『りんご通信 3』
 Editor ：姫野希美 Design：大多和琴 Cover photo：齋藤陽道 発行：赤々舎 Size： H406mm × W277mm Page：16 pages Published in March 2022 |
¥ 500＋tax
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『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』
池田あゆみ（金沢21世紀美術館） 姫野希美 Book Design：木村稔将 発行：赤々舎 Size： H257mm × W185mm Page：212 pages Binding：Softcover Published in Feb 2022 ISBN：978-4-86541-141-6 |
¥ 3,300＋tax
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Countermeasures Against Awkward Discourses : From the Perspective of Third Wave Feminism
In my youth, I never thought of myself as a feminist. The feminists I knew from TV were all academics (smart), or activists (strong), and women much older than me. To my mind there was no way someone of my sort--a dropout from an ostensibly academic high school
who had avoided competition by going to art school, and not only lacked the relationship- building confidence required for any kind of fellowship or social movement, but was barely comfortable with the very idea of being female and simply struggling through life--could qualify as a feminist. Nor did I actively desire to become one.
Yet when I finally started making works, invariably those works would reference some sociological issue, and especially, the kind of problems addressed by feminism. Still I failed to declare myself a feminist, or refer to my works as feminist art. In the 1990 s there were many artists (across many different genres from the visual arts to music and literature) like
me, struggling with life and gambling on self- expression for their survival. Among them were those who proudly called themselves feminists, those who didn't see themselves that way, and those who declared themselves to be definitely not that way. In short, one could say third-wave feminism demonstrated that feminist praxis is not solely the province of"feminists."
I contacted nine artists that I, the lackluster feminist, arbitrarily viewed as"on the same side"and brought them together with the aim of reinterpreting their respective art practices from a feminist viewpoint. How does a feminist exhibition come about, what kind of people
are feminists, what is the relational nature of solidarity, of bonds between associates? I hope you too will enjoy the tentative response to these questions with no right answers clumsily hammered out in our everyday chats, social media exchanges, late-night phone calls and trifling debates.
NAGASHIMA Yurie
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目次
009 わたしはフェミニストじゃないと思っている人へ 012 長島有里枝 027 [対談] 木村友紀 × 長島有里枝 038 さとうりさ 048 木村友紀 058 潘逸舟 066 藤岡亜弥 080 ミヤギフトシ 090 ミヨ・スティーブンス - ガンダーラ 100 小林耕平 114 岩根愛 128 渡辺豪
141 ひとつひとつの星が、その光を認めあってつながる、
149 （フェミニストで）あるかどうかは問題じゃない
173 気持ち悪いウサギ、異星人、変な人
181「ぎこちない会話への対応策」への一考察 187 作家略歴 206 作品リスト 210 謝辞 211 フォトクレジット |
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『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』 会期：2021年10月16日（土）〜2022年3月13日（日） 時間：10:00～18:00（金・土曜日は20:00まで） 会場：金沢21世紀美術館 休館日：月曜日 関連プログラム トークセッション 2022年3月5日（土）13:30〜17:00 カナイフユキ × ミヤギフトシ × 木村稔将 モデレーター：長島有里枝 料金：無料 定員：40名（要事前申し込み） 2022年3月5日（土）15:30〜17:00 ふぇみにゃん × 藤岡亜弥 × さとうりさ モデレーター：長島有里枝 料金：無料 定員：40名（要事前申し込み） |
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Self-Portrait (Brother #32A) From the series Self-Portrait│1993 ©Yurie NAGASHIMA | 長島有里枝 NAGASHIMA Yurie 1973年東京都生まれ。武蔵野美術大学在学中に公募展を経てデビュー、カリフォルニア芸術大学MFA修了。2011年、武蔵大学大学院に社会人枠で入学し、フェミニズムを学ぶ。写真集『PASTIME PARADISE』で第26回木村伊兵衛写真賞受賞。短編集『背中の記憶』で第23回三島由紀夫賞ノミネート、第26回講談社エッセイ賞受賞。第36回写真の町東川賞国内作家賞受賞。アーティストとして活動する一方、文芸誌や新聞への寄稿、大学で講師を務めるなど、活躍は多岐にわたる。主な著作に『「僕ら」の「女の子写真」からわたしたちのガーリーフォトへ』（2020）、主な作品集に『Self-Portraits』（2020）などがある。 