Publishing

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】 

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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)



 

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 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。

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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








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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

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 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。

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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



NOGUCHIRika_coverAs2.jpg NOGUCHIRika_coverBs.jpg








 野口里佳『不思議な力』
    space01.jpg
  Book Design:須山悠里 
  
  発行:赤々舎

  Size: H263mm × W228mm
  Page:136 pages
  Binding:Softcover wih Slipcase

  Published in Nove
mber 2022 
  ISBN978-4-86541-156-0

 ※表紙2種、中身同一
  2 different covers (the contents are the same).


¥ 3,300+tax 

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About Book


写真の「不思議な力」に導かれるように、野口がこれまでに出会ってきた様々な現象や光景
時間や場所も超えていく写真の「不思議な力」


野口里佳はこれまでに、水中や高地、宇宙といった未知の領域と人間との関わりをテーマにした作品を手がけてきました。
近年では、日常や周囲に満ちる無数の小さな謎の探求を通して、見るものの感覚や想像を解き放つような表現を追求しています。
東京都写真美術館での個展「野口里佳 不思議な力」に際し刊行される本書では、30年にわたって自由な写真・映像表現を追求してきた野口の過去の作品シリーズと近作、新作を、それぞれの作品が呼応しあうように構成し、その作品表現に通底する本質と魅力を浮かび上がらせます。

初期作品「潜る人」(1995年)から、「夜の星へ」(2014年、2015年)、そして最新作「ヤシの木」(2022年)まで、時間や場所も超えていく写真の「不思議な力」に導かれるように、野口がこれまでに出会ってきた様々な現象や光景が描き出されます。
また、父が生前に遺していたネガを、野口の眼差しを重ねてプリントした「父のアルバム」(2014年)は、「人はなぜ写真を撮るのか」と写真の根源を問い直す契機となりました。

ここにいて、どこまで遠くに行けるか ──  それぞれの存在がこの世界に生きていることの意味を見つめ直し、また写真・映像のもつ「不思議な力」とは何なのかを考えるきっかけとなる一冊です。 

寄稿:石田哲郎(東京都写真美術館 学芸員)「不思議な力に導かれて 野口里佳の写真と映像」
   吉本ばなな「里佳ちゃんの謎」



"里佳ちゃんは、人類の在り方をはるかに超えて自分自身なのだ。頭が痛かろうと腹がいっぱいだろうと妊娠していようと里佳ちゃんは里佳ちゃんの見るべきものしか見ないし、撮るべきものしか撮らない。その徹底した在り方自体が才能なのだ。
 男でも女でもないその「ただ見つめる」目。異様なまでにブレない、世界を見る在り方。いちばん似ているのは、小学生の男の子が、正確に、完璧にプラモデルを作っているときの目の感じ。あわてず、部品を揃え、乾いてないのに触ったりせず、こつこつと、幸せでも不幸でもなく、ものすごい集中力で。  
  そんな感じで、世界の中に散らばる美しいものたちがただその瞳を通して写真に写されただけで、自ずと宇宙の法則や神の視点が導き出されてしまう。
 「この世はフィクションなんだ、ただしとても美しい。私はその秘密を見つけるためにただ 『写して』いるんだ。でもそれには目を透明にしなくてはいけない。あの状態にならなきゃいけない。でもだれにもあの状態を説明することはできないんだ」。彼女の写真を見ると、いつも、そう言われている感じがする。"

──吉本ばなな「里佳ちゃんの謎」より抜粋





Special gifts for the first customers 


先着ご購入者さまに、ポストカード(下記8種類から1枚)を、特典としてお付けしてお届け致します。
絵柄はランダムに選ばせて頂き、無くなり次第終了とさせて頂きます。
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One postcard will be given away as a Special gifts for the first customers, which selected at random from the following 8 images.
The offer will end while supplies last.




