野口里佳『父のアルバム』      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   2 different covers (the contents are the same).	¥ 5,000＋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】 ＊ Please choose your area from the two below    　　　 Book + Asia shipping ¥8,150 JPY Book + World shipping ¥9,400 JPY

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.

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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

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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.




上田義彦『Māter』       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	¥ 4,000＋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】 ＊ Please choose your area from the two below    　　　 Book + Asia shipping ¥5,900 JPY Book + World shipping ¥7,150 JPY

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）

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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

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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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上田義彦『構成 -  TORANOMON TOWERS』

To the Far Side of the Moon 

Masamitsu Magome

Consider for example the numerous SF-type illustrations of the future depicted in magazines for kids during Japan's period of rapid economic growth after the end of World War II.

I spent my childhood in the 90s when there were still places that these images of dreamlike worlds and fantastic stories lively and bustling with activity still caught the eye, and I would gaze mesmerized at them.

Today I'm living in the middle of a future imagined in the past, the world that was someone's dream.

But as a child unaware and uninterested in the events that occurred and the context within which that time existed it was imagination that was important to me. Would such a future world really exist one day?

I was drawn with affection to those worlds that I couldn't know.

Things I couldn't know ― they existed everywhere. I felt it strongly, particularly when I was faced with anything I could in no way control or experienced lost opportunities.

On March 11, 2011, the town I lived in suffered damage from liquefaction when the Tohoku Earthquake hit. Reclaimed land in the town was transformed into what resembled a sandbank in the sea, telephone poles and buildings tossed at a slant were lit by the setting sun. The town had once been part of the sea but I only had head knowledge of that. Now the physical reality lay right before my eyes.

Although the devastation to the town wasn't a direct motivation for me, it was at this time that I took up photography.

I didn't have a specific idea of what I wanted to photograph, but I just found it comfortable to sometimes use a medium of expression other than words to eloquently convey something ― especially since I was shy and not an outgoing, sociable sort of person.

Around the time I was 20, I began photographing people. The first photographic work I created was a collection of photographs of my girlfriend.

Those were happy and fulfilling days of photographing the beautiful girl who was the dearest person in the world to me. But something gradually changed within our day-to-day life and eventually her image in the photos appeared hurt and troubled.

Those happy days came to a close as if they had disintegrated and I was left alone.

Up to that time photography and my girlfriend had been synonymous for me, so for a while I was unable to photograph anything. I just continued to look at the photographs that were left, desperately searching for what was hidden beneath the surface.

Why photograph things? For the first time, I began to ponder this entirely obvious question.

The photographic medium can only capture images that can be seen. Scenes cut out with my camera just reflect my own subjectivity ― there is no such thing as a dispassionate documentary. This is the reason why I don't want to take the sort of photographs that reflect conclusions based on my personal yardstick.

I started wanting to take photographs that would be suggestive of what is below the surface that can't be imaged by a camera. All of us live having gone through a vast number of experiences, emotions, and thoughts, and we are weighed down by past regrets and sadness and concerns for the future. I want to take photographs that at the very least are able to touch the contours of this tremendous complexity.

As I went through the repetition of my everyday existence, I became used to the neverending celebrations, festivals, and tragedies that occurred daily, and boredom replaced the blank space of things I couldn't know." Perhaps someday even a person's life or death may become nothing more than a familiar sight for me.

Even so I watch carefully for changes, give form to emotions, and imagine what is hidden on the other side of the world we can see. Whether I am feeling fulfilled or broken, I continue to record the energies of transformation that I see.

Everything that is gone, everything yet to be. Everything you and I experience from the time we are born until the time we die.

If the photograph can serve as a path or door leading to all of these things, then I guess photographing a world I get tired of looking at must still have some meaning.

Masamitsu Magome Tokyo, Summer 2022.（afterword）