『深瀬昌久 1961-1991レトロスペクティブ』       Book Design：木村稔将、阿部原己（Tanuki）       発行：赤々舎   Size： H220mm × W148mm   Page：216 pages   Binding：Cloth Hardcover   Published in March 2023    ISBN：978-4-86541-166-9	¥ 3,000＋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    　　　 Book + Asia shipping ￥4,600 JPY Book + World shipping ￥5,590 JPY

Masahisa Fukase 1961-1991 Retrospective

"I never think that I can capture a certain subject by taking a photograph of it. What is important for me is how deeply I can enter into it, and to what degree I can cause it to reflect me. I want the very act of looking through the viewfinder to be a flesh-and-blood action... I strongly feel that photography can be freer, more open. I believe it is possible to relate to it in a way that encompasses my entire being."

Masahisa Fukase, 1969

By focusing intently on his personal life, Masahisa Fukase carved out a unique place for himself in the history of Japanese photography in the 1960s. While exploring the origins of photography, Fukase developed a major practice among a group of artists associated with what later came to be known as shi-shashin ("I-photography").

Fukase pointed his camera at those in his immediate surroundings, including his wife and family; and while exposing his own private life, he consciously explored the madness that lay deep within himself. This madness led to remarkable and unparalleled works that combined Fukase's loving gaze for his subjects with his carefree sense of humor.

This book "Masahisa Fukase 1961-1991 Retrospective" boasts a substantial assemblage of works, including major Fukase works, such as "Yūgi (Homo Ludence)", "Yōko", "Karasu (Ravens)",  "Sasuke", "Kazoku (Family)", and "Bukubuku".

----------

Fukase said his work "always comes from things around me, things I can touch with my hands," he "saw myself reflected in the (subjects') eyes (and) wanted to photograph the love that I saw there." He sought to convey "the multilayered nature of existence" in a single photograph by endeavoring to capture "a reflection of myself," but as photographs do not reveal the photographer's true intentions as well as words do, even when this practice was an expression of love, he repeatedly encountered "the paradox of being together for the sake of photography. However, Fukase was evidently confronted with the paradox of a love-hate relationship with photography since he was a child, long before he mastered language. " ［...]

Most of the things that Fukase spent his life gazing at were familiar parts of his surroundings. In other words, while he engaged with the kinds of subjects that anyone could easily shoot on the spur of the moment, there is a definitive essence to his photographs, and it is this essence, of heartrending earnestness, that made Masahisa Fukase the photographer he was.

Fukase was a photographer with vision and willingness to experiment, who applied an extraordinary sensibility when he took photographs. He took them as if he were touching and stroking his subjects, as people do with their smartphones today, rather than observing them through a camera, and in the current era when posing with oneself in the scene has become commonplace, we can empathize all the more with the perspectives and sensibility expressed throughout his oeuvre, and even get to the primal roots of what people enjoy about photography. Fukase's work was never lost to the past, but was playing a long game with photography that extended far into the future, when we would finally catch up with it.

Extracted from the text 

"A Game of Undifferentiated Subject and Object: The Paradox of Love and Photography"

Tomo Kosuga [Director, Masahisa Fukase Archives]

邢磊『潮汐』       Book Design：榊原健祐（Iroha Design）       発行：赤々舎   Size： H200mm × W228mm   Page：112 pages    Binding：Hardcover   Published in February 2023    ISBN：978-4-86541-164-5	¥ 4,000＋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    　　　 Book + Asia shipping ¥6,150 JPY Book + World shipping ¥7,400 JPY

Tide

XING Lei

"I am fond of taking photograph fragile things: butterflies, plants, relics, and lost people. Additionally, I am enchanted by the eternal elements: the moon, rivers, tides, and fossils.

Maybe it's because of the fragility and regret of life, or because of my own nature, honestly, I have yet to fully comprehend. However,  the continuous passing of my dear ones compels me to articulate these experiential facets of existence.

Whether it is due to the fragility and regret of life or simply a natural inclination, I still do not fully understand. Nevertheless, the successive  passing of my dear ones have compelled me to articulate these experiential facets of the existence.

Taking photographs for me,  is an extension of my memories and imagination: unfolding, closing, concealing, and, confusion... Within the dark box lies an infinite abundance of the past and secrets. And when I pick up the camera and face the world, the tide of the past spreads out like this.

In my life, photography is akin to a ship. Though it has weathered and decay with time, it still has the capacity to embrace me even when darkness descends."

