Shamanistic rituals often entail puzzling, enigmatic elements that remove us from our everyday realities and allow us to think in new and refreshing ways. By invoking the magical space of ritual and shamanism, the artist thus infuses fresh "trickster energy" into the painful, heavy memories borne by the Korean diaspora of Japan, lighting up the darkness, reclaiming history, and opening up new possibilities for healing."


Extracted from the text "Tricksters and Trauma" 

 Greg Dvorakr 

Professor of Pacific and Asian history and gender studies, Waseda University




Related Exhibiton



金サジ「『物語』シリーズより 山に歩む舟 


会期:2022年10月27日(木) 〜11月14日(月)

時間:13:00〜20:00(土日11:00〜19:00 水休)

会場:PURPLE(京都市中京区式阿弥町122-1 3F)

入場:500円

文化庁「ARTS for the future! 2」補助対象事業


Related Reviews

金サジ「物語」シリーズより:山に歩む舟
当事者性ということ(REALKYOTO FORUM レビュー)|文:清水 穣


金サジ「物語」シリーズより:山に歩む舟(artscape レビュー)|文:高嶋慈











Artist Information 


金サジ 

自身のコリアンディアスポラの身体的、精神的アイデンティティの「揺らぎ」をきっかけとして活動をはじめる。創作物語を演出写真の技法を用いて作品を制作。写真家として活動しながら、活動の一環として、韓国舞踊家、金一志の下に師事。韓国伝統芸能を学びながら、ディアスポラに代々継承されていく歴史・民族精神のトラウマから生まれる新たな可能性を探っている。現在、ロシアのサハリンのリサーチを日本サハリン協会等の協力を得ながら継続中。2020年度より多様なメンバーと映像作品「AMA~ウィルスとおよぐ~」を完成に向けて奮闘制作中。2016年度キヤノン写真新世紀グランプリ、令和3年度京都府文化賞奨励賞受賞



Kim Sajik

Born in Kyoto. The swaying her own Korean diaspora's physical and mental identity have driven her to work. she creates works using the technique of staged photography of her creative narratives.  As part of artist's activities, she studied under the Korean Butoh dancer, Kim Iru Chi. While studying traditional Korean performing arts, she is exploring new possibilities that arise from the trauma of historical and ethnic spirituality passed down from generation to generation in the diaspora.she recived the Grand Prize in 2016 Canon's New Cosmos of Photography competition and 2021Kyoto Prefecture Cultural Prize,Encouragement Award.


2014 "Busan Biennale 2014 Special Exhibition Asian Curatorial" (Busan,Korea)

2016 "Art Court Frontier 2016 #14", Art court gallery (Osaka,Japan)

2017 "the Night of a Full Moon, a Man Builds a Grave and a Woman Eats Pinecones." TOKYO PHOTOGRAPHIC ART MUSEUM (Tokyo,Japan)

2017 "showcase #6 "Storytelling" curated by minoru shimizu" eN arts (Kyoto,Japan)

2017 "Ascending Art Annual Vol.1「Shapes and Figures」"Spiral(Tokyo,Japan),WACOAL STUDYHALL (Kyoto,Japan)



 

FT_COVER3.jpg  

 金井直『像をうつす 複製技術時代の彫刻と写真
    space01.jpg
  Book Design:大西正一
  Editor:青山勝 
  
  発行:赤々舎

  Size: H210mm × W148mm
  Page:200 pages
  Binding:Softcover

  Published in December 2022
  ISBN
978-4-86541-153-9

¥ 3,200+tax 

国内送料無料!

【国内/Domestic Shipping】 

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。

【海外/International Shipping】
Please choose your area from the two below
      





About Book


彫刻と写真のこだま。新たな美術史の視点


本書は、著者が『自然の鉛筆』に触れ、写真と彫刻との関係について論じたテキスト「写真と彫刻、あるいは互恵性」で生じた問題意識を、5年にわたる準備や執筆によって展開したものである。

ロダンとスタイケン、カノーヴァとメイプルソープ、ブランクーシの写真 ─ 表面への途切れぬ思慮によって、つながる彫刻と写真。または、彫刻と写真の交差から浮かび上がる、地続きの経験。ともに近代の 技術 アート に支えられつつ、時と場に応じて 芸術 アート の相貌をまとう実践を豊かに解き明かす。

また、十九世紀の写真の出現ではなく、むしろ十八世紀の彫刻複製産業の興隆こそが、近代的な複製文化とその鏡像としてのオリジナル信奉の培地となったとも著者は考える。
三次元と二次元、物質とイメージといった二分法に当てはめられ、今日でもメディウムスペシフィックな分類に収まりがちな両者のあいだに、実は共通性や親和性、相互依存など、さまざまなつながりがあることが、各章を通して明らかになる。

オーギュスト・ロダンからジュゼッペ・ペノーネ。W.H.フォックス・トルボットからロバート・メイプルソープまで─。
個や地域・時代を越えてこだまする彫刻と写真の呼びかけ合い。






