『Decades No.2 CONTEMPORAL JOURNAL 2021-22』
 Size： H257mm × W182mm Page：200 pages Binding：Codex Language：日本語、English Published in March 2023 ISBN：978-4-86541-165-2
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About Book
さまざまな災害が地球規模で増大し、今どう生きるかを自分の問題として考え、前向きに取り組んでいかなければ生きられない時代に、岩根愛氏の必死の攻防が『Decades』という作品を生み出した。今、私たちはその第二部の一部分となり、私たちが共有している世界の還元方法を見つけ出そうとしている。
写真／文 003 菅野 純 + 古川日出男 Plume / 地震、テニス、猫 023 長島有里枝 + 柴崎友香 先にしか進めない / 2020, 2021, 2022 043 陳哲 + 蒋斐然 長い忘却をゆっくりと思い出す / 六月ダイアリー 063 イ・ハヌル + シャロン・チョイ Boomers / 干満 081 ナリン・サオボラ + ジェシカ・リム By The Way / 4本の木 101 飯沼珠実 + 朝吹真理子 写真と住処 / 2022年7月2日 石巻 117 榮榮&映里 + 福永 信 即非京都 / 去年の余韻 137 小原一真 + ナターリャ Platform on the Border / 2022年3月 ワルシャワ・ポーランド 153 岩根 愛 + 雨宮庸介 The Farther Shore / 巻石サイファー 177 畠山直哉 + 大友良英 タイトル未定（高知） / 「みらい」11年目の福島 195 Contirbutors |
Photograph／Text 003 Kanno Jun + Hideo Furukawa Plume / Earthquake, Tennis, Cat 023 Yurie Nagashima + Tomoka Shibasaki We Can Only Move Forward / 2020, 2021, 2022 043 Chen Zhe + Jiang Feiran A Slow Remembering of a Long Forgetting / Diary of June 063 Haneul Lee + Sharon Choi Boomers / Ebb and Flow 081 Narin Saobora + Jessica Lim By The Way / Four Trees 101 Tamami Iinuma + Mariko Asabuki Photography and Habitation / July 2, 2022 Ishinomaki 117 RongRong&inri + Shin Fukunaga Jifei Kyoto / Last Year's Afterglow 137 Kazuma Obara + Natalya Platform on the Border / March 2022 Warsaw 153 Ai Iwane + Yosuke Amemiya The Farther Shore / Maki-Ishi Cypher 177 Naoya Hatakeyama + Otomo Yoshihide untitled (Kochi) / "Mirai" Fukushima in the 11th Year 195 Contirbutors |
Decades No.2 CONTEMPORAL JOURNAL 2021-22
This magazine, Decades, was launched in 2020 in an attempt to weave together photographs about the perception/illusion of the transformation of experiential time due to rapid changes in social norms under restrictions and lockdowns.
I actually can no longer recall very well the summer of 2020 when we be- gan working for the magazine. What kind of future portends today when various infection-related restrictions are lifted, and days of tension over distance from others are coming to an end? And how will we remember today in the months, years, or decades to come as a memory before whatever happens next?
For the second issue of the photography magazine Decades, we asked ten photographers and ten writers, each around the same age, to contribute essays about their photographs/ events from 2021-22.
These happened in Fukushima, Tokyo, Beijing, Hangzhou, Seoul, Siem Reap, Phnom Penh, Ishinomaki, Warsaw, Ukraine, Czech Republic, Moldova, California, and Kochi in 2021-22.
── Ai Iwane
But any journals or photobooks published as "Covid-19 pandemic related" were mostly all from around the first declaration of the state of emergency in the spring of 2020. There is almost nothing after that. What I want to know is what happened after that. That is, the sequences of "now" still ongoing. But there are very few clues.［...］
In June 2022, I am trying to write about the "now" that continues after the beginning, about the time that piles up and crushes, and the time that sustains.
Extracted from p30 - p34 Tomoka Shibasaki
In an age when various disasters are increasing globally, and we cannot live without thinking how to live as our own problems and tackle them positively, Ai Iwane's desperate defense produced the body of work, Decades. Now we are part of that second volume, trying to find methods to reduce back the world we share.