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Small Miracles 

Noguchi Rika


Noguchi Rika took up photography in 1992, while still a student. Since being awarded first prize in the photography category of the 3.3m Exhibition in 1995 and the New Cosmos of Photography competition in 1996, she has been considered one of Japan's foremost contemporary photographers, with her photographs and video works displayed in numerous exhibitions both nationally and overseas. Through series such as To Dive (1995), A Prime (1997 on), I Dreamt of Flying (2003) and The Sun (2005-08), her work has explored the relationship humans have with unknown realms such as underwater, high-altitude places, and outer space, while her work using pinhole cameras hones in on the very essence of the photographic medium.

From the outset of her career, Noguchi has exhibited major differences in her artistic leanings to those creators of her generation who emerged onto the scene at a similar time. From the nineties through to the noughties, against a backdrop of a wave of visual artists who were highlighting and problematizing social preconceptions and values, and the new form of photography emerging at the hands of young creators who captured their private lives in a diaristic fashion, Noguchi's adventurous approach guided by her pure curiosity, her affirmative stance towards the world, and her somewhat aloof perspective that could even be called cosmic made her immediately stand out. 

The title "Small Miracles"came out of the realization on Noguchi's behalf that she has been guided in her practice up to this point by the "miraculous power" at work in photography. This book looks at Noguchi's past series together with her more recent works and latest works alike from a 2022 perspective. [...]

"Photographs are like the clues to a riddle. Creation is a journey. My works of art are my ethics. At the same time they are always about the coincidental reality that transcends everything. I will g on taking photos. For the riddles that make up 99% of my days." These words of Noguchi's upon being awarded first prize in the New Cosmos of Photography competition for To Dive have not dated at all, to the point that it's hard to believe they're 25 years old. Is that because Noguchi has kept on making work according to what interests her, without ever straying off course?

"I take pictures with a camera, but it feels more like the camera is letting me take them, or is guiding me, escorting me to all kinds of different worlds." Which will be the next door to be opened? Noguchi's journey, guided by the force of the small miracle that is photography, continues. Through those photographs and video works, we can sense that the world we live in lavishly overflowing, open and bright.

At the bottom of the sea or the end of the street, in the depths of the forest or the corner of kitchen, it's time to sense an unknown universe spreading out before let's there together. go So reads the invitation that Noguchi Rika's photographs and video works, guided by some miraculous power, quietly offer us.




"Rika-chan transcends the ways of humanity--she is just herself. She may have a headache, or be full, or be pregnant, but she still only looks at the things that she has to look at, and photographs the things she has to photograph. That way of being is, itself, her talent.

Those eyes that are neither male nor female, that simply stare. That particular way of looking at the world, exceptional in its fixity. Maybe what it most resembles is how the eyes of a boy in primary school look when he's in the process of building a perfect plastic model from a kit. Fitting the pieces in place without hurrying, not touching it when it's not yet dry, slowly and steadily, neither happily nor unhappily, with extraordinary concentration.

In that way, the beautiful things dotted throughout the world are simply reflected through those eyes in her photographs, and the laws of the cosmos and divine perspective are made to unfurl of their own accord.

"This world is fiction, but it's very beautiful fiction. I just reflect that, hoping to find out its secrets. But in order to do that, I need to make my eyes transparent. You need to become a certain way to do it, or else it doesn't work. That 'certain way' isn't something I can explain to anyone, though." When I look at Rika-chan's photos, that's what I feel she's saying to me."


Extracted from the text 

"The Mystery of Rika-chan"

Yoshimoto Banana




Related Exhibiton



野口里佳不思議な力 


会期:2022年10月7日(金)~2023年1月22日(日)

時間:10:00〜18:00(木・金は 20:00まで、入館は閉館30分前まで)

会場:東京都写真美術館2F (東京都目黒区三田 1-13-3 恵比寿ガーデンプレイス内)

