川田 喜久治『Vortex
  Book Design:町口景 

  Size: H216mm × W154mm
  Page:544 pages

  Published in July 2022

¥ 8,000+tax 

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About Book


『Vortex』は近年、写真家・川田喜久治がInstagramのアカウントにアップロードし続けている膨大なデジタル作品群から選ばれた252点を中心に構成されています。2021年に発表した『20』(bookshop M)を経て、本書は川田のウェブプラットフォーム上における営為の集成であると同時に、1933年生まれの作家の、現代都市の混沌に向けられた比類なき視線と精神性が凝集した一冊となっています。 

川田は写真家集団〈VIVO〉の結成と解散を経て、第一作目となる写真集『地図』(美術出版社、1965)を発表。以降、『ラスト・コスモロジー The Last Cosmology』(491 + 三菱地所、1995)、『遠い場所の記憶 1951-1966』(Case Publishing、2016)等の写真集、「ロス・カプリチョス」「カー・マニアック」「ユリイカ 全都市」等のシリーズ群への取り組みと、それらから派生する国内外での数多くの展示によって、戦後日本を代表する写真家の一人として、60年を超えるキャリアを連綿と紡ぎ続けてきました。 

『Vortex』に収録されたイメージの多くは川田が生活する現代の東京で撮影されたものですが、数十年前に撮影・発表さ れた作品もまた時空を超えて擬態するように紛れ込み、本書の一部を成しています。時に過剰なほどの操作によって色彩と触感を歪ませ、繰り返されるモチーフによって鑑賞者の心象に絶え間ない圧迫と一分の隙間を与える――パンデミックのただなかへと迷い込んでいく都市の様相は、それらが肌理の粗い嵩高紙の束に重なることでやがて秩序と境界を喪失し、私たちもまた、 いつしかその渦中へと引きずり込まれていくようです。碑を思わせるハードカバーの表・背・裏に三度刻まれた同心円は、それ自体が何かの啓示であるかのように振る舞い、不敵にそこに鎮座するのです。 

本書巻末には、写真史家の甲斐義明、同じく写真史家/インディ ペンデントキュレーターのポリーヌ・ベルマール、「空蓮房」房主/写真家の谷口昌良による寄稿に加え、川田本人とノンフィクション作家の藤野真功共同署名による略年譜を収録。全544ページのボリュームで編纂されました。 


──川田 喜久治


藤野眞功 [ノンフィクション作家]


なにもかもが美しく、なにも傷つかなかった ──川田喜久治が熟視の先に照らすもの
ポリーヌ ・べルマール [インディペンデントキュレーター/写真史家]

虚像のリアル ──川田喜久治作品に思う
谷口昌良 [空蓮房・房主/写真家]

The Late Style of a Photographer
Yoshiaki Kai [Photography historian]

Everything was Beautiful and Nothing Hurt On Kikuji Kawada's Illuminating Contemplations
Pauline Vermare [Independent curator / Photography historian]

The Realness of the Virtual A Note on the Art of Kikuji Kawada
Akiyoshi Taniguchi [Kurenbo / Photographer]


PGI、高橋朗 、ヒントン実結枝

甲斐義明(523-528 頁)


Kikuji Kawada

On September 5th, 2018, in one of his early Instagram posts, Kikuji Kawada shared a photograph of a poster that read: "Everything was beautiful and nothing hurt."1 This quote, by Kurt Vonnegut, is extracted from his masterpiece Slaughterhouse-Five, praised as "one of the most enduring antiwar novels of all time."2, 3 Vonnegut, an American novelist born of German parents, enlisted in the U.S. Army during World War II, in 1943, when he was 21 years old. Captured by the Germans during the Battle of the Bulge, he was taken as a prisoner of war in Dresden, where he survived the Allied bombing in a meat locker of the slaughterhouse where he was detained. This experience provided the traumatic substance of his novel, but also the somewhat comedic undertone of the style that he came to be known for. His work became an emblem of American post-war counterculture. It seems quite fitting that Kawada would pick Vonnegut's words and make them his own through the prism of social media. He tagged this post with "#kurtvonnegutjr," "#スローターハウス5" and "# なにもかもうつくしく" : "Everything is beautiful." A few hours later, that same day, he posted another photograph: rows of cars in flames in the aftermath of a typhoon, as seen in the news, on a TV screen. The poetic irony of this sequence echoes Vonnegut's quote, and Kawada's entire oeuvre, starting with Chizu (The Map). [...]