Extracted from p136 RongRong&inri
The day I read the results of an experiment that showed eye contact for more than five seconds wakes consciousness and makes the sensory experience much longer, I met a high school student from Fukushima who said she was four years old twelve years ago.
She told me all she can recall now are fragmented memories--the big quake, her mother's hand holding her in a supermarket where merchan- dise had fallen over, the ceiling of the evacuation shelter, and such.
My friend, who will soon turn 80 years old, recognizes a year ago as yesterday. To him, all recent events are remembered as "15 years ago," and anything before is "40 years ago," and his memories from adulthood onward generally fall into those two categories.
What would happen if the 16-year-old and 80-year-old looked into each other, each living their 1/80th and 1/16th lifetime experience, or how had the last three years--when it seemed we were only getting closer to our own shadows--occur simultaneously?
Extracted from p200 Ai Iwane Afterword
Artist Information
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Kanno Jun 菅野 純 b. Fukushima, Japan
| 写真家。アメリカで映像を学び、帰国後ポートレート、ランドスケープを中心に活動。2018年より東京から生まれ故郷である福島に拠点を移し、震災以降の福島の自然と環境をテーマに作品制作を行っている。第13回 Canon写真新世紀優秀賞（荒木経惟選）受賞、第42回伊奈信男賞受賞、 主な写真集に『The Circle』（自費出版）、『南米旅行』（リトルモア、いずれも菅野ぱんだ名義）がある。2023年『Planet Fukushima』を赤々舎より出版。 Kanno Jun is a photographer. She has focused on portraits and landscapes as her main practice since returning to Japan from the US where she studied video production. In 2018, she moved her base from Tokyo to her birthplace, Fukushima. Since then, she has been working with the theme of nature and environment of Fukushima after the Great East Japan Earthquake. Kanno was awarded the 13th Canon New Cosmos of Photography Excellence Award (selected by Nobuyoshi Araki), and the 42nd Ina Nobuo Award. Her major monographs include The Circle (self-published) and Traveling through South America (Little More), which were both published under the name Panda Kanno. Her latest book Planet Fukushima was published by Akaaka Art Publishing. |
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Hideo Furukawa 古川日出男 b.1966 in Fukushima, Japan
Photo by Eisuke Asaoka |
作家。1998年、長篇小説『13』でデビュー。『アラビアの夜の種族』『 LOVE』『女たち三百人の裏切りの書』といった文学賞受賞作のほか『ベルカ、吠えないのか?』『聖家族』『南無ロックンロール二十一部経』『木木木木木木 おおきな森』『曼陀羅華X』など著作多数。2021年には東日本大震災から10年目の福島を取材したノンフィクション作品『ゼロエフ』を発表。朗読を中心に他分野の表現者とのコラボレーションも継続的に行なう。 Hideo Furukawa made his debut in 1998 with the full-length novel 13. In addition to the award-win- ning works such as The Arabian Nightbreeds, Love, and Onna tachi sanbyakunin no uragiri no sho (The Book about Betrayal of 300 women), he also authored Belka, Why Don't You Bark?, Holy Family, Namu rokkunroru nijuichi bu kyo (Namu Rock 'n' Roll Twentyone-Part Sutra), FFFForesTTTT, and Mandarage X. In 2021, Furukawa released the non-fiction work 0f (Zero F) where he had conducted interviews and research in Fukushima in the 10th year after the Great East Japan Earthquake. Furukawa has also repeatedly conducted collaborative readings and other projects with artists from other fields. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
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Yurie Nagashima 長島有里枝 b.1973 in Tokyo, Japan