休館日:毎週月曜日(月曜日が祝休日の場合は開館し、翌平日休館)、年末年始(12/29〜1/1、1/4) ※12/28、1/2、1/3は臨時開館









Artist Information 


野口里佳 

さいたま市出身。那覇市在住。1992年より写真作品の制作を始め、展覧会を中心に作品を発表。現代美術の国際展にも数多く参加している。2002年、第52回芸術選奨文部科学大臣新人賞(美術部門)を受賞。国内での主な個展に「予感」(丸亀市猪熊弦一郎現代美術館、2001年)、「飛ぶ夢を見た」(原美術館、2004年)、「光は未来に届く」(IZU PHOTO MUSEUM、2011-2012年)など。作品は東京国立近代美術館、国立国際美術館、グッゲンハイム美術館、ポンピドゥ・センターなどに収蔵されている。



Noguchi Rika

Born in Saitama City in 1971, Lives and works in Naha City, Okinawa. she began taking photographs in 1992, developing a photographic practice focused around exhibitions. She has participated in a number of international art exhibitions. In 2002, she received the 52nd Minister of Education Art Encouragement Prize for New Artists.

Her major exhibitions inside Japan include a feeling of something happening (Marugame Genichiro-Inokuma Museum of Contemporary Art [MIMOCA], 2001), I Dreamt of Flying (The Hara Museum of Contemporary Art, 2004), and The light reaching the future (Izu Photo Museum, 2011-2012).
Her works are included in the collections of the National Museum of Modern Art, Tokyo, Tokyo Photographic Art Museum, Tokyo, 
The National Museum of Art, Osaka, the Guggenheim Museum, and the Centre Georges-Pompidou.





Related Items



野口里佳  
『父のアルバム』
  

bk-noguchipostcard.jpg
4865411447.MAIN.08.jpg


 今井壽惠『Hisae Imai』
    space01.jpg
  監修:戸田昌子
  Book Design:木村稔将 
  
  発行:赤々舎

  Size: H290mm ×W215mm
  Page:176 pages
  Binding:Hardcover

  Published in October 2022
  ISBN
978-4-86541-144-7


¥ 6,000+tax 

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About Book


1950年代からの伝説の名作を初集成。 蘇る今井壽惠


1950年代にデビューし、「オフェリアその後」に代表される文学的な世界を構築し、その前衛的なイメージで注目を集めた今井壽惠。タクシー乗車中に衝突事故に遭い、一時的な失明の危機に晒されてからは、馬を被写体にした作品制作に移行し、その初期作品は次第に知る人ぞ知るという状況になっていた。

本書では、抽象と具象が混じり合う造形を、当時まだ珍しかったカラー写真で表現した詩的な初期作品を中心に集成。傑出した写真家、今井の作品の源を初めて展開する。
1956年の鮮烈なデビュー作「白昼夢」。ジャック・プレヴェールの詩に発想を得た「ロバと王様と私」。
代表作のひとつ「オフェリアその後」では、水に沈んで死んだはずのオフェリアと老女が身体を交換し、オフェリアが再生するという新たな物語を創造した。幻想性と遊び心でホフマンの物語を解体した「海辺の記憶」も特筆に値する。 
また、企業広報誌の表紙として長年制作された「ENERGY」は造形と光を相乗させた独自の達成であり、今井にとってのイメージのアーカイブであった。のちに名を馳せた競走馬の写真においても多重露光などで組み合わせている。 
その作品世界としても、芸術写真家・コマーシャルフォトグラファー・営業写真家という三足のわらじを履いた存在としても型破りだった今井壽惠を、今にあらわす待望の集成である。




"今井の盟友だった鴨居羊子は、1962年に書いている。「『オフェリア』の仕事の、写壇的な価値をいう場を私はもっておりませんが、このファンタジックな仕事が、なぜ今井さんの手によって、いま初めて果たされなければならなかったかという、今井さんに対する賞讃と信頼と同時に、写壇に対する不安と不信感のようなものは否定できませんでした」。この言葉は、演出を用いて幻想とポエジーを定着する写真をつくり、コマーシャル的にも成功しながら日本写真界とは乖離していった今井壽惠という型破りな写真家、日本写真史において最も成功した女性写真家が、写真界から忘れられる道行きへの予言だったのではないだろうか。"

「蘇る今井壽惠」戸田昌子(写真史家)