Born 1973 in Tokyo. Nagashima made her art-scene debut at an open exhibition while still a student at Musashino Art University, earned her MFA at California Institute of the Arts, then in 2011, embarked on postgraduate studies in humanities at Musashino University, where she delved into the subject of feminism. Her photobook Pastime Paradise won her the 26th Kimura Ihei Photography Award in 2001, her short story collection Senaka no Kioku the 26th Kodansha Essay Award and nomination for the 23rd Mishima Yukio Prize in 2010, and multiple contributions to the field of photography the 36th Higashikawa Awards, Domestic Photographer Award in 2020. In parallel with her artistic practice, she contributes as a writer to literary magazines and newspapers, and teachers at university. Published in 2020 are "Bokura" no "onnanoko shashin" kara watashi-tachi no gārīfoto e" (From "our" (male) onnanoko shashin to our (female) girly photos), and the photobook Self-Portraits. |
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Mmes. K｜2011 | さとうりさ SATO Risa 1972年東京都生まれ。1999年東京藝術大学大学院美術研究科デザイン専攻修了。神奈川県を拠点に活動。公共のスペースを中心に、柔らかなフォルムと素材の立体作品を設置し、時に自らその一部となって、身体的なコミュニケーションを発生させる。主な展覧会に、ヨコハマトリエンナーレ2020「AFTERGLOW 光の破片をつかまえる」（神奈川、2020）、「スリシュティ・インテリム 2019」(インド、2019）、「ポート・ジャーニー・プロジェクト メルボルン⇄横浜」象の鼻テラス（神奈川、2013）等。2000年フィリップモリスアートアワード2000グランプリ、1998年パルコアーバナート＃7大賞受賞。 Born 1972 in Tokyo. Sato earned her MFA in design at Tokyo University of the Arts in 1999, and is currently based in Kanagawa Prefecture. She installs, mainly in public spaces, sculptural works made from soft forms and materials, occasionally becoming part of the work herself and generating bodily communication. Major group shows include Yokohama Triennale 2020 "Afterglow," Srishti Interim 2019, Festival of Ideas (Bangalore), and "Port Journey: Yokohama-Melbourne," Zou-No-Hana Terrace (Yokohama, 2013). She was the grand prize recipient of the Philip Morris Art Award 2000 and URBANART #7 in 1998. |
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Hides for Existence,│1993 / 2021 | 木村友紀 KIMURA Yuki 1971年京都府生まれ。1996年京都市立芸術大学修士課程修了。現在京都とベルリンを拠点に活動。イメージとモノをめぐる哲学思考、時空間や次元をテーマにインスタレーション形式の作品を発表している。 主な展覧会に、アーティスツ・スペース（ニューヨーク、2019）、「NEW PHOTOGRAPHY 2015」ニューヨーク近代美術館（2015）、第30回サンパウロ・ビエンナーレ（2012）、第6回イスタンブール・ビエンナーレ（1999）、主な個展に、「Inhuman Transformation of New Year's Decoration, Obsolete Conception or 2」 CCA Wattis Institute（サンフランシスコ、2016）「無題」IZU PHOTO MUSEUM（静岡、2010）等。 Born 1971 in Kyoto. Kimura earned her MFA at Kyoto City University of Arts in 1996, and is currently based in Kyoto and Berlin. She presents works in installation format on themes including philosophical ideas surrounding images and objects, spacetime, and dimensions. Major group shows including: Artists Space (New York (2019), "New Photography 2015," Museum of Modern Art (New York, 2015), the 30th São Paulo Biennial (2012), and 6th Istanbul Biennial (1999). Among her solo shows are "Inhuman Transformation of New Year's Decoration, Obsolete Conception or 2," CCA Wattis Institute (San Francisco, 2016) and "Untitled," IZU PHOTO MUSEUM (Shizuoka, 2010). |
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Untitled,｜2006 | 潘逸舟 HAN Ishu 1987年上海生まれ。2012年東京芸術大学美術研究科先端芸術表現専攻修了。共同体や個が介在する同一性と他者性について、多様なメディアを用いて考察。主な展覧会に「Sights and Sounds: Highlights」ユダヤ博物館（ニューヨーク、2016）、「りんご宇宙―Apple Cycle/Cosmic Seed」弘前れんが倉庫美術館（青森、2021）、「MOTアニュアル2021―海、リビングルーム、頭蓋骨」東京都現代美術館（2021）等。日産アートアワード2020グランプリ受賞。 Born 1987 in Shanghai. Han earned his MFA in Intermedia Art in 2012 at Tokyo University of the Arts. His practice utilizes various media to explore aspects of sameness and otherness mediated by communities and individuals. Major group shows include "Sights and Sounds: Highlights," The Jewish Museum (New York, 2016), "Apple Cycle/Cosmic Seed," Hirosaki Museum of Contemporary Art (Aomori, 2021) and MOT Annual 2021: "A sea, a living room, and a skull," Museum of Contemporary Art Tokyo. He was the grand prix winner of the Nissan Art Award 2020 competition. |