| 主な個展に「そしてひとつまみの皮肉と、愛を少々。」（東京都写真美術館、2017年）、近著に『Self-Portraits』（Dashwood Books, 2020年）、2022年に日本写真協会学芸賞を受賞した『「僕ら」の「女の子写真」から私たちのガーリーフォトへ』（大福書林、2020年）などがある。2021年には金沢21世紀美術館で「ぎこちない会話への対応策̶ ─第三波フェミニズムの視点で─」展のキュレーションを務めた。京都芸術大学大学院客員教授、早稲田大学、東京大学、武蔵大学非常勤講師。 Major solo exhibitions include "And a Pinch of Irony with a Hint of Love" (Tokyo Photographic Art Museum, 2017), and her recent monographs include Self-Portraits (Dashwood Books, 2020), and Against 'Bokura''s 'Onnanoko-Shashin,' it's OUR Girly Photo Movement (Daifukushorin, 2020) which won the Curatorial Award in the Photographic Society of Japan Awards in 2022. In 2021, she curated the exhibition "Countermeasures against Awkward Discourses: From the Perspective of Third Wave Feminism" at the 21st Century Museum of Contemporary Art, Kanazawa (Japan). Nagashima currently serves as a visiting professor at Kyoto University of Arts, Graduate School, and a part-time lecturer at Waseda University, the University of Tokyo, and Musashi University. |
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Tomoka Shibasaki 柴崎友香 b.1973 in Osaka, Japan
Photo by Takeshi Funayose | 小説家。2000年の初の単行本『きょうのできごと』が 2003年に映画化。2010年『寝ても覚めても』で野間文芸新人賞、2014年『春の庭』で芥川賞受賞。著書に『わたしがいなかった街で』『千の扉』『百年と一日』など。 Tomoka Shibasaki is a novelist. Her first book Kyo no dekigoto (A Day on the Planet)(2000) was adapted for the screen in 2003. She was awarded the Noma Literary Newcomer's Prize for Nete mo samete mo (Asako I & II) in 2010, and the Akutagawa Prize for Spring Garden in 2014. Her other major publications include Watashi ga inakatta machi de (In a Town Where I Wasn't), Sen no tobira (A Thousand Doors), and Hyakunen to ichinichi (A Hundred Years and a Day). - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
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Chen Zhe 陳哲 b.1989 Beijing, China
| アート・センター・カレッジ・オブ・デザイン（ロサンゼルス）卒業（写真専攻）。写真を基盤にしながら近年は表現をさらに発展させ、さまざまなメディウムや環境が持つ儚さというテーマに焦点を当て制作に取り組む。受賞歴にインゲ・モラス賞（マグナム・ファンデーション主催、2011年）、第3回三影堂撮影大賞（2011年）、Foam Talent（2018年）など。展示歴にリレハンメル美術館（ノルウェー）、横浜トリエンナーレ、Plug In ICA（カナダ）、 バーデン＝バーデン州立美術館（ドイツ）、ホワイト・ラビット・ギャラリー（オーストラリア）、第9回アジア・パ シフィック・トリエンナーレ（オーストラリア）、東京都写真美術館、第11回上海ビエンナーレ、ユーレンス現代 美術センター（北京）など。 Chen Zhe received her B.F.A. in Photography and Imaging from Art Center College of Design in Los Angeles. Springing from and expanding on her photographic work, Chen's recent projects focus on the expressive potential of temporality in different mediums and environments. Chen Zhe is the recipient of the Inge Morath Award from the Magnum Foundation (2011), Three Shadows Award (2011), Foam Talent (2018), and more others. Her works has been exhibited at Lillehammer Art Museum, Norway; Yokohama Triennale, Japan; Plug In ICA, Canada; Staatliche Kunsthalle Baden-Baden, Germany; White Rabbit Gallery, Australia; the 9th Asia Pacific Triennial of Contemporary Art, Australia; Tokyo Photographic Art Museum, Japan; the 11th Shanghai Biennial, Shanghai; Ullens Center for Contemporary Art, Beijing and more. |
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Jiang Feiran 蒋斐然 b.1987 in Zhejiang, China
| アーティスト、キュレーター。中国美術学院現代美術・社会思想研究所（ICAST）博士課程在籍。現代アートおよびキュレーション、前衛理論、カルチュラル・スタディーズを研究テーマとする。2021年、ジメイ×アルル・キュ レートリアル・アワード・フォー・フォトグラフィー・アンド・ムービング・イメージ受賞。 Jiang Feiran is an artist, curator, and currently a Ph.D. candidate at Institute of Contemporary Art and Social Thought (ICAST) in China Academy of Art. Jiang's research interests include contemporary art and curatorial studies, avant-garde theory and cultural studies. She is the winner of the 2021 Jimei × Arles Curatorial Award for Photography and Moving Image - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