Like Vonnegut, Kawada uses his art to sublimate a pain that is profound, and indescribable. In his photographs, everything is beautiful because it hurt. What remains from insane, natural or manmade destruction, is only made beautiful through the eye of the artist that transcends it. Kawada's more recent work, be it "The Last Cosmology", "Los Caprichos" or his latest photographs, published in this book, seems to be a prolongation of this epiphany: as if he needed to go back to this moment, as if it had become an obsession.

In the history of Japanese photography and in the history of photography at large, Kawada stands out. An iconoclast and a self-admitted contrarian, he offers a vision of the world that is personal, spiritual, and elevated. To photo historian Ryuichi Kaneko, he once jokingly told an anecdote about Yukio Mishima's perplexed reaction to Chizu: "I overheard him asking, 'What kind of 'stains' are these? Stains left by what?' I was a bit contrary back then, you know. I said, 'That's for you to imagine, sir'."6

His work is for us all to imagine: Kawada always steered clear of the literal. This may be in part because a literal narrative form would not allow him to express the weight of his experience. Writing about Belgian photographer Anton Kusters's work on the memory of the concentration camps, photography historian Fred Ritchin explained: "The German novelist W. G. Sebald felt that 'the recent history of his country could not be written about directly, could not be approached head-on, as it were, because the enormity of its horrors paralyzed our ability to think about them morally and rationally,' as Mark O'Connell wrote in the The New Yorker on the tenth anniversary of Sebald's death. 'These horrors had to be approached obliquely.'"7

This seems to be Kawada's approach: an oblique way of telling the story, and blending the genres. A tongue-in-cheek approach to the gravity and the seriousness of our condition -the coping mechanism of the traumatized. His existential irreverence is in no small part what draws us into his universe, and what makes him stand out.

Kawada's work could be defined as layered documentary. He explains: "An image taken of the 'present,' whenever that is, is so strong--vivid in hue, aspect, substance--because it's a document. I seek even now to explore new forms for documentary to take. When you layer things in the way we've been discussing, the layers produce meaning, metaphors emerge as you go deeper into the juxtapositions that arise, and the ways of seeing the image multiply."8[...]

With Covid-19, reality started to look more and more like fiction. The masks that Kawada used in his "Los Caprichos" series, his masterful tribute to Goya's eponymous social fables, made over 40 years ago, took a deeper meaning. On October 16th, 17th, and 18th in 2021, he posted a series of photographs that hinted at his eerie prescience. In a personal essay he wrote in 2016, published in Remote Past a Memoir: 1951-1966, Kawada recalled a traumatic brain surgery: "I was desperate to recollect my memories from a mere few hours ago. Being in this dark place had brought more fear upon me than the thought of brain surgery. After a while my memories came back to me in a trembling surge. Suddenly, I saw an array of photographic negatives floating before my eyes. In pursuing these images where light and darkness were reversed, I had found myself lost and unable to distinguish between past and future..."16

This is the emotion that he masterfully channels and makes visible in his photographs: negative turned positive, positive turned negative. His disturbing and ominous images are a place of excavation, of traumas either lived or foreseen. The world they describe - his world, Tokyo - appears like Dante's Inferno, both flooded and in flames. By combining vivid colors that range from burning flames to ice blue, by playing with contrasts and textures, Kawada generates a series of fantasies, a world that is perpetually at war, but still standing. In that same essay, he writes: "It is by no means an overstatement to say that all I can remember from my memories extending across the distant horizon are places of ruin and chaos... The catastrophe of the 100 Suns and the fear of cesium remain still lurking in our future skies. The conversation between father and daughter continues to be repeated like a spell of sorts, 'You know daddy, the world is going to end tomorrow.' 'What, the world will end tomorrow?'" Looking at his photographs,we don't know if we are witnessing the end or the beginning of the world.17

Kawada's vision is that of a man who has confronted death repeatedly and remained on the side of life. It is at once obscured and illuminated. Vonnegut ended the long letter that detailed his wartime experience as a prisoner by saying: "I've too damned much to say."18 In his work, Kawada, too, grapples with the desire to say it all, through photography. [...]

