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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


4865411577.MAIN_s8.jpg
 

牛腸茂雄全集 作品編
    space01.jpg
  監修:三浦和人 
  執筆:冨山由紀子 
  Book Design:須山悠里 

  発行:赤々舎

  Size: H245mm × W255mm 
  Page:248 pages
  Binding:Hardcover

  Published in Nove
mber 2022 
  ISBN978-4-86541-157-7
 

¥ 8,000+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】
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About Book


牛腸茂雄が生前に発表した作品全点を収載する決定版

                          
本書は『牛腸茂雄全集」全2巻のうち「作品編」に当たる(「資料編」は2023年11月刊行予定)。
近年、国内外で日本写真史、特に1960年代以降の写真史再考の機運が高まっており、中でも重要な作家の一人と位置づけられる牛腸茂雄の全体像を俯瞰できる書籍が現在入手しにくいことから、今回の全集刊行は企画された。

「作品編」には、生前に刊行された4冊の作品集『日々』『SELF AND OTHERS』『扉をあけると』『見慣れた街の中で』所収の全点と、生前に発表、もしくはまとめられた 2 つの連作〈水の記憶〉〈幼年の「時間 」〉全点を収録した。


1971年に自費出版された写真集『日々』は、桑沢デザイン研究所時代の同級生 関口正夫との共著である。各々24点ずつの写真が掲載された。牛腸がモノクロームで捉えた都市の日常には、そこに潜む歴史や政治を見出そうとする観察の眼がはたらいている。牛腸を写真へと導いた大辻清司の序文「写真をみる他人」を付す。

1977年に自費出版された写真集『SELF AND OTHERS』は全60点のシリーズ。すべての写真に人物が写っており、「自己と他者」の関係のありようをテーマとする。牛腸自身もセルフポートレートにおいて被写体のひとりとなっており、「自己と他者」はより複雑な奥行きを見せる。大辻清司による序文を付す。

1980 年に刊行された画集『扉をあけると』は、全14点のインクブロット作品を収載する。これらは1972年1月から断続的に制作された。「紙とインクの奇妙な交接」であるシンメトリーのしみ。それに反応する自己を見つめ、記憶や想念を探ることに牛腸はつよい関心を抱いていた。

1981年に自費出版された写真集『見慣れた街の中で』全47点は、カラー・ポジフィルムで撮られ、これまでのスタイルを大きく刷新した。「見慣れた街」の日常を過ぎる「人間存在の不可解な影」を、コダクロームの鮮やかな色調や、光と影のコントラストの中に写し出そうとする。

1980年11月から制作を開始したマーブリングによる連作〈水の記憶〉。牛腸は57 枚を選んで配列を決め、小さな箱に収めていた。 水面に偶然生じた模様を紙で写し取る作品は、鏡やレンズの円形をも連想させる。
牛腸が最後に発表した〈幼年の「時間 」〉の連作6点は、『日本カメラ』1983年6月号に掲載された。子どもは牛腸が最初期から撮り続けた被写体であり、生と死につながる眼差しを含みつつ、「老年」へとつづく構想を抱いていた。 


本書は、上記の作品を制作された年代に沿って収載した。写真と写真以外の作品とが、外と内の一対のように現れる。刊行時の書籍に掲載されていたテキストも、その多くを再録した。
また、牛腸が遺したヴィンテージプリントやフィルム原板を印刷の指標とし、その制作意図を現代の技術によって能うかぎり再現した。シリーズによって用紙を切り替え、作品と余白の関係を意識する。

巻末に、冨山由紀子(写真史研究者)による論考「『きわ』を生きる― 牛腸茂雄の作品と時代 」、年譜、作品リストを収載する。これらは「資料編」においてさらに拡充され、今後の参照を俟つものである。



"牛腸の作品は何かと何かの境い目、つまり「きわ」がどのように在るのかを捉えようと試行錯誤してきたようにも思える。たとえばそれは、文化と文化、時代と時代の接する「きわ」である。人と人の出会いが生む「きわ」であり、都市を生きる若者が直面する「きわ」である。そうしたさまざまな「きわ」の経験が、人間のふとした表情や身振りのなかに見出せるということを、彼は示して遺したのではないだろうか。"

冨山由紀子(写真史研究者)『「きわ」を生きる― 牛腸茂雄の作品と時代 』より





私は意識の周辺から吹きあげてくる風に身をまかせ、

この見慣れた街の中へと歩みをすすめる。

そして往来のきわで写真を撮る。


『見慣れた街の中で』序文より


  