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Haneul Lee イ・ハヌル b.1994 in Seoul, South Korea
| 写真家。韓国、ソウルを拠点に活動。写真を自分自身と他者とをつなぐ接点として捉え、作品を通してその両 者間にある様々な関係の形を探求する。見知らぬ他者との関わりの中で抱く形容し難い小さな不安感を起点とした作品を多く発表し、その代表作に約400人の人物を被写体にした〈Strangers〉シリーズや、続いて制作された新作〈Boomers〉などがある。デジタル時代への変遷が写真に与える影響に着目し、写真と私たちの住む世界との関係性をテーマに制作を続ける。2017年慶一大学校（韓国、大邱）写真学科卒業、2021年弘益大学校 大学院（ソウル）写真学科修士課程修了。 Haneul Lee is a photographer based in Seoul. She uses photography as an interface for exploring various modes of relationships between herself and others. Her works are often inspired by the subtle insecurities arising during her interactions with strangers, such as Strangers, whereby she documented about 400 people and subsequently a new project Boomers. She is intrigued by how our transition into the digital era has impacted photography and is constantly studying linkages between images and the world we live in. She received her B.F.A. in Photography from Kyungil University in Daegu in 2017 and subsequently an M.A. in Photography from Hongik University's Faculty of Design in Seoul in 2021. |
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Sharon Choi シャロン・チョイ b.1993 in Seoul, South Korea
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映画監督、通訳。韓国映画『パラサイト』が映画賞を受賞した際の通訳として広く知られるようになる。南カリフォルニア大学映画芸術学部を卒業後、短編映画、ミュージックビデオ、ポッドキャストの脚本、監督、製作に携わる。韓国と世界の架け橋として、言語、文化、アイデンティティの境界を問う作品の脚本と監督を多く手がける。
Sharon Choi is a South Korean filmmaker and interpreter. She received widespread recognition as the award season interpreter for the South Korean film Parasite. After graduating from the USC School of Cinematic Arts, she has written, directed, and produced several short films, music videos, and podcasts. Frequently serving as a bridge between Korea and the rest of the world, she writes and directs films that test the boundaries of language, culture and identity. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
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Narin Saobora ナリン・サオボラ b.1983 in Kampong Thom, Cambodian
| カンボジア人映画監督、シネマトグラファー、写真家。クメール・ルージュ崩壊後のコンポントム州に生まれ、 1980年代の内戦の中で育つ。カンボジアの映画界で10年以上にわたりキャリアを積み、フェローとしてサンダンス・インスティテュートに携わる。アカデミー賞ノミネート歴のあるリティ・パン監督とともに数々のドキュメ ンタリー作品および長編映画を手がけるほか、複数の映画祭で賞を獲得したリダ・チャンの長編ドキュメンタリー作『Red Clothes』でシネマトグラファーを務める。また、個人のプロジェクトとしては現代社会をテーマにした作品を制作。2019年アンコール・フォト・ワークショップ修了。 Narin Saobora is a Cambodian filmmaker, cinematographer and photographer. Born in Kampong Thom province after the fall of the Khmer Rouge, he grew up during the civil war in the 1980s. Saobora is a Sundance Institute Fellow with over a decade's experience in the film industry in Cambodia. He has worked on various documentaries and feature films with Academy Award nominated director Rithy Panh and was a cinematographer on Lida Chan's feature documentary Red Clothes, which has won several festival awards. For his personal work, Saobora deals with the issues of contemporary society. He is also an Angkor Photo Workshop alumni from 2019. |
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Jessica Lim ジェシカ・リム b.1983 in Hougang, Singapore