After countless hours spent getting lost in Kawada's Instagram stream of consciousness, being all consumed by it, one feels as if they've had a timeless conversation with a man of outstanding depth, soul, and modernity. Bringing the past into the present, in the immense chaos that we are experiencing, his photographs tell us that he is, and that we are, and that the world is, still very much alive. In all the madness to be seen, through all the dark clouds, Kawada shows us that there is still some light.

Extracted from the text 

"Everything was Beautiful and Nothing Hurt On Kikuji Kawada's Illuminating Contemplations"

Pauline Vermare

Related Exhibiton

川田喜久治 「ロス・カプリチョス 遠近」 



会場:PGI (東京都港区東麻布2-3-4 TKBビル3F)


Artist Information 

川田 喜久治 

1933年 茨城県生まれ。 1955年、新潮社に入社。1959年に新潮社を退社しフリーランスとなる。佐藤明、丹野章、東松照明、奈良原一高、細江英公と共に写真エージェンシー「VIVO」 (1959-61年)を設立。
敗戦という歴史の記憶を記号化するメタファーに満ちた作品集『地図』を 1965年に発表し、以来現在に至るまで、常に予兆に満ちた硬質で新しいイメージを表現し続けている。

Kikuji Kawada

Born in Ibaraki, Japan in 1933. He joined Shinchosha in 1955. He became a freelance photographer and co-founded the VIVO collective in 1959 together with Akira Sato, Akira Tanno, Shomei Tomatsu, Ikko Narahara and Eikoh Hosoe.
In 1965 he released The Map, a groundbreaking photobook loaded with postwar political metaphor, and he continues to challenge our intellect with similarly fresh and clairvoyant im- ages to this day. Kawada describes his work as "an expression of a specific scene in time and my relationship to it, framed accordingly, and the style born from the exchange." These days Kawada can be found posting images and photographic musings to his Instagram account.


『りんご通信 4』
  Editor in chief:髙橋健太郎
  Editor  :姫野希美

  Cover photo:児玉浩宜


  Size: H406mm × W277mm
  Page:14 pages

  Published in July 2022

¥ 500+tax 


out of stock

About Ringo Letter

りんご通信 4号!

ウクライナ・ハルキウ。トラピスト修道院への道。沖縄のバスの車窓。右膝に違和感がある箱根。夕暮れの湖。幼少期の京都と北サハリンへの旅。ある日の食卓。モンゴル草原と工業地帯化の間の雄大な大地。1936年のアビシニア高原。犬山 ─



「りんご通信 4」

児玉浩宜   ウクライナ・ハルキウ
戸田昌子   岡村昭彦とトラピスト修道院
上原沙也加    北海道から。沖縄から。4 ─ 「窓の向こうで」
木村和平   わたしは道すがら 4
清水裕貴   Bar Landscape Vol.4 ─ あなたを思い出すための薬
川崎祐    本と明け方 4  世界の輪郭と、想像のゆくえ
齋藤陽道   ホットブルー日記
田凱     南多摩料理人の一品 二品目 ・ 月牙餅
川瀬慈    アビシニア高原、 1936年のあなたへ
楠本亜紀   風景を手探る 第二回 偶然と必然


りんご通信 編集部では、皆さまのご感想、お便りをいつでもお待ちしております。
SNSを始め、メールは、info(a) ※ (a)を@にご変換ください

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©harumichi saito          

  Book Design:須山悠里 


  Size: H255mm ×  W192mm
  Page:68 pages

  Published in June 2022

  You can choose from 2 different covers (the contents are the same).
¥ 4,500+tax 


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About Book


現代日本を代表する写真家である鈴木理策の待望の新作『冬と春』は、鈴木のライフワークでもある「White」「Sakura」「Water Mirror」シリーズにおける未発表の新作を主に収録しています。





Winter to Spring 

Risaku Suzuki

It may be that to create something is to draw 'life' out of the world. Painting, sculpture, performance, film, music, writing, and many other forms of expression all share one thing in common: they are responses to "life" that the artist encountered and was moved by.

Photographers are generally expected to show how they interpreted the scene or what meaning they found in the subject, but for me, photography is a response to the world I encountered, and my aim is for the captured scene to be remembered anew by the viewer. I do not look "to take photographs". First comes the surprise and joy of encounter in what I see, and then there is the taking of the photograph. The subject of my works is to express the purity of the camera lens.