Contents



日々
Days

41 
SELF AND OTHERS

109 
扉をあけると
SPIRITUAL TRAVELS

133 
見慣れた街の中で
FAMILIAR STREET SCENES

189 
水の記憶
Memories of Water

209 
幼年の「時間」
Childhood



217 
論考と資料
Essay and References

「きわ 」を 生きる ―牛腸茂雄の作品と時代 冨山由紀子
Living on the Edge─The Works and Times of Shigeo Gocho Yukiko Tomiyama

年譜 
Chronology

作品リスト 
List of Works

謝辞 
Acknowledgements

協力:山口県立美術館、新潟市美術館
編集協力:佐藤正子(コンタクト)  、松沢寿重、小倉快子 








Special gifts for the first customers 


先着ご購入者さまに、特典ポストカード(サイズ:H107mm × W150mm)をお付けしてお届け致します。無くなり次第終了とさせて頂きます。  →予定枚数に達したため配布終了いたしました。(2023 10)



牛腸茂雄postcard.jpg 





Shigeo Gocho: Works 



Gocho was born in 1946 in Kamo-shi, Niigata Prefecture. After graduating from high school, he went on to Kuwasawa Design School in Tokyo where he encountered the photograph, the tool that was to be his means of artistic expression for his entire life. Gocho lived in Japan from the period of rapid economic growth until just before the onset of the bubble economy.

In relating Gocho's life, I must inevitably mention the physical handicap that was the cause of his premature death from heart failure in 1983. When he was 3 years old, he was diagnosed with caries of the thoracic vertebrae and the attending physician expressed doubt that he would live to the age of 20. For Gocho, it must have required a certain amount of determination to move to Tokyo alone and pursue photography in light of the physical effort required to take and develop photographs.

Because of this, Gocho must have been constantly aware of the time he had left. For about 16 of the 36 years of his life, he lived with vigor and enthusiasm side-by-side with the artistic medium of photography, all the while dealing with his physical condition. He left a legacy of three photograph collections and one book of artwork along with contact prints, notebooks, and memo books that were the source of the works.

A photographer who died prematurely but lived life with courage and determination in spite of his handicap--when this history is brought to the foreground, the language used to relate his life tends to take on a dramatic color. And it is true that Gocho's early life and physical handicap did have an influence on his art, so it would probably be difficult to completely hold back such a reaction. [...]

Having said that, how does one go about relating a story you are compelled to tell? I would like to approach Gocho's life by taking a detailed look back on the legacy of works he left us and the times in which he lived.



Days 1971


His first self-published photobook Days was a collaboration with Masao Sekiguchi, a friend from Kuwasawa Design School. The book, a compilation of black and white photos taken around the city, is in a format of 24 photos by Sekiguchi in the first half and 24 photos by Gocho in the second half.

At the time of publication, Days was critiqued as being too commonplace and lacking in individuality, a comforting representation by young people of a "peaceful Japan." Considered against the "political season" around 1970, their photographs certainly appeared at first glance to be unconnected to the upheaval of that time. [...]

But is his photographic expression really devoid of political awareness? Isn't the approach of watching a scene play out from a removed position without entering into it an attempt in and of itself to uncover something in what would ordinarily be overlooked and in which the eye of thoughtful observation is concealed?

Let's take a more detailed look at Gocho's photographs. They always contain people or animals, but in most cases the subjects are not looking toward the camera. One distinguishing feature is the preponderance of subjects connected with Western cultures such as Caucasian people, dogs of foreign breed, and flags of other countries.

It was a time when Japan had come out the other side of post-war American occupation and was right in the middle of a period of rapid economic growth. Although the last half of the 1960s saw student protest movements break out all over the country, it was a phenomenon that came to be known as "rebellion in the midst of prosperity" in view of Japan's steady progress toward becoming an economic power. When considered against this background, don't the photographs of seemingly Caucasian families walking in the city and eating outdoors, to the extent that they are bringing their children to Japan and enjoying life here, indicate that Japanese and Western societies had moved closer together?[...]

These photographs suggest the imbalanced nature of Japan's relationship with Western cultures. [...]

The photographs in Days in which "each other's eyes don't meet" were undoubtedly chosen deliberately to express the social conditions of that time.[...]