Contents


004  Re-encountering Hisae Imai Masako Toda

010  Daydreams │ 1956

022  Subjective Photography │ 1956

026  Memories of Summer │ 1958

032  A Donkey, the King and Myself │ 1959

044  Ophelia │ 1960

064  Model and North Wind │ 1961

076  Photo Fantasy: Candle and a Little Girl │ 1961 

084  Sea-born Fantasy │ 1962

094  Yoko Kamoi, "World of Sorcery"

096  Fantasy: Eyes and Teeth │ 1963

104  Lone, Rose Party, Dream Walk │ 1963

114  Series: Child │ 1964

116  Energy │ 1964 -74

142  Nihonkoku (My Japan) │ 1973

150  Work with Models

156  Hippolatry: Enchanted by Horses │ 1977


164  Hisae Imai Biography 
171  List of Works
175  List of Publications
          006  蘇る今井壽惠 戸田昌子

          011  白昼夢│ 1956

          023  主観主義写真│ 1956

          027  夏の記憶│ 1958

          033  ロバと王様とわたし│ 1959

          045 オフェリアその後│ 1960

          065 モデルと北風│ 1961

          077 絵蠟燭のはなし│ 1961

          085 海辺の記憶│ 1962

          091 魔女的な世界│鴨居羊子

          097 ある幻影目と歯│1963

          105 独、バラ宴、夢の散歩│ 1963

          114 こどもシリーズ│ 1964

          117 ENERGY │ 1964 -74

          143 日本国│ 1973

          151 モデル撮影

          157 通りすぎるとき 馬の世界を詩う│ 1977


          164 今井壽惠 年譜 
          169 書誌
          171 作品リスト
          175 掲載誌



協力:
今井邦子/ 梅田千織/ The Third Gallery Aya/ 写真弘社




Hisae Imai


Hisae Imai was an unconventional photographer. With the encouragement of a friend of her father Yasumichi, a professional photographer who ran the studio at the Matsuya Ginza department store, she made a brilliant debut in 1956 . This first solo exhibition, Daydreams, attracted tremendous attention even though at the time she had no real intention to make a career of photography. With this exhibition as a starting point, she continued to pursue her artistic instincts while also taking on fashion and commercial projects, and then she took over her father's studio when he died suddenly in 1960 . Because female photographers were a rarity back then, in 1957 she took it upon herself to start an association for women photographers. These days, the emphasis tends to be on the fact that Imai was female. However, what really distinguished her was that she was a mold-breaker who wore three different hats: she was a fine art photographer, a commercial photographer, and a portrait studio photographer. Whether male or female, this was almost unheard of in Japan.

Hisae Imai enjoyed smooth sailing as a photographer: in 1959 she received the Japan Photo Critics Association Newcomer's Award and in 1960 she received Camera Geijutsu magazine's Geijutsu Art Award. But then tragedy struck on June 1962. A taxi that she was riding in was involved in a traffic accident and she temporarily lost her eyesight. For the photographer, this was a major crisis. The accident left a scar on her face and resulted in her being rejected by her fiancé, and these things must have been painful. Nevertheless, in March of the following year she plunged into her first solo exhibition after the accident, titled Teeth--A Fantasy, and then in June she mounted her seventh solo exhibition featuring the Lone, Rose Party, and Dream Walk series. Sometime around 1965 she became absorbed in photographing racehorses and her exhibitions virtually stopped. The year 1970 marked five years since she had gone to Europe in search of horses, and there was virtually no news of her. Then, in 1975 she mounted her Hippolatry: Enchanted by Horses show, a major success that toured department stores in the cities of Osaka, Kyoto, Tokyo, and Sapporo. Afterwards, she remained active as a horse photographer, and following her death in 2009 the Japan Racing Association awarded her the Equine Culture Award of Merit.

There were the poetic early works--in which forms that combine the abstract and the literal were expressed in then-rare color photographs, as if painting a picture with a photograph--but then she was also a horse photographer, flying hither and thither around the world in pursuit of famous horses. I think that what at first glance appears to be a duality in Imai can be understood in light of the fixation on the body that is expressed in her work. The Ophelia series (1960 ) is perhaps the most acclaimed of her early works. It takes the tragic young noblewoman Ophelia of Shakespeare's Hamlet as its leitmotif, but the body swap is Imai's own idea. In Imai's novel reimagining of the story, just as Ophelia is singing, about to sink into the water, an old woman appears, and after talking with Ophelia they exchange bodies.