During the COVID-19 pandemic, I avoided going out any more than necessary, and for long periods I spent day after day indoors. The days on the calendar continued to pass by, but I did not really feel it, and I was surprised how every time I went outside, there had been noticeable seasonal changes. The changes made me feel as if I were in a movie, switching between different scenes.

When you use the words "winter" and "spring," the two seasons are as seen as different things, entities that can be separated. However, the seasons are continually changing, and time moves onwards without interruption. What you can capture with photography is the state of the world at the instant you released the shutter, and the image itself does not tell us much. However, when these are arranged in sequence, they begin to connect with each other, and a space or interval begins to emerge between them. I would like to leave it to the viewer how to read the space between the lines.

Our streams of consciousness make connections between fragments. When viewing fragments, the point at which you become conscious of something is deeply embedded in your memory. It can be difficult to differentiate between what you remember seeing and what you are seeing right now, so past and present overlap. This is similar to the experience of viewing photography

Within a photograph, the photographer's experiences blend together with the viewer's memories. The space between the pages of this book is entrusted to you.

(Risaku Suzuki afterword "Winter to Spring")

Special gifts for the first customers 




Related Exhibition

鈴木理策 展「冬と春」

会期:2022年6月4日(土) 〜7月2日(土)
会場:タカ・イシイギャラリー(東京都港区六本木6-5-24 complex665 3F)

「ジャム・セッション 石橋財団コレクション×柴田敏雄×鈴木理策 写真と絵画―セザンヌより 柴田敏雄と鈴木理策」

会期:2022年4月29日(金)〜 7月10日(日)
時間:10:00〜18:00(金曜日は20:00まで、 入館は閉館の30分前まで)



スクリーンショット 2022-06-10 17.07.54.jpg

Artist Information 


翌年、《Osorezan》と《Izanami》のふたつからなる『PILES OF TIME』(同)を出版し、2000年に第25回木村伊兵衛写真賞を受賞。2020年『知覚の感光板』(赤々舎)刊行。
主な個展に「意識の流れ」(丸亀市猪熊弦一郎現代美術館ほか、香川、2015)、「水鏡」(熊野古道なかへち美術館、和歌山、2016)、「Mirror Portrait」(タカ・イシイギャラリー、東京、2016)、「熊野 雪 桜」(東京都写真美術館、2007)、「冬と春」(タカ・イシイギャラリー、東京、2022)