Nevertheless, at the stage of compiling Days, mention of these kinds of current events and "straightforward" photographs of an American army base and a World Fair motif were carefully removed. Mention of social conditions were woven into Days quite inconspicuously and in a form difficult to recognize.

The approach of intentionally choosing an obscure mode of presentation may have been entirely natural for someone born in 1946 who belonged to the postwar generation. For the generation born after the war, the penetration of American culture eventually had been rendered invisible as being a matter of course and was just part of everyday life, unlike for those people whose adolescence was spent during the period of war and occupation. [...]



Self and Others 1977


S&O takes as its theme relationships between self and others, which is apparent from the same title of a book by Scottish psychiatrist R. D. Laing and the words of Erving Goffman quoted on the last page of the photobook.

There seems to be no agent more effective than another person in bringing a world for oneself alive or, by a glance, a gesture, or a remark, shrivelling up the reality in which one is lodged.1

S&O largely departs from Days in that Gocho photographs people he knows, approaches them in a straightforward way, and most of the subjects are looking directly at the camera. All of the subjects in the 60 black-and-white photographs are people--Gocho's family, friends, children he encounters around town, former students from the university where he taught, and Gocho himself. Self and Others is first of all a study of the position of the photographer in relation to his subject.

But the eye of the photographer was not focused only on the people beyond his camera. Gocho himself is also one of the subjects in a self-portrait. By including a photograph observing himself as the "other," the portrayal of self and others in S&O becomes even more convoluted. [...]

The picture on the wall behind Gocho in "Self-portrait" is probably an inkblot (decalcomania) done by him. Gocho was fascinated with these images, which are also used for psychological analysis. Publication of S&O came after an exhibition of inkblots by Gocho and before he published an art book of inkblots.

The inkblot in "Self-portrait" seems to pose a question to readers who have turned from "viewer" to "viewed" as to what else they have discovered from the photobook. The question is not only asking what readers perceive in the images confronting them, as the Rorschach test does, but also the meaning of the reactions they have to what they see.




Familiar Street Scenes 1981


In 1978, Gocho was awarded the Newcomer's Award at the 28th Photographic Society of Japan Awards for his S&O photobook and photography exhibit. He was also selected as one of the candidates for the 3rd Kimura Ihei Memorial Photography Award. [...]

In Familiar Street Scenes, which was to be his third and last self-published photobook (below, Street Scenes), resembles Gocho's first photobook Days in that the subjects are people coming and going around town who are unknown to him, but there are numerous differences. For example, in contrast to the black and white photographs of Days, all of the 47 photographs of Street Scenes were taken with color positive film. Compared to the distant angles from which many of the photographs in Days were taken, Gocho makes free use of several types of lenses--telephoto, zoom, and wide-angle--and experiments with various far and close up distances from the subject. He is also aggressive in the use of no-finder shots, low angles, and blurring.[...]

It was a time for Japanese society right before the arrival of the bubble economy when a colorful consumer culture permeated the cities. [...] There is a sense of sorrow in the photograph of a young girl in dressy mourning clothes and a pregnant woman on her right that makes you wonder whether it was Gocho's intention to suggest that even life and death had become a part of the consumer society.[...]


By their outward manner, it appears as if they are looking not at an actual human being but at someone on the other side of a TV screen. There actually may have been interaction between the performers and the spectators, but it isn't shown in any of the photographs. That being the case, we can no longer know whether what people are looking at are other people or products seen in the city or on TV. In the photographs in which "eyes are meeting but don't actually meet" Gocho cleverly captures this aspect of city life.

Gocho, walking around the city with camera in hand, is not free from these conditions. I feel that the last sentence in his preface, "And I take photographs from the edge of people's comings and goings," speaks not only of the physical position of the photographer but also of a boundary from which he photographs that implies questions as to whether his existence comes into the awareness of others, of whether it allows for his existence as an individual.

In the same preface, he talks about "inexplicable shadows of human existence." In the "shadows" that cross the photographer's field of vision, there may also be a feeling of discomfort from human beings being equated with something other than human beings. Or could they be the silent moans emitted from people uncomfortable with change but unable to resist it? By using color positive film to create a contrast of light and shadow, Gocho is attempting to create a sense of discomfort in viewers that reminds them of their "shadows."



Childhood 1983


The last work Gocho presented was Childhood in the June 1983 issue of Nippon Camera. The subjects are children. If Children, some of the photographs are included in Days, in the June 1968 issue of Camera Mainichi was essentially his debut work, then at the end of his life he returns once again to his subject of first choice.[...]