Contents



序論 像をうつす 005

chapter 1 彫刻複製写真の歴史 025

chapter 2 印象主義彫刻と写真 ロダンとロッソ 053

chapter 3 ブランクーシ 彫刻を拡張する写真 083

chapter 4 展開された場としての写真 デイヴィッド・スミス頌 119

chapter 5 脱 ─ 文化としての彫刻 ジュゼッペ・ペノーネの場合 141

むすびにかえて 171



COLUMN

彫刻におけるプンクトゥム 021

フレデリック・スコット・アーチャー 050

ロダンと近代日本 、そして 写 真 078

マン・レイとボワファール 113

ジャンフランコ・ゴルゴーニ 137

時を刻むこと─能産的自然を可視化する ペノーネと野村仁 166

あとがき

年表 図版出典一覧 人名索引




TRANS-FIGURATIONS
SCULPTURE AND PHOTOGRAPHY IN THE AGE OF MECHANICAL REPRODUCTION

Tadashi Kanai


This book《TRANS-FIGURATIONS》by Tadashi Kanai is the result of five years of preparation and writing that developed the awareness of the issues raised from the text "Photography and Sculpture, or Reciprocity," in which he wrote the relevance between photography and sculpture in reference to  《The Pencil of Nature 》.

Each chapters reveal that the dichotomy between three-dimensional and two-dimensional, material and image, and the medium-specific classification that tends to be applied to these two categories even today, are in fact connected in various phases, as commonalities, affinities, and interdependence.

From Auguste Rodin to Giuseppe Penone, from W.H. Fox Trubot to Robert Mapplethorpe. The resonance of sculpture and photography echoes beyond the individual, the region, and the time period.

(Text is JAPANESE only)




Related Event



【トークイベント】豊田市美術館オンライントークシリーズvol. 3「写真と彫刻 作家と研究者の視点から」」 



日時:2022年12月11日(日) 15:00〜(14:30開場)

出演:山本糾氏(写真家)、金井直氏(信州大学人文学部教授)

会場:豊田市美術館 美術館講堂 +オンライン(収録、後日配信)

定員:150名、要申込、参加無料








2015_1020_258-e1644464405548.jpg




Artist Information


金井直(Tadashi Kanai)

1968年福岡県生まれ。1991年京都大学文学部卒業、1999年同大学にて博士号取得。豊田市美術館学芸員(2000─07年)を経て、2007年より信州大学人文学部准教授。2017年より同教授。専門は新古典主義および近現代彫刻史。

主なキュレーションに「アルテ・ポーヴェラ」(豊田市美術館、2005)、「Vanishing Points」(ニューデリー国立近代美術館 他、2007)、「あいちトリエンナーレ2016」(共同キュレーション、愛知県美術館他、2016)、共著に『彫刻の解剖学』(ありな書房、2010)、『自然の鉛筆』(赤々舎、2016)、共訳に『ART SINCE 1900 図鑑 1900年以後の芸術』(東京書籍 2019)などがある




Related Items



W.H.フォックス・トルボット

hatakeyama_rikuzen_cover5.jpg  

 畠山直哉『陸前高田市東日本大震災遺構
    space01.jpg
  Book Design:大西正一 
  
  発行:赤々舎

  Size: H295mm × W208mm
  Page:160 pages
  Binding:Softcover

  Published in November 2022
  ISBN
978-4-86541-152-2

¥ 3,500+tax 

国内送料無料!

【国内/Domestic Shipping】 

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。

【海外/International Shipping】
Please choose your area from the two below
      





About Book


震災遺構と写真。人々の意識や記憶の間の「扉」となり、大きな時間に対する紀要として差し出される一冊


2020年の夏、畠山直哉は、故郷である陸前高田市の市役所からの依頼により、旧道の駅高田松原(タピック45)、気仙中学校、下宿定住促進住宅1号棟、陸前高田ユースホステルなど、陸前高田市の4つの遺構をデジタルカメラを用いて撮影した。

年間約40万人が訪れる観光情報発信拠点として大いに賑わっていた旧道の駅。作家の母校でもあった気仙中学校。幾度か友人を泊めたこともあったというユースホステル。子育て世代などの若い人々のためにあったという下宿定住促進住宅─。東日本大震災が起こった10年前のままびっしりと土が詰まっていた4つの遺構の内部は、一方で、市民体育館や市民会館など解体されてしまった他の建物と異なり、たまたま死者が出なかった建物でもあった。
そして、その周囲には、すでに2013年にコンクリートの地盤に人工の芯を立てられ、幹に防腐加工が施され、葉がプラスチック製という姿になった「奇跡の一本松」も存在する。

今後は、市が公開を前提に保存整備を行う予定となっている4つの震災遺構、そしてその前に内部が詳録されたこれらの写真は、それぞれ人々の意識や記憶の間の「扉」となり、大きな時間の中でどのような風景に開かれていくだろうか。

大きな時間に対する、紀要として差し出される一冊。




Memorial Ruins of 2011 Tohoku Earthquake in Rikuzentakata 

Naoya Hatakeyama


In the summer of 2020, Naoya Hatakeyama was commissioned by the city hall of his hometown, Rikuzentakata City, to photograph the Memorial Ruins of 2011 Tohoku Earthquake at four locations in Rikuzentakata, including "Former Michi no Eki Takata-Matsubara (Tapic 45)", "Rikuzentakata Municipal Kesen Junior High School"," Shimojuku Settlement Promotion Housing Building1", and "Rikuzentakata Youth Hostel". 