| カンボジア拠点の非営利団体、アンコール・フォト・フェスティバル＆ワークショップでディレクターを務める。 15年にわたり世界各地を視覚芸術の領域でアーティスト支援の活動に取り組む。社会的平等に向けた活動に重点を置くバングラデシュ、ダッカの報道機関ドリック・ピクチャー・ライブラリーにて記事および写真の編集、 外部写真家のマネジメントに携わった後、カンボジアに移住。2006年南洋理工大学（シンガポール）卒業（ジャー ナリズム専攻）。 Jessica Lim is the director of Angkor Photo Festival & Workshops, a non-profit association based in Cambodia. She has spent the past 15 years, and the most part of her professional career, working to provide support and opportunities to visual storytellers in the majority world. Her move to Cambodia built on her previous experience with Drik Picture Library in Dhaka, Bangladesh, a media organization uniquely dedicated to advocating for social equality, where she served as a news and photo editor and photographer liaison. She received her B.A. in journalism at the Nanyang Technological University of Singapore in 2006. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
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Tamami Iinuma 飯沼珠実 b.1983 in Tokyo, Japan |
「建築の建築」をテーマに、人々の記憶の集積としての建築物、建築物の住処としての都市や風景を被写体として写真撮影に取り組む。2008年から一年間、ライプツィヒ視覚芸術アカデミーに留学、2013年までライプツィヒに在住（2010年度ポーラ美術振興財団在外研修員）。2014年から一年間、シテ・アンテルナショナル・デ・ザー
ル・パリに滞在。2018年、東京藝術大学大学院美術研究科博士後期課程修了。2020年、版元「建築の建築」を設立。現在は東京を拠点に活動。
Under the theme of "House of Architecture," Iinuma photographs architecture as accumulations of people's memories, and cities and landscapes as habitations of architecture. From 2008, Iinuma studied abroad at the Academy of Visual Arts Leipzig for a year and resided in Leipzig until 2013 (received the Grant for Overseas Study, Pola Art Foundation in 2010). She resided in Cité internationale des arts for a year in 2014. She received her Ph.D. at Tokyo University of the Arts, Graduate School in 2018. In 2020, Iinuma established the publishing label "House of Architecture." Iinuma currently lives and works in Tokyo. |
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Mariko Asabuki 朝吹真理子 b.1984 in Tokyo, Japan
Photo by Kenshu Shintsubo | 2009年、『流跡』でデビュー。2010年、同作で第20回Bunkamuraドゥマゴ文学賞を最年少受賞。2011年、『きことわ』で第144回芥川賞を受賞。近刊に小説『TIMELESS』（2018）、エッセイ集『だいちょうことばめぐり』 （2021）などがある。2012～14年、国東半島アートプロジェクトにて発表された飴屋法水（演出・美術）による演劇『いりくちでくち』のテキストを担当し、共同制作。 Mariko Asabuki is a novelist. She made her debut with Trajectory in 2009, and became the youngest winner of the Prix Bunkamura des Deux Magots for the same work in 2010. She was awarded the Akutagawa Prize for Kikotowa. Other works include Timeless. She has also carried out readings of her works across multiple genres, including the session at the exhibition "Japanorama" at the Centre Pompidou-Metz. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
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RongRong&inri 榮榮&映里 RongRong: b.1968 in Fujian, China inri: b.1973 in Kanagawa, Japan
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榮榮と映里によるアーティストユニット。人と自然との関係性を自身の身体を媒体として表現した作品や、生活を通して中国の社会的現実を捉えた作品などを発表。2015年、アルル国際写真フェスティバルと正式提
携した国際写真祭「ジメイ×アルル国際摂影季」を立ち上げる。主な展覧会に「大地の芸術祭越後妻有アー
トトリエンナーレ 2012」（新潟、2012年）、「写真のエステー五つのエレメント」（東京都写真美術館、2013年）、
「LOVE展：アートにみる愛のかたちシャガールから草間彌生、初音ミクまで」（森美術館、2013年）、「即非京都」
（KYOTOGRAPHIE 京都国際写真祭、2021年）、など。日本写真協会賞国際賞（2022年）受賞。
RongRong and inri started collaborating as the artist unit "RongRong&inri" in Beijing in 2000. They have presented works that express the relationship between humans and nature using their own bodies as a medium, as well as works that capture the social reality of China through their daily lives. In 2015, they launched the "Jimei × Arles International Photo Festival" under the official partnership with the Rencontres d'Arles in 2015. Major exhibitions include "Trace: The Photographic Journey of RongRong&inri" (Chengdu Contemporary Image Museum, China, 2021), "Jifei Kyoto" (KYOTOGRAPHIE International Photography Festival, Kyoto, Japan, 2021), "All You Need Is LOVE: From Chagall to Kusama and Hatsune Miku" (Mori Art Museum, Tokyo, 2013), "The Aesthetics of Photography--Five Elements" (Tokyo Metropolitan Museum of Photography, 2013), and "Echigo-Tsumari Art Triennale 2012" (Niigata, Japan, 2012). RongRong&inri received the Photography Society of Japan Awards in 2022. |