In a letter to the editor of Nippon Camera, Gocho reveals that he had started thinking about creating another work, The Time of Old Age (below, Old Age), to follow Childhood.


The "time" of childhood can be described as "life" beginning to blossom and the possibility of encounters with bright "moments." The "time" of old age faces the inevitability of death that comes sooner or later for everyone. When this is recognized for oneself, the magnificence of life is restored... Commonplace scenes of elderly people in the city. ...people who are nearing their last years. The inobtrusive inclusion of one photograph of someone near the point of death--this is the content I am envisioning. I don't want the mood to be too dark, and I also want to avoid photographs of funerals and cemeteries that are easily intimidating. Just as we say the "time" fruit is ripe, it's my belief that the "time" of old age is never only dark and sad.


We see from Gocho's notebooks written at the time, that in S&O he was also attempting to approach elements of "death." In the end, photographs dealing with "death" were not included, but you could say there was something close to it in the photograph of a young girl with eyes closed sprawled out on a bed in a stark white room, or the last photograph in S&O.

The last photograph in S&O is also on the cover of the photobook. It was taken at a firework display for an Independence Day celebration held at the U.S. Army's Camp Zama or perhaps on the day of the Bon Festival Dance. Looking only at the photograph, the location seems to be intentionally obscured. In an expanse of fog, children are running away and other children are running toward them. One may imagine that just before direct contact with "others" the child's ego or self has not yet coalesced and is still in a state of chaos. Gocho's placement of this image on the photobook cover indicates both looking forward to and being uneasy about the journey of encountering "others" about to begin.

And the children who have crossed over the white line seem to be living in a world entirely separate from this one. Undoubtedly, if we go back to the stage before the self is formed in encounters with others, we eventually arrive at the world on the other side before "life" appears.

What is impressive is that Gocho's portrayal of this is never tragic. On the contrary, what is there before everything begins is chaos filled with possibilities. This vision of life and death would surely have been carried over to his concept for Old Age that was to follow.[...]

However, there is somehow a strange quality of maturity in the children in Childhood. Could one reason be due to associating the relatively high number of closeups of the upper half of the body with the photographs of parents in S&O? In the figures of children in "childhood" is caught a glimpse of them in "old age." Childhood suggests that two times exist within a human being--the time of "childhood" and the time of "old age," that is to say, youth and old age, life and death exist alongside each other similar to "self and other" and illuminate each other. Although Old Age was not realized due to Gocho's death, elements of it were already contained in Childhood.[...]


Looking back over Gocho's works, they feel to be a trial-and-error attempt to perceive the dynamics of borders or "edges" that exist between two things. For example, the "edges" of contact between two cultures or two eras. The "edge" that arises from two people encountering each other, the "edges" confronted by young people living in the city. The photographic works Gocho left show that the experience of various "edges" can be discovered in sudden random facial expressions and gestures.

Re-evaluation of Gocho's works began at the end of the 1980s and still continues today. Re-evaluation did not end with a one-time look certainly due to Gocho's personal story but also to the fact that the allusions to various social phenomena and "edges" portrayed in his works deeply resonate with people at the core of their being.



Extracted from the text 

"Living on the Edge─ The Works and Times of Shigeo Gocho"

Yukiko Tomiyama





Related Program



NHK Eテレ 日曜美術館
「友よ 写真よ 写真家 牛腸茂雄との日々
 


初回放送:2022年10月30日(日)9:00〜9:45

再放送:2022年11月6日(日)20:00〜20:45


36歳でこの世を去った写真家・牛腸茂雄(ごちょう・しげお)。さりげないポートレートが見る者をとらえる不思議な魅力を、友人の写真家の目線を通してひも解いていく。









Related Exhibiton



「写真展 はじめての、牛腸茂雄。」 


会期:2022年10月7日(金)2022年11月13日(日)

時間:11:00〜20:00

会場:ほぼ日曜日(渋谷PARCO8階)

入場料600円(税込)