Extracted from the afterwords

Xing Lei 

----------

我喜欢拍摄脆弱之物：蝴蝶, 植物, 遗迹, 失落之人; 也迷恋永恒：月亮, 河流, 潮汐, 化石。

或许是出于对生命的脆弱与惋惜, 还是自己天性如此, 说实话我至今也没搞清楚。但亲爱之人的不断消逝, 令我不得不去描述这些生命体验。

拍照是一个人记忆与想象的延伸：打开, 闭合, 隐匿。混淆...暗盒里存放着无限的过去与秘密。而当我拿起相机, 面对这个世界的时候, 过去的潮汐便会像这样蔓延开来。

在我的生命里摄影是一艘船, 我靠着它继续航行。虽然它已风化得有些枯朽不堪。但是当黑暗降临, 那里仍然可以收留他。

松江泰治『TAIJI MATSUE』       発行：Ugeyan Co Ltd,      Size： H301mm × W378mm   Page：348 pages   Binding：Hardcover（aluminum, silver)   Limited 900 (less stock), signed, edition numbered   Published in January 2003    ISBN：4-9901746-0-7	¥ 30,000＋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    　　　 Book + Asia shipping ¥34,650 JPY Book + World shipping ¥37,200JPY

TAIJI MATSUE 

Matsue Taiji

《TAIJI MATSUE》published in 2003, on Taiji Matsue's photography compiles every one of his masterpieces-from the time he began documenting the surface of the earth in 1989 all the way through to 2002, during which time he received the Kimura Ihee Photography Award. The various surfaces of the earth that are collected in the book as "place names" have been purposefully captured under a homogeneous light, thoroughly exposing the materials seen in the images: from the sand grains in a desert to a vast forest, from an untrodden piece of land to a city. 

In the book, supervision by TARO NASU GALLERY, has an aluminum cover, and the development of these chronologically-compiled works has been done through placing a photo on each side of a two-page spread, with all of the pages containing non-framed, wide-screen images. This book has also incorporated CTP Screening and Fairdot480, featuring most advanced resolution techniques at the time, with the intention of reproducing the closest quality possible to Matsue's original prints. 

《TAIJI MATSUE》closely reflects Matsue's style that continuously pursues perfection.

"About a hundred and eighty years after photography first made its appearance, a new vision of photography has finally come into being through the work of Taiji Matsue.

From the extremely desolate, dry world that is manifested from the entirety of this thick catalog titled "TAIJI MATSUE," I can perceive a sense of eroticism that is similar to the feeling of being in a trance. Matsue has successfully disclosed a new critical point in photography. This collection of Matsue's photographs allowed me to sense for the first time that the earth is really such a beautiful planet."

Daido Moriyama

---

Special Set Item

 

『gazetteerCC』＋『TAIJI MATSUE』     『gazetteerCC』    発行：赤々舎     Size： H275mm × W360mm   Page：280 pages   Binding：Hardcover   Limited 800, signed,edition numbered   Published in 2023    ISBN：978-4-86541-163-8	¥ 40,000＋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    　　　 Book + Asia shipping ¥48,700 JPY Book + World shipping ¥53,700 JPY

代表作「gazetteer」「CC」から 262 点を収載した、集大成の一冊。

地名収集という方法で制作を続けている松江泰治。『TAIJI MATSUE』から20年を経て刊行される新刊『gazetteerCC』（ギャゼティアCC）では、世界の砂漠や森、山脈、平原など、自然を収集した「gazetteer」と、都市を収集した 「CC」の両作品を、H275mm × W360mm の大きな判型に展開しています。影の生じない時間と方角を選び、空や地平線を排除して平面性を追求した写真は、「絶対ピント」と評される明瞭さで、写真の隅々にまで写り込んだ要素が等価に浮かび上がり、肉眼で捉えきれなかった細部が立ち現れます。 写真の本質を貫く独自の技法で制作された「gazetteer」「CC」シリーズから、大判カラーフィルムで撮影した262 点が収載された、決定版となる写真集です。

今回『gazetteerCC』の刊行を記念し、松江泰治の、刊行年代の異なる集大成2冊として、『gazetteerCC』（2023）＋『TAIJI MATSUE』（2003）を特別にセットでもお届け致します。

2冊共にサイン、エディションナンバー入。
※『gazetteerCC』と『TAIJI MATSUE』のエディションナンバーは異なるものになります。
※  セット特別販売価格として、通常、2冊で47,300円（税込）のところ、44,000円（税込）にてお求め頂けます。
※  『gazetteerCC』14,300円（税込）のみもご購入頂けます→

On the occasion of the publication of《gazetteerCC》, we will offer《gazetteerCC》+《TAIJI MATSUE》 as a set as two culminations of Taiji Matsue's work from different eras.

"The photographs collected in 《gazetteerCC》 were digitally scanned and digitally printed from color negatives, which Taiji Matsue shot using an analog process between 2000 and 2017.