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I don't sleep│2009 | 藤岡亜弥 FUJIOKA Aya 1972年広島県生まれ。1994年日本大学芸術学部写真学科卒業。2007年文化庁新進芸術家海外派遣制度奨学生としてニューヨークに滞在。2012年に帰国し現在広島を拠点に活動。終戦後70年が経過した広島のいまをとらえた『川はゆく』で2017年第41回伊奈信男賞受賞、2018年林忠彦賞、木村伊兵衛写真賞受賞。主な展覧会に、「私は眠らない」AKAAKA（東京、2009）、「川はゆく」ニコンサロン（東京、2016）、「花のゆくえ」ふげん社（東京、2021）等。 Born 1972 in Hiroshima Prefecture. Fujioka graduated in photography from Nihon University College of Art in 1994. In 2008, she traveled to New York for studies supported by the Japanese Agency for Cultural Affairs. Returning to Japan in 2012, she is now based in Hiroshima. Her Here Goes River series, capturing present-day Hiroshima more than 70 years after the war, won her the Ina Nobuo Award in 2017, and the Kimura Ihei Photography Award and Tadahiko Hayashi Award in 2018. Major solo exhibitions include "I don't sleep," Akaaka (Tokyo, 2009); "Here Goes River," Nikon Salon (Tokyo, 2016), and "flowers of destiny," Fugensha (Tokyo, 2021). |
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GAMAN ｜2018 | ミヨ・スティーブンス-ガンダーラ Miyo STEVENS-GANDARA 1973年生まれ。カリフォルニア美術大学にてBFA、カリフォルニア芸術大学にてMFAを取得。ロサンゼルスを拠点に写真、ドローイング、刺繍、版画など様々なメディアを用いて、先祖、移住、フェミニズム、文化的アイデンティティ、また環境汚染などをテーマにした作品を発表している。 Born 1973. Received her BFA from California College of the Arts, and MFA from California Institute of the Arts. Based in Los Angeles, Stevens-Gandara works in a variety of media including photography, drawing, embroidery, and printmaking in art practice that explores issues of ancestry, migration, feminism, cultural identity, and environmental degradation. |
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1970 and Other Works｜2007-2016 | ミヤギフトシ MIYAGI Futoshi 1981年沖縄県生まれ。2006年ニューヨーク市立大学卒業。東京都在住。国籍や人種、アイデンティティといった主題について、映像、オブジェ、写真、テキストなど多様な形態で作品を発表。主な展覧会に「現在地：未来の地図を描くために」金沢21世紀美術館（石川、2020）、「アッセンブリッジ・ナゴヤ2020」名古屋港～築地口エリア一帯（愛知、2020）等。2019年小説『ディスタント』（河出書房新社）刊行。 Born 1981 in Okinawa. Miyagi earned his BA in art from the City College of New York in 2006, and is currently based in Tokyo, where he presents works in a variety of formats including video, objects, photographs and text, on themes such as nationality, race, and identity. Recent exhibitions include: "Where We Now Stand--In Order to Map the Future" 21st Century Museum of Contemporary Art, Kanazawa (Ishikawa, 2020) and "Assembridge Nagoya" Nagoya Port Area (Aichi, 2020). He published his first novel, Distant (Kawade- Shobo Shinsha) in 2019. |
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M-U-R-D-E-R-W-E-A-P-O-N │2012 | 小林耕平 KOBAYASHI Kohei 1974年東京都生まれ。1999年愛知県立芸術大学美術学部美術科油画専攻卒業。埼玉県を拠点に活動。第三者に依頼し任意で創作されたテキストを「解釈」し、既製品に手を入れ構成した「オブジェクト」をこしらえ、その「鑑賞方法」を解説する映像作品を制作。映像では、作家が鑑賞者に「オブジェクト」の見方を指南するが、「教える・教えられる」という関係は逆転し、新たなモノの「存在」が生成される。 Born 1974 in Tokyo. Kobayashi earned his BFA in oil painting at Aichi Prefectural University of Fine Arts and Music in 1999, and is currently based in Saitama Prefecture. He "interprets" texts he commissions from third parties written as-they-like, crafts "objects" put together by modifying commercial items, and makes videos explaining "how to view" them. In these videos the artist lectures the viewer on how to look at the "object," except that the "teach/be taught" relationship is reversed, resulting in the generation of the "existence" of a new thing. |
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My Cherry｜ 2000
| 岩根愛 IWANE Ai 1975年東京都生まれ。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回伊奈信男賞受賞。離れた土地の見えないつがな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）。 Born 1975 in Tokyo. Iwane set off solo in 1991 for the US where she led an off-the-grid, self-sustaining life while studying at Petrolia High School. After returning to Japan, she launched her career as a photographer in 1996. Exploring immigrant ties between Hawaii and Fukushima, her debut photocollection, KIPUKA (2018, Seigensha), won her both the 44th Kimura Ihei Photography Award and the 44th Ina Nobuo Award in 2019. Most recent photocollection: A NEW RIVER (2020, bookshop M). |