Artist Information 


牛腸茂雄 

1946年11月2日、新潟県南蒲原郡加茂町(現・加茂市)で金物屋を営む家に次男として生まれる。3歳で胸椎カリエスを患いほぼ1年間を寝たきりで送る。 10代から数々の美術展、ポスター展などに入選。 1965年、新潟県立三条実業高等学校を卒業後、桑沢デザイン研究所リビングデザイン科入学、その後、リビングデザイン研究科写真専攻に進む。 1968年、同校卒業。デザインの仕事と並行して写真を撮り続ける。 1977年、『SELF AND OTHERS』(白亜館)を自費出版。1978年、本写真集と展覧会により日本写真協会賞新人賞受賞。 1983年、体調不良のため実家に戻り静養を続けるが、6月2日、心不全のため死去。享年36歳。 2004年には回顧展「牛腸茂雄 1946-1983」(新潟市立美術館、山形美術館、三鷹市民ギャラリー)が開催され、2000年には佐藤真監督によるドキュメンタリー映画「SELF AND OTHERS」が製作され大きな反響を呼ぶ。2013年、『こども』(白水社)、新装版『見慣れた街の中で』(山羊舍)が相次いで刊行された

Shigeo Gocho 

Gocho Shigeo was born November 2nd, 1946, as the second son of a hardware merchant in the district of Kamo (now the City of Kamo) of Minamikanbara County in Niigata prefecture. After falling ill with Pott's disease (vertebral tuberculosis) at the age of 3, he spends nearly a whole year in bed. In his teens, several of his works get selected for various art and poster exhibitions. In 1965, after graduating from the Niigata Prefectural Sanjo Business High School, Gocho enters the Living Design Department of Kuwasawa Design School where he finally proceeds to the Photography Department and graduates in 1968. He continues to take photographs while working as designer. 1977, he self-publishes a collection of images under the title 'SELF AND OTHERS' (Hakuakan, Nagoya). In 1978 he wins the Newcomer Award of the Photographic Society of Japan for this collection and its subsequent exhibition. In 1983 he returns home due to his worsened physical condition, but despite continuous efforts to improve his condition, dies on June 2 of heart failure. He was 36 years old. A retrospective exhibition under the title 'Shigeo Gocho 1946-1983' was held 2004 at The Niigata City Museum of Art, The Yamagata Museum of Art and Mitaka Civic Art Gallery. In 2000, director Sato Masato released his documentary on Gocho, which he named after Gocho's 1977 photo-collection 'SELF AND OTHERS' and received wide acclaim. 2013 saw the publication of his photo-collection 'Children' (Hakusuisha, Tokyo) and a newly designed edition of the 'Familiar Street Scenes' (Yagisha, Tokyo).












SELF AND OTHERSセレクト53s.jpg




父のアルバムcoverB4.jpg

noguchibuttonA.jpg     noguchibuttonB.jpg      

 野口里佳『父のアルバム』
    space01.jpg
 Photo :野口紀雄
 Book Design:葛西薫 安達祐貴 
 
 発行:赤々舎

  Size:H276mm×W216mm 
  Page:72 pages
  Binding:
Cloth Hardcover

  Published in October 2022
  ISBN
978-4-86541-145-4

 ※表紙2種、中身同一、くれないは100部限定、サイン、エディション入
  2 different covers (the contents are the same).

  This cover version is limited to 100 copies and signed, edition numbered.


¥ 8,000+tax 

国内送料無料!

ご好評を頂き、くれないは、完売致しました
Out of stock

















About Book


父のアルバム

時を経て、重なり合う眼差し。


父から生前に渡された一冊のネガファイル。2013年に父が他界した後、野口はネガを日付順に、 暗室で少しずつ焼いていくことにしました。

「父の写真には母と私、弟と妹、父の育てたバラ、そして時折風景が登場します。被写体にぐんと近づいたものもあれば、遠くからそっと撮ったものもあります。背景にはあまり気を配ったりしません。でもその瞬間を撮りたかったのだな、という気持ちはよく伝わってきます。」

もう戻ってこないある瞬間がネガに焼き付き、暗室の中で浮かび上がる── 野口は父の視線を追いながらプリントする時間を通じて、「人はなぜ写真を撮るのか」という当たり前のことを初めて考えたと記します。
時間の隔たりを超えて伝える、写真のもつ不思議な力。本書は、その写真を見るひとりひとりの記憶に触れ、時間の旅にいざなう力を湛えています。

「父の写真は父と家族のためのとても個人的なものです。けれど私がプリントしながら味わった幸福な時間は、写真の持つ不思議な力として、誰かに伝わるのではないかと思うのです。父の視線をなぞった私の視線がどこかの誰かに伝わり、誰かを少し幸せにできるといいなと思っています。」


父の育てていたバラは、今もその庭で咲きつづけているそうです。 
100部限定のくれない(赤)には、バラの写真を貼り込みました。 





My Father's Album 

Noguchi Rika


My father died in July 2013. My mother passed away in 1992, when I was twenty. A few years before my father died, I asked him if he had the negatives to any photographs of my mother, and he handed me a file. The whole thing was crammed full of negatives. It was only after his death that I set upon the task of sorting through it.