Risaku Suzuki

1963 Born in Shingu City, Wakayama

1987 Graduate from Tokyo College of Photography Research Department

Professor, Department of Intermedia Art, Tokyo University of the Arts

Selected Solo Exhibitions

2022 Winter to Spring, Taka Ishii Gallery, Tokyo

2020 Between the Sea and the Mountain - Kumano / Between the Eye and the Mind,Nikon Plaza Shinjuku THE GALLERY 1+2,Tokyo

2018 La plaque sensible, Canon Gallery S, Tokyo

2016 Mirror Portrait, Taka Ishii Gallery, Tokyo

2016 Beyond the Realm of Time, &co119, Paris, France

2016 Between the Sea and the Mountain, Taka Ishii Gallery Photography Paris, Paris, France

2016 Stream of consciousness, Christophe Guye Galerie, Zurich, Switzerland

2016 Water Mirror, Kumanokodo Nakahechi Museum of Art, Wakayama

2016 Stream of consciousness, Tanabe City Museum of Art, Wakayama

2016 SAKURA, Kumano Shimbun Gallery, Shingu, Wakayama

2015 Water Mirror, Gallery Koyanagi, Tokyo

2015 Stream of consciousness, Tokyo Opera City Art Gallery, Tokyo

2015 Stream of consciousness, Marugame Genichiro-Inokuma Museum of Contemporary Art, Kagawa

2014 One day, in the wood, Odate, Kitaakita Arts Festival 2014, Akita


2013 Cézanne à l'Atelier, Gallery Koyanagi, Tokyo

2011 The Words Burned, MORIOKASHOTEN, Tokyo

2011 Yuki - Sakura, Christophe Guye Galerie, Zurich, Switzerland

2010 SAKURA, Kinpusenji Temple, Nara

2009 WHITE, Gallery Koyanagi, Tokyo

2009 CONTACT, d-labo, Tokyo

2007 kumano, yuki, sakura, Tokyo Metropolitan Museum of Photography, Tokyo

2006 Sakura, Yoshii Gallery, N.Y. USA

2005 Between the Sea and the Mountain - KUMANO, Gallery Koyanagi, Tokyo

2004 Beyond the Realm of Time, Nishimura Memorial Hall, Wakayama

2003 SAKURA, Gallery Koyanagi, Tokyo

2002 Looking at the wind, Touching the mountain, Kura Kura Art Project, Ishikawa

2001 Looking at the wind, Touching the mountain, Photo Gallery International, Tokyo

2001 M.SUGAWARA, epSITE, Tokyo

2001 Risaku Suzuki, Yuki City Culture Center, Ibaraki

2000 PILES OF TIME, Minolta Photo Space, Shinjuku, Osaka, Fukuoka, Hiroshima, Nagoya, Sendai

2000 SASKIA, P.G.I. Shibaura, Tokyo

1997 IZANAMI, P.G.I Shibaura, Tokyo

1997 15:10 Osorezan, Osaka Nikon Salon, Osaka

1996 15:10 Osorezan, Ginza Nikon Salon, Tokyo

1994 TORII, Polaroid Gallery, Tokyo

1993 Double Life, Photo Gallery International, Tokyo

1992 White Sands, Photo Gallery International, Tokyo

1991 SUN CITY, Hiranagacho-bashi Gallery, Tokyo

1990 TRUE FICTION, PARCO GALLERY, Kichijoji, Tokyo

Selected Group Exhibitions


2021 Koyasan Kumano / Eriko Koga, Risaku Suzuki,FUJIFILM PHOTO SALON TOKYO,Tokyo

2017 Risaku SUZUKI/Naoki ISHIKAWA Photo Exhibition in Shiretoko "TOP END", Shari-cho Community Center Yume Hall Shiretoko, Hokkaido

2017 25th Anniversary Exhibition MIMOCA's Collection: Artworks of All Kinds!, Marugame Genichiro-Inokuma Museum of Contemporary Art, Marugame-shi, Kagawa

2016-2017 Seven Japanese Rooms-Fotograia contemporanea dal Giappone, Fondazione Crispezia, La Spezia, Italy

2016 Japanese Photography from Postwar to Now, San Francisco Museum of Modern Art, U.S.A

2016 Let it Snow, Richrad Levy Gallery, Albuquerque, NM, U.S.A

2016 Revalue Nippon Project: Hidetoshi Nakata's Favorite Japanese KOGEI, Panasonic Shiodome Museum, Tokyo

2016 Genius loci - The Higashikawa Awards -, Towada Art Center, Aomori

2015 The 15th Photo City Sagamihara, Sagamihara Civic Art Gallery, Kanagawa

2015 Regards Croisés Japon-Provence/Phot' Aix 2015,Galerie Zola de la Cité du livre, Aix en Provence, France

2014 SAMUEL BECKETT - The door is imperceptibly ajar, enpaku, The Tsubouchi Memorial Theatre Museum, Waseda University, Tokyo

2014 Rudolf Steiner Das Reich der Angeloi, WATARI-UM, Tokyo

2013 The Exhibition of Aomori Museum of Art, Art Gallery ARTIUM presented by Mitubishi-Jisho, Fukuoka

2012 Summer Show, Gallery Koyanagi, Tokyo

2011 The Collection of Aomori Museum of Art, Parco Museum, Tokyo

2008 Remembrance of Places Past,Japanese Architectural Photography from the 19th to the 21th century, Tokyo Metropolitan Teien Art Museum, Tokyo

2005 Come Ciliegi in Fiore, Museo del Risorgimento Complesso del Vittoriano, Roma, Italy

2005 36 Photographers of the Kimura Ihei Award 1975-2005, KAWASAKI CITY MUSEUM, Kanagawa

2000 The 1st Korea Japan Photo-Biennale, Silk Gallery, Embassy of Japan in Korea, Seoul, Korea

1988 15 Contemporary Photographic Expressions 12th, Annex Gallery, University of Tsukuba, Ibaraki