The artist has actually been working in color for quite a long time in addition to his black-and-white photography. However, the nature of the analog color printing process is such that printing color negatives onto photographic paper blurs the "absolute focus" (to be explained below) that is most essential to Matsue's work, so he refrained from presenting these works and waited for advances in digital technology. In 2008, digital scanning and printing technology of sufficient quality became available, and Matsue made a major shift toward color which continues to this day.［...]

《gazetteerCC》published in 2023, compiled with the addition of many previously unreleased works, consists of a total of 262 photographs numbered from 001 to 262, with "ALPS" (001) and "YOSEMITE" (262) as the entrance and exit, so to speak, and all the photographs arranged in pairs (even-numbered + odd-numbered). ［...]

"Excess of photography" is not a reference to the world's inundation with an overabundance of photographs. It means that a human being cannot look at a photograph and see it all at once in its entirety. This is because when we see a photograph, the act of looking inevitably casts a shadow on it, inevitably generating an invisible blind spot. In capturing sweeping views of cities and nature from high above, Taiji Matsue's photographs remind us of the impossibility of a true panoramic view. By doing so, they open up photography to the wealth of details as yet unseen."

Both titles are signed and edition numbered.
※ The edition numbers of  《gazetteerCC》 and  《TAIJI MATSUE》 are different from each.
※ The special price as a set sale.
※《gazetteerCC》only is also available→

松江泰治『gazetteerCC』       Book Design：秋山伸 + 和田悠馬 [edition.nord]      発行：赤々舎   Size： H275mm × W360mm   Page：280 pages   Binding：Hardcover   Limited 800, signed, edition numbered   Published in January 2023    ISBN：978-4-86541-163-8	¥ 13,000＋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    　　　 Book + Asia shipping ¥19,350 JPY Book + World shipping ¥22,850JPY

gazetteerCC 

Matsue Taiji

"The photographs collected in this book were digitally scanned and digitally printed from color negatives, which Taiji Matsue shot using an analog process between 2000 and 2017.

The artist has actually been working in color for quite a long time in addition to his black-and-white photography. However, the nature of the analog color printing process is such that printing color negatives onto photographic paper blurs the "absolute focus" (to be explained below) that is most essential to Matsue's work, so he refrained from presenting these works and waited for advances in digital technology. In 2008, digital scanning and printing technology of sufficient quality became available, and Matsue made a major shift toward color which continues to this day.

While digital photography has long followed in the footsteps of film photography and attempted to mimic it, it has been considered a different kind of medium, with nonstraightforward imagery subject to manipulation and not serving as an index of reality, and this contextualization has been generally accepted. However, in recent years digital photographic technology has progressed far beyond the stage of imitations of negativebased analog photography, and is fundamentally transforming the nature of the medium.

Naturally, the concepts of framing, focus, cropping and so forth that were prerequisites for conventional photography are also being disrupted. Matsue's work not only anticipates these disruptions, but also responds to them.

The series in this photo book, CC and gazetteer, are not made up of aerial photographs.

They are landscapes shot from sites at high elevation, selected after careful research (on accessibility, daylight hours, angle of light, best shooting time), and as a rule -- as far as conditions on the ground permit -- are not bird's-eye views but direct head-on shots of the scenery. There are four conditions that must be met: clear skies, lighting from the front, head-on shots, and absolute focus. As a rule, photographs should be taken on a sunny day in good light, and in terms of angle, the subjects should be seen from the front. The all-over images, which do not use vertical but only horizontal positioning and have no visible horizon line, eliminate spatial and temporal depth that automatically emerges as the viewer's gaze moves along a vertical axis, block the viewer's gaze from wandering "beyond" the horizon, and rebuff the viewer's emotional investment in the image while bringing everything in it to the foreground. The viewer's attention is directed to the depth of the excessive, highresolution information packed into the image, rather than to spatial depth. This is what is meant by "absolute focus": the focus position that is not reliant on the naked eye, but absolute in terms of the lens, is the focal point, and the moment when all the light focuses into an image at the focal point is the moment when that light comes from an infinite distance. In other words, "absolute focus" is the focus that is achieved automatically based on the principles of the lens when a scene is shot with the focus adjusted to infinity, with the word "absolute" referring not to "completeness" from a human perspective but to the fact that it is not premised on the human gaze.［...]

