22種類の布色より表紙をお選び頂けます。

22 types of cloth covers（Same Contents）

左より　 6 亜麻色 ｜ 7  菜の花色 ｜ 8 柿色 ｜ 9 胡桃色 ｜ 10 煉瓦色 ｜ 11 赤銅色

左より　 12 紺桔梗 ｜13 葡萄色 ｜14 濃藍 ｜15 紺青 ｜16 天色 ｜17 藤色

左より　 18 薄墨色 ｜19 濡羽色 ｜20 鉄色 ｜21 千歳緑 ｜22 柳色

migration

Keiji Tsuyuguchi

An island nation, built upon the framework of modern imperial rule, emerged to the east of the Eurasian continent, separated by the sea. Since its inception, various circumstances have continuously generated people forced into migration. One of the things photography in this book seeks to capture is the juxtaposition between the lands from which displaced individuals originally hailed and the northern islands they migrated to. One such island, dubbed"Hokkaido"by the newly formed nation, was incorporated into the state alongside its indigenous Ainu people and became a target for colonization from the mainland. Simultaneously, numerous forced relocations of the Ainu people became institutionalized. 

Additionally, this book primarily focuses on various regions such as parts of the cities Tokyo and Sapporo, where the administrative body known as the"Development Commission,"which was heavily involved in these relocations, was established post-state formation, regions formed by the mining industry now facing decline and extinction, and these various territories are captured through photography.  

Located in the heart of Tokyo, the city where the Development Commission was placed and surrounded by various powers constituting the nation's authority, lies the"Imperial Palace,"an invisible space where residing is excluded, and one of the subjects of this book. 

On the other hand, in recent years, we have experienced the emergence of highly unique spaces in our archipelago. This includes the formation of the"Difficult-to-Return Zone"and its surrounding areas, contaminated by high levels of radioactive materials due to the Fukushima Daiichi nuclear power plant accident. Once again, people were forced to move from their traditional homes and leave the area. 

This attempt to find strong homogeneity between these vastly different spaces in origin, history, and time̶the Difficult-to-Return Zone and the Imperial Palace̶forms another axis of this book. 

The forces that gave rise to the Imperial Palace and the Difficult-to-Return Zone continue to create several spaces that appear similar or homogenous to them. These spaces, inherently invisible due to the exclusion of habitation, intersect and overlap with the locations constituting the first axis, appearing in our sight. Therefore, what appears in photographs̶the seemingly visible landscapes, cities, mines, nuclear power plants, farmlands, and the residences of those who live there̶forms part of this book.

These photographs are juxtaposed with timelines of events that occurred in those places and spaces. However, the timelines compiled here are merely arbitrary listings of events selected from existing or perpetually ongoing event descriptions. The photographs taken here merely fix fragments of chance encounters at specific times and places. 

Spaces akin to the Imperial Palace and the Difficult-to-Return Zone, with their homogeneity, pervade invisibly. If so, we must resist the rituals that have repeatedly occurred in spaces where habitation is excluded and create and conduct something akin tocounter-rituals, not to remember something, but never to forget. It's about probing our dwelling places with our own "life" perspective, revealing unseen layers, honing our vision to expose the turmoil and chaos.

Contents

Related Exhibitons

露口啓二「移住」 会期：2024年7月11日（木）〜7月21日（日） 時間：12:00～19:00［木・金・土］／12:00～17:00 ［日］ 会場：iwao gallery（東京都台東区蔵前2-1-27 2F） 休廊日：月・火・水  トークイベント  四方幸子（キュレーター／批評家） × 露口啓二（写真家）  日時：2024年7月12日（金）19:00〜

Related text 露口啓二「移住」展に寄せて 四方幸子「移住─現在そして未来を生き抜くために」

Artist Information 

KAZUYO KINOSHITA: A Retrospective

KAZUYO KINOSHITA, who studying painting at Kyoto University of the Arts, began exhibiting while still a student. During the 1960s, influenced by the avant-garde art collective Group "i"gathering of artists in Kobe, she began to explore more deeply her burgeoning interest in questions of existence. In the 1970s she produced numerous works that used photography to ponder the relationship between image and perception, and image and matter. Kinoshita's photo series, lucid expres- sions of her idea that "while there is absolute existence and relative existence, there can be only one existence," earned her high acclaim at home and abroad for their distinctly cerebral ap- proach. It was an approach also in keeping with currents in international art during this period, leading to a solo exhibition for Kinoshita in Heidelberg in 1981.

Coinciding with this first overseas solo outing, Kinoshita undertook a series of experiments to see if it were possible to make works using a method other than photography, without changing her actual concept. The early '80s saw her wielding pastels in works that explored com- patibility of material and expression, before returning once more to painting. Having reached the conclusion that the best approach would be to personally create existence itself on the picture plane, Kinoshita succeeded in breaking away from schematic concepts. After naming the first work in this new series'82-CA1,Kinoshita altered the look of "existence"on the picture plane frequently, with each new iteration of her ever-changing brushwork. On receiving a cancer diagnosis in 1990 she visited Los Angeles several times seeking treatments, continuing to work untiringly during her sojourns in the city. In 1994 Kinoshita passed away in Kobe, at the age of fifty-five, leaving a legacy of paintings and drawings numbering over 700 just since her return to painting in 1982.

This book is composed of three chapters tracing different periods of Kinoshita's career, exploring every facet of her practice via very early works rarely or never shown in public, the photographic works that made her name in Japan and further afield, and the paintings that became her life's work after 1982. The constant, underlying theme of Kinoshita's practice -- interrogating the nature of existence -- resonates as strongly in today's world as it did during her lifetime.

"This work was done by initially painting with a brush, then wiping with a cloth. The wiping means that the plane of the canvas and plane with the paint on it are of equal value. I did this because in my own mind, this is the same as it has always been, because I have a constant desire to make two-dimensional planes equal. Adopting that method, making the work itself an entity. All entities, like stars in the heavens, were created by the gods and may appear to be random, but exist in a specific relative order. But as far as we can tell, they exist naturally, and that existence is incred- ibly powerful. I want the painting to be an entity like that. "

Excerpts from "An interview with Kinoshita Kazuyo"

contribution:

 "Kinoshita Kazuyo: A Remembrance"  Kumada Tsukasa（Art Historian）

"Photography and Conceptualism"  Tatehata Akira（Director, the Museum of Modern Art, Saitama）

"Crystallizations of Artistic Thought: The Photographic Works and Paintings of Kinoshita Kazuyo"  Mitsuda Yuri（Professor, Tama Art University Graduate School Director, Tama Art University Art Archives Center Director, peu/art cottage）