According to Imai's sister Kuniko", When she had surgery, the transfusion replaced the blood throughout her entire body, and it seems like my sister's personality changed quite a bit. Someone who had been obsessive became easy-going."This episode--in which a person undergoes a transformation after a blood transfusion--overlaps in places with her Ophelia story, in which two Ophelias exchange bodies. An old woman swaps bodies with a young and beautiful--but deranged-- Ophelia, who is unaware that she will die. Surprisingly, the body swap leitmotif had appeared in Imai's work even before the accident." [...]


Imai's first project after returning from her accident was Teeth--A Fantasy (1963 ). She had been creating works with teeth as a leitmotif for some time, and she brought them together for a camera magazine piece called Fantasy: Eyes and Teeth. The works that she showed at the "NON"exhibit alongside her contemporaries Eikoh Hosoe, Ikko Narahara, Kikuji Kawada likewise adopted eyes as a leitmotif. After the accident, however, eyes and teeth both depict a pitiful state, painful to behold. There is little evidence of an external agent using the body for its amusement, but the photographs present bodies that are objectified; enfeebled bodies that have been punctured, battered, and injured. They express the intimacy and pain of that sensation.

Just three months after Teeth, Imai's playfulness was once again on display when she mounted her seventh solo exhibition showcasing the Lone, Rose Party, and Dream Walk series. In Lone she uses women's faces and hair to play with colors, negative/positive inversion, and multiple exposures. In Rose Party, a voluptuous, alluring model wears a weighty crown of roses. Imai's world of free-ranging imagination unfolds in works like Dream Walk, where Yoko Kamoi is joined by other men and women looking like dodgy characters in a free-for-all romp.

During this solo show, Imai was selling the rights to use photographs for commercial purposes. The venue, the Fuji Photo Salon, had come up with this idea as a way of leveraging the gallery space. But as a result, her exhibition was ridiculed as the"money-grubbing Hisae Imai solo show." The initiative had been an attempt to strike a balance between art and commerce amid the growing commercial demand for photography leading up to the Tokyo Olympics, but it was misunderstood. The same kind of criticism was also leveled against Imai's public photograph sales at the venues where her Hippolatry: Enchanted by Horses show was exhibited. At the time, Imai was selling prints that were quickly produced by a photo lab to the public, and this became the subject of criticism.

Rather than their visual beauty, Imai may have been taken by horses due to their profound energy, grace, and tenderness, which far surpasses those characteristics in humans. For Imai, who was injured both physically and mentally by the accident, the tenacity and tenderness of horses must have been therapeutic, more than anything else. Up to this point, Imai had approached the female body through play: by transforming the body into an object or by exchanging bodies. When she was seriously hurt, rather than introspectively looking at her own body and mind in the same manner, perhaps she instead sought out something strong and beautiful outside of herself; something from the outside that would be overwhelming, and thus captivating. For Imai, this must have been horses. She grappled with something akin to being in love with the horse, a subject that was beyond her control. Rather than facing her own uncontrollable mental and physical state, she instead threw herself into pursing the uncontrollable horse as a subject. For Imai, it may have meant transforming and healing her own body by using her camera to put her entire body and soul into looking at her subjects.

Imai called her horse photographs"dream merchandise" She tried selling small prints for 8,000 yen, with the printing outsourced to a reliable photo lab that would deliver the prints to buyers within two weeks. But Imai's experiment ran counter to the ideas of the photographic establishment, which was moving in the direction of limited-edition original prints. When Imai called her own work "dream merchandise"to be sold at department stores, she was taking a completely different position from the rest of the Japanese photography world. Her highly acclaimed fine art photography book Hippolatry (1977 ) received the Photographic Society of Japan Annual Award, but afterwards the female photographer who had once been well-received in the photography mainstream became estranged from the establishment.