This book, compiled with the addition of many previously unreleased works, consists of a total of 262 photographs numbered from 001 to 262, with "ALPS" (001) and "YOSEMITE" (262) as the entrance and exit, so to speak, and all the photographs arranged in pairs (even-numbered + odd-numbered). "ALPS," which opens the book, is a 2011 re-shooting of "ALPS 1996 #12" (1996), which also appears on the cover of Hysteric Matsue Taiji (2001), the completed form of the black-and-white series gazetteer, and Matsue photographed the same landscape again in 2018. It is what is known as a fixed-point observation of a landscape that has not changed over the past 20-odd years. YOSEMITE, which closes the book, shows the El Capitan peak photographed from Taft Point in Yosemite National Park. It is still the same landscape, but superimposed with photographic history and with a tribute to Carleton Watkins, a longtime inspiration to the artist.［...]

Matsue's photographs capture and contain all the information in a landscape, whether the photographer is looking at it or not. Regardless of whether or not we recognize it, everything in the world exists at any given time.

"Excess of photography" is not a reference to the world's inundation with an overabundance of photographs. It means that a human being cannot look at a photograph and see it all at once in its entirety. This is because when we see a photograph, the act of looking inevitably casts a shadow on it, inevitably generating an invisible blind spot. In capturing sweeping views of cities and nature from high above, Taiji Matsue's photographs remind us of the impossibility of a true panoramic view. By doing so, they open up photography to the wealth of details as yet unseen.

Extracted from the text "Excess of Photography"

 by Minoru Shimizu

(Art critic / Professor, Faculty of Global and Regional Studies, Doshisha University)

---

Special Set Item

 

『gazetteerCC』＋『TAIJI MATSUE』     『TAIJI MATSUE』    発行：Ugeyan Co Ltd,     Size： H301mm × W378mm   Page：348 pages   Binding：Hardcover（aluminum, silver)   Limited 900(less stock), signed, editon numbered   Published in 2003    ISBN：4-9901746-0-7	¥ 40,000＋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    　　　 Book + Asia shipping ¥48,700 JPY Book + World shipping ¥53,700 JPY

2003年に有限会社うげやんから刊行された『TAIJI MATSUE』(900部限定、残部僅少）は、松江泰治が地表を記録し始めた1989年から、木村伊兵衛賞受賞を経て、2002年までの代表作を含む集大成である。「地名」として収められた多様な表層は、敢えて均質な光のもとに撮影され、 砂漠の砂粒から大森林、未踏の地から街までが、その素材の全てをさらけだしている。

TARO NASU GALLERYプロデュースの元、特装本である表紙には、アルミアルマイトが用いられ、中身は、全頁裁ち切りのワイドな画面によって展開している。 オリジナルプリントの質感を可能な限り再現すべく CTP Screening および Fairdot 480という、当時最高レヴェルの高精細な印刷技術が投入され、パーフェクトを追求する松江のスタイルが細部にわたって反映された一冊です。

今回『gazetteerCC』の刊行を記念し、松江泰治の、刊行年代の異なる集大成2冊として、『gazetteerCC』（2023）＋『TAIJI MATSUE』（2003）を特別にセットでもお届け致します。

2冊共にサイン、エディションナンバー入。
※『gazetteerCC』と『TAIJI MATSUE』のエディションナンバーは異なるものになります。
※  セット特別販売価格として、通常、2冊で47,300円（税込）のところ、44,000円（税込）にてお求め頂けます。
※『TAIJI MATSUE』33,000円（税込）のみもご購入頂けます→

On the occasion of the publication of《gazetteerCC》, we will offer《gazetteerCC》+《TAIJI MATSUE》 as a set as two culminations of Taiji Matsue's work from different eras.

《TAIJI MATSUE》published by Ugeyan Co Ltd, in 2003, on Taiji Matsue's photography compiles every one of his masterpieces-from the time he began documenting the surface of the earth in 1989 all the way through to 2002, during which time he received the Kimura Ihee Photography Award. The various surfaces of the earth that are collected in the book as "place names" have been purposefully captured under a homogeneous light, thoroughly exposing the materials seen in the images: from the sand grains in a desert to a vast forest, from an untrodden piece of land to a city. 

In the book, supervision by TARO NASU GALLERY, has an aluminum cover, and the development of these chronologically-compiled works has been done through placing a photo on each side of a two-page spread, with all of the pages containing non-framed, wide-screen images. This book has also incorporated CTP Screening and Fairdot480, featuring most advanced resolution techniques at the time, with the intention of reproducing the closest quality possible to Matsue's original prints.
《TAIJI MATSUE》closely reflects Matsue's style that continuously pursues perfection.

Both titles are signed and edition numbered.
※ The edition numbers of  《gazetteerCC》 and  《TAIJI MATSUE》 are different from each.
※ The special price as a set sale.
※《TAIJI MATSUE 》only is also available→

上原沙也加『眠る木』       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    　　　 Book + Asia shipping ¥7,400 JPY Book + World shipping ¥8,650 JPY

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

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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

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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).

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