Those negatives, taken on a half-size Olympus PEN camera, added up to a substantial volume. I developed them in small batches in the darkroom, in the order of the dates they'd been given by my father. The photographs started from my parents' honeymoon, and went onto document my birth, and that of my younger brother and sister. The majority of the photos were ones I'd seen previously in albums, but being there in the darkroom, shining a light on the negatives and fixing the images onto photographic paper, I was surprised by how vital those images felt. At first, I only ever intended to print a few of them, then found I couldn't stop. In the end, I developed the photographs up to the point where I finished elementary school. It was a strange experience, tracing my father's perspective like that. The way that the moments seared into those negatives would never return. The experience of savouring those photos in the darkroom. I knew that my father had been interested in cameras, but I'd never thought about the question of whether his photos were any good or not. Now, though, as I went about developing his photographs, I began to think of him as a pretty talented photographer. That sense gradually morphed into a conviction.


I've been taking photographs for around thirty years. But for me, photography is a way of making artwork--my photographs weren't about capturing my family and friends. Photography, for me, meant going out with my camera to take photographs for my art practice. Now, for the first time, through the act of developing my father's photos, I started to think about the very basic question of why it is that people take photographs of things. My father's pictures feature my mother, me, my brother and my sister, the roses that he grew, and the occasional landscape. Sometimes he's right up close to his subject matter, and at others, he shoots from a distance. He doesn't pay much attention to the background. What comes across strongly in his pictures is the sense of a particular moment in time that he wished to capture. My father's photos were a personal thing, created for himself and his family. Yet I can't help but feel that feeling of contentment I experienced developing his pictures might be passed along to someone else, through the miraculous power of photography. It's my hope that that perspective of mine, tracing the perspective of my father, may be passed along to someone somewhere, and bring them some contentment.


Noguchi Rika.




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.





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 野口里佳『父のアルバム』
    space01.jpg
 Photo :野口紀雄
 Book Design:葛西薫 安達祐貴 
 
 発行:赤々舎

  Size:H276mm×W216mm 
  Page:72 pages
  Binding:Cloth Hardcover

  Published in October 2022
  ISBN
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About Book


父のアルバム

時を経て、重なり合う眼差し。


父から生前に渡された一冊のネガファイル。2013年に父が他界した後、野口はネガを日付順に、 暗室で少しずつ焼いていくことにしました。

「父の写真には母と私、弟と妹、父の育てたバラ、そして時折風景が登場します。被写体にぐんと近づいたものもあれば、遠くからそっと撮ったものもあります。背景にはあまり気を配ったりしません。でもその瞬間を撮りたかったのだな、という気持ちはよく伝わってきます。」

もう戻ってこないある瞬間がネガに焼き付き、暗室の中で浮かび上がる── 野口は父の視線を追いながらプリントする時間を通じて、「人はなぜ写真を撮るのか」という当たり前のことを初めて考えたと記します。
時間の隔たりを超えて伝える、写真のもつ不思議な力。本書は、その写真を見るひとりひとりの記憶に触れ、時間の旅にいざなう力を湛えています。

「父の写真は父と家族のためのとても個人的なものです。けれど私がプリントしながら味わった幸福な時間は、写真の持つ不思議な力として、誰かに伝わるのではないかと思うのです。父の視線をなぞった私の視線がどこかの誰かに伝わり、誰かを少し幸せにできるといいなと思っています。」


ネガファイルは、父と母が互いを撮り合った新婚旅行の写真から始まっていました。 
とくさ(緑)の表紙には、その一枚が貼り込まれています。 





My Father's Album 

Noguchi Rika


My father died in July 2013. My mother passed away in 1992, when I was twenty. A few years before my father died, I asked him if he had the negatives to any photographs of my mother, and he handed me a file. The whole thing was crammed full of negatives. It was only after his death that I set upon the task of sorting through it.