1987 Photography 87, Citizen's Gallery, The Setagaya Art Museum, Tokyo

1986 15 Contemporary Photographic Expressions 6th, Annex Gallery, University of Tsukuba, Ibaraki

1986 Works by Graduate Students of the TOKYO COLLEGE OF PHOTOGRAPHY, Olympus Gallery, Tokyo


2000 The Kimura Ihei Award

2006 The Higashikawa Prize, The Domestic Photographer Prize

2006 The Wakayama Prefecture Culture Award

2008 The Photographic Society of Japan Award, Annual Award

2015 The 15th Photo City Sagamihara, Professional Division Grand Prize

Public Collection

The National Museum of Modern Art, Tokyo

Tokyo Metropolitan Museum of Photography

Aomori Museum of Art

Kawasaki City Museum

Japan Foundation

Princeton University Art Museum, USA

The Museum of Fine Arts, Houston, USA

International Center of Photography, USA

Fondazione Casa di Risparimo di Modena, Italy

The San Francisco Museum of Modern Art, USA


  Art Direction:須山悠里

  Size: H285mm × W210mm 
  Page:236 pages

  Published in June 2022

¥ 8,000+tax 


【国内/Domestic Shipping】 

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About Book


表紙は、ポンペイ・レッドに彩られた四曲一隻屏風《浄夜~鳥の夢~》 (2021年、部分)。
神秘な奥行きと予兆に満ちた始まりの本書は、最も注目される日本画家 村岡貴美男の初作品集となる。



Villa of the Mysteries 

Kimio Muraoka

From his long-awaited entrance to the Tokyo University of the Arts to the completion of his PhD, Muraoka pursued his creation and nothing else for nine years. One day during that period he had a shocking encounter - with a photobook of Pompeii, and with the Villa of the Mysteries.

"Today I am aware that my work tends to towards expression in reds, but I was originally fond of blue gray and green gray. After I began to practice Japanese painting and saw mineral pigments, I became moved by shades of red - in particular the bitter and vivid shades of burnt sienna, which has a primitive feel that shakes and excites my heart. It symbolizes earth, blood, life, and fire, as well as a sense of sensuality. The color of the mural in Pompeii was this very burnt sienna shade. The moment I saw that red I was awakened to something new. From that moment on the color has been imprinted deep in my consciousness."

Nine years later, Muraoka actually visited Pompeii.

"The atmosphere inside the villa, with its dim cool air, silent and without tourists, and the world outside it, bathed in strong sunlight, with a chorus of birds, was something I could not receive just from a book. That was when I realized that the Villa of the Mysteries was not just an object of art but an architectural space and a historical ruin. The volcanic ash protected the surface of the mural, strangely concealing its history, and at the same time conveying the accumulation of an overwhelming period of time. I did not understand the content or intentions of what was painted there accurately.

In fact, I don't even know who painted it. I just looked at it and was touched by it. I believe the mural in Pompeii taught me what painting should be, and brought me back to my pure self."

Regardless of place and time, there are many artifacts that inspire Muraoka: Klimt, Romanesque sculpture in Toulouse, La Dame à la licorne ('The Lady and the Uni- corn'), the Bayeux Tapestry, Tatsuo Takayama, the Rimpa school, the statue of Ashura in Kofukuji and so on. However, the Villa of the Mysteries in Pompeii holds a special place in his heart, and continues to resonate through his work like thoroughbass.[...]

"If people say that what I do is not Japanese painting and therefore I am not a Japanese painting artist, then I am fine with not being one. Finding the landscape I want to see is the most important point, not being a Japanese painting artist. I will not stop creating with my own hands, nor discard painting subjects. It is not that I am trying to express with eccentricity, but that I am finding what I want to see and calculating back to the material I need to express it. That is all I want to do."

Technology progresses inexorably, but will humans entrust everything to it? As things are processed more efficiently and simply, the human hand may at the same time be drawn towards the chaotic, the unreasonable and the mysterious.

For Muraoka, 'questioning' and 'exploring' are probably synonymous. Upon the foundation of the moving moment he experienced in Pompeii, he will continue in his belief that art in its purist sense should stimulate joy and wonder and, transcending genres, he will question the purpose of art and its exploration.