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Shin Fukunaga 福永 信 b.1972 in Tokyo, Japan
Photo by Munemasa Takahashi | 主な小説の著書に『アクロバット前夜』『コップとコッペパンとペン』『星座から見た地球』『一一一一一』『実在の娘達』など。編著として、子供と大人の読者のための現代美術アンソロジー『こんにちは美術』、短編小説とビジュアルによる現代文学アンソロジー『小説の家』など。2015年、第5回早稲田大学坪内逍遥大賞奨励賞。 Major novels include Acrobat zenya (Acrobat Eve), Koppu to koppe-pan to pen (Cup and Coppepan and Pen), Seiza kara mita chikyu (Earth Seen from the Constellations), Ichi ichi ichi ichi ichi (One One One One One), and Jitsuzai no musume tachi (Real Daughters). His editorial and writing works include Konnichiwa bijutsu (Hello Art) and Shosetsu no ie (House of Novels). In 2015, Fukunaga received the Encouragement Prize at the 5th Waseda University Tsubouchi Shoyo Award. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
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Kazuma Obara 小原一真 b.1985 Iwate, Japan
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写真家、ジャーナリスト。ロンドン芸術大学フォトジャーナリズム修士課程修了。東日本大震災と福島第一原発事故を記録した写真集『RESET』（Lars Müller Publishers、スイス）を2012年に出版。2015年よりチェルノブイリ原子力発電所事故の長期的影響を記録するため継続的にウクライナを訪れる。2022年3月よりポーランドでウクライナ難民取材を開始し、現在もプロジェクトを継続する。世界報道写真賞をはじめ、国際的な賞を多数受賞。
Kazuma Obara is a photojournalist. He received his M.A. at the University of the Arts London, London College of Communication, Photojournalism and Documentary Photography course. He published the monograph Reset (Lars Müller Publishers, Switzerland) in 2012, documenting the Great East Japan Earthquake and the Fukushima Daiichi nuclear power plant accident. Since 2015, he has repeatedly visited Ukraine to document the long-term impact of the Chernobyl Nuclear Accident. He started interviewing Ukrainian refugees in March 2022, and continues this project. He has received numerous international awards, including the First Prize (stories) at the World Press Photo Contest. |
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Natalya ナターリャ b.1986 in Kviv, Ukraine
| ロシア軍のウクライナ侵攻の翌日に祖母のリュドミーラ、娘のソフィアと共にポーランドに向けて避難を開始した。現在は首都ワルシャワのホテルで避難生活を送る。
The day after the Russian invasion of Ukraine, Natalya began fleeing to Poland with her grandmother Lyudmila and daughter Sophia. They currently live as evacuees in a hotel in the capital city of Warsaw. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
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Ai Iwane 岩根 愛 b.1975 in Tokyo, Japan
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写真家。1991年単身渡米、ペトロリアハイスクールに留学し、オフグリッド、自給自足の暮らしの中で学ぶ。帰国後、1996年より写真家として活動を始める。ハワイ移民を通じた福島とハワイの関わりをテーマに、2018年
『KIPUKA』（青幻舎）を上梓、第44回木村伊兵衛写真賞、第44回伊奈信男賞等受賞。離れた土地の見えないつながりを発見するフィールドワーク的活動を続ける。最新作品集に『A NEW RIVER』（bookshop M）。
アジアン・カルチュラル・カウンシル 2022フェロー
Ai Iwane is a photgrapher. In 1991, Iwane went to the United States to study abroad at Petrolia High School. She led an off-grid and self-sufficient life while studying. After returning to Japan, She began her career as a photographer in 1996. In 2018, she published her first monograph KIPUKA (Seigensha Art Publishing) in which she had focused on the theme of the relationship between Hawaii and Fukushima through immigration, and received numerous awards including the 44th Kimura Ihei Award and the 44th Ina Nobuo Award with this project. Her latest book is A NEW RIVER (bookshop M). Asian Cultural Council Fellow, 2022. |