Those negatives, taken on a half-size Olympus PEN camera, added up to a substantial volume. I developed them in small batches in the darkroom, in the order of the dates they'd been given by my father. The photographs started from my parents' honeymoon, and went onto document my birth, and that of my younger brother and sister. The majority of the photos were ones I'd seen previously in albums, but being there in the darkroom, shining a light on the negatives and fixing the images onto photographic paper, I was surprised by how vital those images felt. At first, I only ever intended to print a few of them, then found I couldn't stop. In the end, I developed the photographs up to the point where I finished elementary school. It was a strange experience, tracing my father's perspective like that. The way that the moments seared into those negatives would never return. The experience of savouring those photos in the darkroom. I knew that my father had been interested in cameras, but I'd never thought about the question of whether his photos were any good or not. Now, though, as I went about developing his photographs, I began to think of him as a pretty talented photographer. That sense gradually morphed into a conviction.


I've been taking photographs for around thirty years. But for me, photography is a way of making artwork--my photographs weren't about capturing my family and friends. Photography, for me, meant going out with my camera to take photographs for my art practice. Now, for the first time, through the act of developing my father's photos, I started to think about the very basic question of why it is that people take photographs of things. My father's pictures feature my mother, me, my brother and my sister, the roses that he grew, and the occasional landscape. Sometimes he's right up close to his subject matter, and at others, he shoots from a distance. He doesn't pay much attention to the background. What comes across strongly in his pictures is the sense of a particular moment in time that he wished to capture. My father's photos were a personal thing, created for himself and his family. Yet I can't help but feel that feeling of contentment I experienced developing his pictures might be passed along to someone else, through the miraculous power of photography. It's my hope that that perspective of mine, tracing the perspective of my father, may be passed along to someone somewhere, and bring them some contentment.


Noguchi Rika.




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.





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 上田義彦『Māter
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  Book Design:葛西薫 中本陽子 
  
  発行:赤々舎

  Size: H290mm × W227mm
  Page:64 pages
  Binding:Softcover

  Published in September 2022
  ISBN
978-4-86541-150-8

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About Book


Māter 「母、源」─

自然、人、すべてを対等に捉え、根源的な生命としての存在を表す写真集。


時を超えて、ふとそこに置かれたマガジンのような佇まいの本書には、月の光のもとで撮影された滝や渓谷と女性の身体とが、一対として現れます。
漆黒の闇の奥に見える水流、たゆたう身体。生命の源として在るそれらと呼びかわすように、タイトルはラテン語の「Māter」(マーター、母・源、の意)から採られました。水と身体とが響きあうなかで、生命を育む地球と人とが重なる不思議。存在が分かちがたく連なる在りようを、『Māter』は密やかに映し出します。 

1990年に撮影したアメリカインディアンの聖なる森「Quinault」、2011年に屋久島の森を撮った「Materia」、そして2017年の「林檎の木」に続くこのシリーズは、命の根源をたどる旅のなかにあります。「Materia」(木の幹)、「Water」(水)という言葉もまた「Māter」(母・源)から派生したものであり、シリーズは相互に関わりあいながら、世界の成り立ちに眼差しを注いでいるのです。


Māter 

Yoshihiko Ueda


"In Latin, mater means mother/source, Mäter derives from the Indo-European root word mehter (mother), and has the same etymology as the English word mother. The original meaning of the Latin word materia is "tree trunk." The trunk is thought to be the "womb" of life, and materia originates from the word mater."


Receiving high acclaim both within Japan and overseas, Yoshihiko Ueda has continued to present work on the frontline throughout his career of 40 years. His oeuvre profoundly reflects his consistent perspective, thoughts, and personality as a photographer. 

Portraits, forests, family, rivers, buildings, human remains from the Jomon period, portraits of "paper," apple trees... 

Expressing a desire to "discover how the world came to be" and to "affirm the transience that permeates the impermanence within which we live," Ueda's photographs are a manifestation of many years of meticulously developing his concepts and exploring various motifs. 

The manner by which he transcends established notions and preconceptions to capture the intrinsic existence of "life," as well as the vivid presence of his subjects, and the overlapping layers of time, brings about an air of multifacetedness to his work in ways reminiscent of the matière of a painting. 


Such expression is indeed made possible through Ueda's gentle, yet powerfully penetrating gaze that respects and appreciates "life."

In the works, a waterfall, valley, and a woman's body are photographed under the light of the moon at night, and presented in pairs.