The city will be preserving and maintaining these ruins with the plan that they will be open to the public, but at the time these photographs were taken with a digital camera, the interior of the buildings were so tightly buried with soil and they looked exactly the same as 10 years ago, when  2011 Tohoku Earthquake struck. 

4 remains that will be preserved and maintained in the near future, and these photographs taken before then. What kind of scenery will each memorials lead to in the overall time, and How will they open the door that is between the consciousness and memories held by people?

These photos taken 10 years after 2011 Tohoku Earthquake, are quietly placed as a kind of bulletin to unknowable in the overall time.



"Kesen Junior High School, a public school located on the west bank of the mouth of the Kesen River looking out on Hirota Bay, was founded in 1947 after the war ended as one of a group that included two elementary schools in the neighborhood.

Two years later in 1949, the schools were merged and Kesen Junior High School was opened in this location. When the Chile earthquake and tsunami occurred in 1960, the embankment of the Kesen River failed to prevent overflow so that the first floor of the two-story wooden school building was reportedly flooded to a height of 85 centimeters. The next year in 1961, the city's first indoor gymnasium equipped with the latest gymnastics equipment was completed. Olympic gymnasts visited the gymnasium to give exemplary gymnastic performances, and it was also used for shows put on by famous singers. Around that time, the student body numbered over three hundred. Much later in 1981, a three-story reinforced concrete school building was constructed. The school was inundated by the tsunami caused by the Tohoku Earthquake which rose so high that it covered the roof of the building and swept the gymnasium away. Fortunately, all of the 86 students attending chorus practice in the gymnasium at the time quickly evacuated safely to the high ground nearby. After the earthquake disaster another school building in the city, Yahagi Junior High School, which had been closed, was put into use so that the students could continue their schooling. In 2018, Kesen Junior High School rung down the curtain on its 71-year history when it was merged with Rikuzentakata Municipal Daiichi Junior High School.

Kesen Junior High School is the alma mater of the photographer of this photograph collection."


(Quoted from the text "Rikuzentakata Municipal Kesen Junior High School" by Naoya Hatakeyama




Related Exhibiton



企画展「Taiza, Tango」 



会期:2022年12月10日〜12月25日

時間:11:00〜15:00(最終入場14:30、土日休)

会場:丗|SEI(京都市左京区)

入場:1,000円 

主催:文化庁、NPO法人TOMORROW 

文化庁「ARTS for the future! 2」補助対象事業


写真家・畠山直哉が京都・京丹後を訪れ出会った自然と風景の記録と共に、同地で生み出された生産物を紹介する展示









Artist Information 


畠山直哉

写真家。1958年岩手県陸前高田市生まれ。筑波大学芸術専門学にて戦後前衛芸術集団「実験工房」のメンバーであった大辻清司や山口勝弘に薫陶を受ける。その後、東京を拠点に活動を行い、自然・都市・写真のかかわり合いに主眼をおいた一連の作品を制作する。

石灰石鉱山の連作と、東京の建築空間や水路を被写体にした作品群で注目を集め、1997年第22回木村伊兵衛写真賞、2001年第42回毎日芸術賞、2012年芸術選奨文部科学大臣賞などを受賞。国内外で個展、グループ展に多数参加し、2001年にはヴェニス・ビエンナーレ日本代表の一人に選出されている。また2012年には、ヴェニス・ビエンナーレ国際建築展の日本館展示に参加し、館はその年の金獅子賞を受賞した。

作品はTATE(ロンドン)、MoMA(ニューヨーク)、東京国立近代美術館をはじめとする、主要都市の美術館に収蔵されている



Naoya Hatakeyama

born in 1958 in Iwate Prefecture, Japan. Hatakeyama, a student of Kiyoji Otsuji, completed graduate studies at Tsukuba University in 1984. Since then, Hatakeyama has been based in Tokyo, a city which has served as a model from which he has developed a body of work concerned largely with the relationship between nature, the city and photography. In addition to his participation in numerous solo and group exhibitions, Hatakeyama's photographs are found in public collections including the National Museum of Modern Art, Osaka; the National Museum of Modern Art, Tokyo; Tokyo Metropolitan Museum of Photography; the Museum of Fine Arts, Houston; Yale University Art Gallery, New Haven; the Swiss Foundation for Photography, Winterthur; la Maison EuropEéenne de la Photographie, Paris; and the Victoria & Albert Museum, London.




Related Items




谷口昌良・畠山直哉
   
W.H.フォックス・トルボット



<< Previouse 1234567891011