Extracted from the text 《Questioning, while exploring his world 》 

Tomoko Kunugi Representative of Ishin-Denshin




"雖然現在的作品給人以紅色的印象,但我原本喜歡的其實是灰藍、灰綠這 類色彩。自從開始畫日本畫、接觸到岩彩後,我被紅色系顏料的美深深打動了。 尤其是雅緻、色彩鮮明的赭石色系,有著直擊心靈的原始感,令人心潮澎湃。它 代表了泥土、血液、生命、火,備極絢爛。秘儀莊壁畫的顏色,正是那種赭石。 在看到那種紅褐色的瞬間,我內心中有某種東西覺醒了。自那之後,那個顏色就 深深印刻在了我的深層意識中。"


"昏暗冷徹的空氣,空無遊客的寂靜,外面耀眼的陽光和小鳥的鳴囀,都是 從攝影集中無法感受到的。此时,我第一次体会到秘儀莊壁畫是作为 '建築的一 部分' 的 '遺跡',而非 '繪畫'。火山灰奇跡般的保護了畫面,將歷史封存,與此 同時,我感受到了撲面而來的層層積累的時間。我無法準確理解畫面的內容和意 圖,也不知道作者是誰。觀看帶給我的只有無限感動。那時,我仿佛從龐貝壁畫 中學到了繪畫的本質,尋回了自己的初心。"

克利姆特、圖盧茲的羅馬式雕塑、《貴婦人與獨角獸》掛毯、《貝葉掛毯》 (也稱《瑪蒂爾達女王掛毯》)、高山辰雄(受到高更影響後的作品)、興福寺的阿修羅像、《蒙娜麗莎》等等,無論古今東西,影響了村岡貴美男的作品不在少數。 但其中,龐貝古城的《秘儀莊》是特別的存在,從早期直至現在,它是貫穿了村岡作品的一抹底色。(中略)



想必村岡的探求之路也正是如此。從在龐貝秘儀莊獲得的感動出發,相信藝 術擁有能予人喜悅和驚奇的原始力量,今後,村岡貴美男將繼續以跨界的姿態, 孜孜於對藝術的探問和求索。


 功刀知子(以心傳心 代表)

Artist Information 


1966年  京都府生まれ。

1995年  東京藝術大学美術学部絵画科日本画専攻 卒業

1997年  卒業制作 台東区買上 東京藝術大学大学院美術研究科修士課程絵画専攻日本画研究分野 修了(芸術学修士) 修了制作 東京藝大買上
      再興第82回院展 初入選、以降毎年出品(東京都美術館)

1998年  第53回春の院展 初入選、以降毎年出品(日本橋三越本店) 

2000年  東京藝術大学大学院博士後期課程研究発表展(東京藝術大学陳列館)
東京藝術大学大学院美術研究科博士後期課程美術専攻日本画研究領域 単位修得退学
      修了制作 東京藝大収蔵
      東京藝術大学美術学部日本画研究室 非常勤助手

2005年  東京藝術大学美術学部日本画研究室 非常勤講師 

2009年  東京藝術大学美術学部日本画研究室 助教 

2012年  東京藝術大学美術学部日本画研究室 非常勤講師

2014年  日本美術院同人推挙

2016年  女子美術大学芸術学部非常勤講師(日本画専攻)

2019年  女子美術大学芸術学部特任教授(日本画専攻) 



1996年  台東区長賞展(浅草公会堂) 

1998年  レスポワール「村岡貴美男展」(銀座スルガ台画廊) 

1999年  村岡貴美男展(ぎゃらりぃ朋)

2006年  更生保護表紙絵展(ナカジマアート)

2009年  11の箱(ナカジマアート)

2010年  第18回東美特別展/軸・屏風の末裔(東京美術倶楽部、山下画廊ブース) 

2010年  軸・屏風の末裔(山下画廊)

2011年  面 -おもて-(ナカジマアート)

2011年  『ともしび』表紙絵展(ナカジマアート)

2013年  時間牢(ナカジマアート)

2014年  アートフェア東京 2014 /閉じた時間、記憶のかたち(東京国際フォーラム、山下画廊ブース)

2014年  閉じた時間、記憶のかたち(山下画廊)

2014年  村岡貴美男 Drawing 展/技法・素材-あそび-(ナカジマアート) 

2016年  閉架図書室(ナカジマアート)