Imai was determined to sell photos at department stores because her own father, Yasumichi, had been a portrait photographer who ran the studio at the Matsuya Ginza department store. Sometime around 1954 , before her debut, Imai met Shuzo Takiguchi, an art critic who was a client of her father, to have him view her work. He encouraged her, saying that the work had potential and she should keep at it . Imai's debut exhibit, Daydreams, was shown at the Matsushima Gallery, which was across from her father's Matsuya Ginza studio. Other artists who showed at the same gallery that year included Ikko Narahara, Kansuke Yamamoto and Keiichiro Goto.[...]


Matsuya Ginza also served as the venue for the 1962"NON"show. Department stores were where Imai got her start. In an era when art museums were still largely a male preserve, perhaps Imai just wanted to sell her beloved horse photographs in department stores, which were, after all, places where there was no gap between men and women, places that evoked a feeling of happiness upon entering, and places where people could dream.

In 1962 , Imai's confidante Yoko Kamoi wrote", I am not qualified to speak about the value of her Ophelia in a professional context, but I cannot deny that I felt unease and mistrust toward the photography world, which had to wait until now, and only now, for this phantasmagoric series to be presented."  These words seem prophetic, telling us that Hisae Imai--who was the most successful female photographer in the history of Japanese photography--had set out on a path that would ultimately cause her to be forgotten by the establishment. Staging her shots to create photographs that were rooted in illusion and poetry, she was a mold-breaking photographer who was also commercially successful, setting her apart from the conventional world of photography in Japan.


Extracted from the text "Re-encountering Hisae Imai"

Masako Toda




Past Exhibiton




今井壽惠 展
「オフェリアその後


会期:2022年4月2日(土)〜30 日(土) 
時間:12:00〜19:00(水曜-金曜)
   12:00〜17:00(土曜)
   火曜 by Appointment only

会場:The Third Gallery Aya 
(大阪市西区江戸堀1-8-24 若狭ビル2F)

日・月休






thirdDM02.jpg



Artist Information 


今井壽惠

1931年東京生まれ。中野にあった「今井写真館」を経営する父・今井康道と母・羊子の長女として生まれる。52年文化学院美術科卒業。56年初個展「白昼夢」を開催。翌年 「女流写真家協会」(世話役として今井、赤堀益子)を設立。
1959年 ジャック・プレヴェールの詩を引用した「ロバと王様とわたし」や、「夏の記憶」など、一連の「フォト・ポエム」と呼ばれた作品群によって「日本写真批評家協会新人賞」を受賞。受賞記念展として開催した「オフェリアその後」により、雑誌『カメラ芸術』芸術賞も受賞した。

1962年写真評論家の福島辰夫の企画による「NON」展(石元泰博、東松照明、川田喜久治、丹野章、中村正也、奈良原一高、佐藤明、早崎治、細江英公が参加したグループ展)に参加。同年6月、タクシーに乗車中の衝突事故により、視力を一時的に失う。翌年、通院のかたわらで制作された「目」と「歯」の作品を発表。第7回個展にて本格的に写真家として復帰。広告用途としての写真の版権を譲渡する試みを会場で行い、ファッションの仕事も再開した。69年作品「春の妖精」が、タイム・ライフ社の選ぶ「Great Printmakers of Today」に選ばれる。1970 年以後は、競走馬の撮影にのめり込んだ。
2009年 2月17日逝去。



imai_p2.jpg

 

受賞:

1959年 日本写真批評家協会新人賞 

1960年 『カメラ芸術』芸術賞

1971年 アメリカ「The Society of Publication Designers」銀賞

1978年 日本写真協会年度賞

2010年 2009 年度 JRA 賞馬事文化賞功労賞

 

パブリックコレクション:

日本大学

ニューヨーク近代美術館

ジョージ・イーストマンハウス国際写真美術館

パリ国立図書館

ハンブルグ装飾美術館

川崎市市民ミュージアム

東京都写真美術館

清里フォトアートミュージアム



Hisae Imai


1931  Born in Tokyo, Japan

1952  Graduated from Bunka Gakuin

2009  Died


Solo Exhibitions

1956  Daydreams, Matsushima Gallery, Tokyo. Jun.30 -Jul.6 

1957  Imaginary Landscape, Fuji Photo Salon, Tokyo & Osaka. Oct.25 -28  (Tokyo), date unrecorded (Osaka).

1959  A Donkey, the King and Myself, Gekko Gallery, Tokyo. Oct.1 -10 

          Memories of Summer, Fuji Photo Salon, Tokyo. Oct.21 -27

1961  Model and North Wind, Gekko Gallery, Tokyo. Mar.22 -31 

1963  Teeth -- A Fantasy, Gekko Gallery, Tokyo. Mar.11 -20

          Hisae Imai Exhibition -- Lone, Rose Party, and Dream Walk. Fuji Photo Salon, Tokyo. Jun.28 -Jul.7

1971  Pilgrimage to Horses, Shinjuku Nikon Salon, Tokyo 

1975-76  Hippolatry: Enchanted by Horses, touring Osaka Takashimaya, Kyoto Takashimaya,Nihombashi Takashimaya and Sapporo Tokyu department store   

1977  Le Monde Enchanteur des Chevaux, Hotel Astoria, Brussel and Nikon Salon, Paris

1984  A Visionary Farm, Tamagawa Takashimaya. Sep.27 -Oct.2

1989  Admirable Horses: Hisae Imai Solo Exhibition, Nihombashi Takashimaya, Tokyo. Dec.26 -Jun.9,1990 and Namba Takashimaya, Osaka. Jun.11 -16 1990

1993  The Royal Ascot, JRA Racing Museum, Tokyo

2002  Hisae Imai: forty years with horses, Kiyosato Museum of Photographic Arts, Yamanashi. Jul.20 - Jan.19, 2003



Selected Group Exhibition

1956  International Subjective Photography Exhibition, Nihombashi Takashimaya, Tokyo. Dec.11 -16

1957  Hisae Imai and Toyoko Tokiwa Exhibition, Gekko Gallery, Tokyo. Jun.11 -20

1958  1st Exhibition for the Association of Women Photographers, Konishiroku Photo Gallery, Tokyo. Apr.11 -16 . 

1960  Ophelia, Konishiroku Photo Gallery. Apr.22 -27

1962  NON (curated by Tatsuo Fukushima), Matsuya Ginza department store, Tokyo. Jun.5 -10

1963   Contemporary Photography 1961 -62, National Museum of Modern Art, Tokyo. Jan.5 -25

1991  Innovation in Japanese Photography in the 1960s, Tokyo Photographic Art Museum. Apr.18 -Jun.18 

          Photographys in Japan 1955-65: Independent Images, Yamaguchi Prefectural Art Museum. Nov.28-Dec.23

1995  25 Photographers in Their 20 s,Kiyosato Museum of Photographic Arts, Yamanashi. 

          A History of Women Photographers, The New York Public Library and The National Museum of Women in the Arts.

2002  My Photo Collections: With Fine Horses, Fuji Photo Salon, Tokyo. Nov.8 -14  and Fuji Photo Salon, Osaka. Nov.22-28

2021  Paris Photo 2021. Grand Palais Ephémère, Paris, France



Prize

1959  The Japan Photo Critics Association Newcomer's Award

1960  Camera Geijutsu Art Award

1971  The Society of Publication Designers

1978  Photographic Society of Japan Annual Award

2010  The Equine Culture Award of Merit by the Japan Racing Association



Public collection

Nihon University, Tokyo, Japan

The Museum of Modern Art, New York, New York, NY

George Eastman House Collection, Rochester, NY

Bibliothèque nationale de France, Paris, France

Museum für Kunst und Gewerbe Hamburg, Hamburg, Germany

Kawasaki City Museum, Kawasaki, Japan

Tokyo Photographic Art Museum, Tokyo, Japan

Kiyosato Museum of Photographic Arts, Hokuto, Japan


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