Here, water, human body, mother, earth, moon, as forces that have continued to generate life since ancient times, reflect the fact that nature and the female body are equal and closely connected. The faint reflection of the water and the smoothness of the skin of the woman's body share a curious commonality that enables one to sense the luster, presence, and even the breath of nature.

Ueda's distinct and profound gaze that treats nature, people, and all things as equal, and expresses their fundamental life existence in his work, inform viewers of a certain truth. That is, while we generally understand "water," "waterfall" and "human body" symbolically as being different things, in fact they are all connected as life on earth, and are woven together like one large tapestry.

This work is an extension of his previous endeavors in exploring the origins of life that begins with "Quinault" -shot in the 1990s in a sacred Native American Indian forest, followed by his 2011 series "Materia" consisting of photographs of the native forests of Yakushima, and "Apple Tree" shot in 2017.

Ueda regards the earth, a planet that miraculously possesses the power to create life, as one large living organism, and thus perceives "water and rocks" to be fragments of it, as well as women who too have the ability to give birth to life. Photographing under the "moonlight" that illuminates only the writhing of life amidst the dark of the night while letting all else sink into the darkness, was in itself a journey of sorts to infer the origin of life that is shrouded in mystery.


(Quoted from the text for the exhibition "Māter" at TOMIO KOYAMA GALLERY ROPPONGI)




Related Exhibiton



上田義彦「Māter」 



会期:2022年8月27日(土) 〜9月24日(土)

時間:11:00〜19:00

会場:小山登美夫ギャラリー六本木(東京都港区六本木6-5-24 complex665 2F)

  

日月祝休









Artist Information 


上田義彦 

1957 年生まれ、兵庫県出身。写真家、多摩美術大学教授。福田匡伸・有田泰而に師事。1982 年に写真家として独立。以来、透徹した自身の美学のもと、さまざまな被写体に向き合う。ポートレート、静物、風景、 建築、パフォーマンスなど、カテゴリーを超越した作品は国内外で高い評価を得る。またエディトリアル ワークをきっかけに、広告写真やコマーシャルフィルムなどを数多く手がけ、東京ADC 賞最高賞、ニューヨークADC賞、カンヌグラフィック銀賞はじめ、国内外の様々な賞を受賞。2014年日本写真協会 作家賞を受賞。同年より多摩美術大学グラフィックデザイン科教授として後進の育成にも力を注いでいる。

作家活動は独立当初から継続し、2022年までに39冊の写真集を刊行。主な写真集に『QUINAULT』(青幻舎、1993年)、『AMAGATSU』(光琳社出版、1995年)、『at Home』(リトル・モア、2006年)、『Materia』(求龍堂、2012年)、『A Life with Camera』(羽鳥書店、2015年)、『FOREST 印象と記憶 1989-2017』(青幻舎、2018年)、『椿の庭』(赤々舎、2020年)などがある。

主な個展に「上田義彦『Photographs』」(東京都写真美術館、2003年)、「Chamber of Curiosities」(東京大学総合研究博物館、2006年/国立台湾芸術大学芸術博物館、台北、2011年/リヨン市ガダーニュ美術館、フランス、2011年へ巡回)、「QUINAULT」(G/P Gallery、東京、2009年/Michael Hoppen Gallery、ロンドン、2010年/TAI modern、サンタフェ、2010年へ巡回)、「風景の科学 −芸術と科学の融合−」( 国立科学博物館 、東京、2019年)など。

2011年~2018年、自身のスペースGallery 916を主宰し、写真展企画、 展示、写真集の出版をトータルでプロデュース2021年には、初めて脚本、監督、撮影を手がけた映画作品「椿の庭」を公開。

作品はエルメス・インターナショナル(フランス)、ケンパー現代美術館(アメリカ)、ニューメキシコ美術館(アメリカ)、フランス国立図書館(パリ)、Stichting Art & Theatre(オランダ)に所蔵されている。



Yoshihiko Ueda

Photographer/Curator Born 1957 in Hyogo Prefecture, Japan. Assisted Masanobu Fukuda and Taiji Arita, before launching his career as an independent photographer in 1982. From editorial work, he went on to shoot numerous commercial photographs and films. International recognition for his commercial work includes the Tokyo Art Directors Club Grand Prize, New York Art Directors Club Award, and a Silver Lion at the Cannes Lions International Festival of Creativity among many others. In parallel, Ueda has also since 1982 continually pursued his artistic practice. As of 2022, he has published 39 photography collections..


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