2017年  エニグマの肖像(天満屋 岡山本店、天満屋 福山店、広島八丁堀ビル、天満屋 米子店) 

2018年  心象の庭、心象の部屋(西武池袋店)

2019年  まじないの動物(ナカジマアート)、幻視 / 残像の風景(神戸阪急)

2021年  記憶のかたち、かたちの記憶 (日本橋三越本店)



Kimio Muraoka

1966 Born in Kyoto Prefecture

1995 Graduated from the Japanese Painting Course at the Department of Painting, Faculty of Fine Arts, Tokyo University of the Arts / Graduation project was purchased by Taito City

1997 Completed the Japanese Painting Course at the Graduate School of Fine Arts (Master of Fine Arts)

Graduation project was purchased by Tokyo University of the Arts

Selected for INTEN - The 82nd Exhibition of the Japan Art Institute for the first time. Submitted every year thereafter. (Tokyo Metropolitan Art Museum) 

1998 Selected for INTEN - The 53rd Spring Exhibition of the Japan Art Institute for the first time. Submitted every year thereafter. (Mitsukoshi Nihombashi)

2000 Tokyo University of the Arts Doctoral Program Research Presentation and Exhibition (Chinretsukan Gallery, Tokyo University of the Arts)

Withdrawal upon completion of course requirements from the Doctoral Program in Fine Arts (Japanese Painting)

Graduation project was added to the collection of the Tokyo University of the Arts

Part-time Research Associate at the Japanese Painting Lab, Faculty of Fine Arts, Tokyo University of the Arts

2005 Part-time Lecturer at the Japanese Painting Lab, Faculty of Fine Arts, Tokyo University of the Arts

2009 Assistant Professor at the Japanese Painting Lab, Faculty of Fine Arts, Tokyo University of the Arts

2012 Part-time Lecturer at the Japanese Painting Lab, Faculty of Fine Arts, Tokyo University of the Arts

2014 Recommended as a member of the Japan Art Institute

2016 Part-time Lecturer at the Department of Fine Arts, Joshibi University of Art and Design (Japanese Painting Course)

2019 Project Professor at the Department of Fine Arts, Joshibi University of Art and Design (Japanese Painting Course)

Currently a member of the Japan Art Institute and Project Professor at the Department of Fine Arts, Joshibi University of Art and Design

Solo exhibitions

1996 Taito City Mayor Awards (Asakusa Public Hall)

1998 L'espoir Kimio Muraoka Exhibition (Ginza Surugadai Gallery)

1999 Kimio Muraoka Exhibition (Gallery Tomo)

2006 Rehabilitation Aid Cover Art Exhibition (Nakajima Art)

2009 11 Boxes (Nakajima Art)

2010 18th Tobi Art Fair - Descendants of Hanging Scrolls and Folding Screens (Tokyo Art Club, Gallery Yamashita Booth)

2010 Descendants of Hanging Scrolls and Folding Screens (Gallery Yamashita)

2011 Face (Nakajima Art)

2011 Tomoshibi Cover Art Exhibition (Nakajima Art)

2013 Cage of Time (Nakajima Art)

2014 Art Fair Tokyo 2014 - Closed Time, Shape of Memory (Tokyo International Forum, Gallery Yamashita Booth)

2014 Closed Time, Shape of Memory (Gallery Yamashita)

2014 Kimio Muraoka Drawing Exhibition - The Play of Technique and Material (Nakajima Art)

2016 Closed-Stack Library (Nakajima Art)

2017 The Portrait of Enigma (Tenmaya Okayama, Tenmaya Fukuyama, Hiroshima Hatchobori Building, Tenmaya Yonago)

2018 Imaginary Garden, Imaginary Room (Seibu Ikebukuro)

2019 Magical Animals (Nakajima Art)

2019 Landscape of Illusions/Afterimages (Hankyu Kobe)

2021 Shape of Memory, Memory of Shapes (Mitsukoshi Nihombashi)

[Works purchased by]

Tokyo University of the Arts, Taito City, Edogawa Institute of Education, Koyodo Museum of Art, Teikyo University, Adachi Museum of Art, Ozu Washi, Kan'ei-ji

[Permanent collections]

Tokyo University of the Arts, Benetton


『りんご通信 定期購読』
  Editor in chief:髙橋健太郎
  Editor  :姫野希美


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