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Yosuke Amemiya 雨宮庸介 b.1975 in Ibaraki, Japan
Photo by Shin Natsuhara |
山梨／東京在住。サンドベルグ・インスティテュート（アムステルダム）修士課程修了。彫刻、ビデオインスタレー
ション、パフォーマンスなど多岐にわたる方法で作品を制作。リンゴや石や人間などのありふれたものをモチーフに、超絶技巧や独自の話法などを用い「いつのまにか違う位相にふれてしまうかのような体験」や、「認識の
アクセルとブレーキを同時に踏み込むような体験」を提供する----それらを通じて「現代」や「美術」について再考を促す作品制作をし続けている。
Yosuke Amemiya is based in Yamanashi and Tokyo, Japan. He received his M.F.A. at Sandberg Institute (Amsterdam), Fine Arts Department. His practice consists of various mediums including drawing, sculpture, video installation, and performance. Using mundane motifs such as apples, stones, and human figures, he presents experiences that give the audience a sense of "being transported to a different scene before they know" or "stepping on the accelerator and break of their perception at the same time" through his superb techniques and unique storytelling methods. With such experiences, he continues creating artworks that encourage viewers to reconsider the "contemporary era" and "art." - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
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Naoya Hatakeyama 畠山直哉 b.1958 Iwate, Japan
| 筑波大学時代に大辻清司に出会い写真を始める。1983年日本橋ツァイト･フォト･サロンでの初個展「等高線」
以来、主にアートギャラリーや美術館などで作品を発表する。ヴェニス・ビエンナーレ、アルル国際写真フェス
ティバルなど海外での展示も多い。都市・自然・写真の関係に重きを置いた表現を展開してきたが、2011年の東日本大震災以降は、そこに個と集団、記憶などの込み入った話題が含まれるようになった。
Hatakeyama started photography after meeting Kiyoji Ōtsuji while studying at the University of Tsukuba. Since his first solo exhibition "Contour Line" at Zeit-Foto Salon (Nihonbashi, Tokyo, 1983), he has showcased his artworks at art galleries and museums. He has participated in many exhibitions outside of Japan including the Venice Biennale and the Rencontres d'Arles. While his focus was always on the relationship among cityscapes, nature, and photography, since the Great East Japan Earthquake in 2011, he has also incorporated more complex themes which deal with individuals, groups, and memories. |
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Otomo Yoshihide 大友良英 b.1959 in Kanagawa, Japan
Photo by Peter Gannushkin |
音楽家。1980年代より音楽活動を始め、海外での演奏活動から、映画やドラマの音楽制作、芸術祭等のディレクター等も務める。『あまちゃん』では東京ドラマアウォード2013特別賞、第55回日本レコード大賞作曲賞など数多くの賞を受賞。その他の代表作として『その街のこども』『いだてん～東京オリムピック噺～』『花束みたいな恋をした』『犬王』など。また東日本大震災を受けて立ち上げたプロジェクトFUKUSHIMA!の活動で2012年には芸術選奨文部科学大臣賞芸術振興部門を受賞。2019年には福島を代表する夏祭り「わらじまつり」改革のディレクターも務めた。
Otomo Yoshihide is a musician. He started his career in the music industry in 1980s, and has conducted various projects from live performances in the international scene and music production for films and TV shows to direction of an art festival. Otomo received the Special Award at the Tokyo Drama Awards 2013 and the Best Composer Award at the 55th Japan Record Awards for the soundtrack of Amachan. His other major works include Sono machi no kodomo (Children in This Town), Idaten, We Made a Beautiful Bouquet, and Inu-Oh. In 2012, his Project Fukushima! was awarded the Art Encouragement Prize in the Development of the Arts division of the Minister of Education, Culture, Sports, Science and Technology Award. In 2019, Otomo directed the reformation of one of the biggest summer festivals in Fukushima "Waraji Festival." |
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