上原沙也加『眠る木』

眠る木cover3.jpg

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

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

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

¥ 4,500+tax 

国内送料無料!

【国内/Domestic Shipping】 

お支払い方法は、銀行振込、郵便振替、
クレジットカード支払い、PayPal、PayPay よりお選び頂けます。

※先着購入の方に12ページの冊子が付きます。(なくなり次第終了)


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




About Book


見慣れたはずの風景の細部のなかに、いく層にも折り重なっていること


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

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



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

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

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

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

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

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

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

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

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


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


Sleeping Trees 

Sayaka Uehara


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


Exracted from the afterwords 

by Sayaka Uehara



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

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

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

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


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

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

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


Exracted from the text 

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

 Isao Nakazato




Related Exhibiton



上原沙也加「眠る木 


会期:2022年12月13日(火)~12月26日(月)

時間:10:30~18:30(最終日15時まで、日休み

会場:ニコンサロン(東京都新宿区西新宿1-6-1

新宿エルタワー28F)


【トークイベント】

「見えるものと見ることができないもの」

出演:上原沙也加 × 柴崎友香 × 北野謙 

日時:2022年12月17日(土)16:00~

定員:20名(先着順)、参加無料


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


上原沙也加「眠る木」


会期:2022年12月3日(土)~12月29日(木)

時間:13:00〜19:00(無休)

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

入場:500円


【トークイベント1】

「写真を編むこと」 

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

日時:12月18日(日)17:00〜

入場:1,000 円 ※オンライン配信あり


【トークイベント2】

「沖縄 で/から 語ること」

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

日時:12月24日(土) 16:00

入場:1,000 円 ※オンライン配信あり







FhshydsaMAEoEwi.jpeg






b0187229_09364012.jpg


Artist Information 


上原沙也加 

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



Sayaka Uehara

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