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jumbled mountain｜2016
| 10 渡辺豪 WATANABE Go 1975年兵庫県生まれ。2002年愛知県立芸術大学美術研究科油画専攻修了。3DCGを用い物質・光学的な法則から離れた動きや変化を見せるアニメーションを制作。作品がもたらす整合性を欠いた物のあり様や光の振る舞いは、自明のものとして見ている世界を撹乱し、私たちが何を見ているのかを静かに問いかける。主な展覧会に「あいちトリエンナーレ2013」愛知県美術館（2013）、「ロジカル・エモーション―日本現代美術」スイス、ポーランド、ドイツ巡回（2014-2015）等。
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This catalogue also features contributions from artists who weren't part of the exhibition. These are the people who Yurie Ngashima was thinking she would like to perform at an opening event for the exhibition, which we might have been able to put on had the situation with the coronavirus not been so bad at the time.
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ふぇみにゃん Feminyan 1972年1月熊本生まれ。2010年、夢でみたメッセージをたよりに、さまざまな占術を学びはじめる。星や自然、人や生きもののエネルギーを探究するため、西洋と東洋の占星学、風水の研究をおこない、星をよむことで、天球から降りそそぐ見えないエネルギーをお伝えしたり、日々の対面セッションを通して、ひとりひとりが宇宙とつながった大切な存在であることを思い出すお 手伝い、よりその人らしい生きかたを創造するお手伝いをしている。
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カナイフユキ Kanai Fuyuki 1988年長野生まれ。イラストレーター・コミック作家として雑誌や書籍に作品を提供する傍ら、自身の経験を基にしたテキスト作品やコミックなどをまとめたZINEの創作を行う。2015~2 017年に発表したZINEをまとめた作品集『LONG WAY HOME』がSUNNY BOY BOOKSから発売中。
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LILY NIGHT『ABSCURA』
発行：赤々舎 Size： H297mm × W210mm Page：122 pages Binding：Softcover Published in Feb 2022 ISBN：978-4-86541-140-9 |
¥ 4,500＋tax
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ABSCURA
LILY NIGHT
The work "ABSCURA" by Lily Night, the title of which is a combination of "abstract" and "obscura".
It is also the origin of the artist's thinking and creation.
The work is inspired by photographs taken during a three-day visit by her parents (≒intimate others) from China to the apartment where she was living alone in Tokyo.
A body that enters a space. Or an act that seems to unlash the body as a space. The images that emerge from these actions make us perceive the nodes of memory that have left the story of "family" and the time that is being multilayered.
And there are also expressed the paradox of nesting, the spatial perspective that tries to receive what is unseen outside the frame.
"ABSCURA" is a representation of a new dark box of photography that looks at interconnected individual life and society.
"Lily talks about the act of photography as below:
Just as the act of breathing has an effect on our minds, just as the contraction and expansion of our lungs are biologically linked to how we sense things, I attempt to express through photographs the relationship between the times and spaces I've lived through, and the past and present environments in which I find myself. By capturing parts of our bodies or of natural phenomena, I've tried to invert that relationship.
You could say she's trying to visualize her formative values or her link to the world through photography, as she explores the realm of her unconsciousness. Disentangling her relationships with family, blurring the outline of her existence, she observes, selects and rearranges the images as with the gaze of an outsider. Then she entrusts these fragments of her existence to others, and sends them out to somewhere far off and unfamiliar to be a part of the larger world, to be a part of our common ground. Lily's camera obscura leads us to the eternal tension between subjectivity and universality: each one of us has a unique perspective, yet we are only infinitesimal fractions of reality. We are replaceable and unreplaceable, and yet we have to confront our domestic and social links to the world."
"Abstract Necessity"
Harumi Niwa Curator (Photography), Museum of Contemporary Art Tokyo
关于其创作，Lily 曾这样说，"比如呼吸，我们能同时感觉到肺部伸缩，也能够感受到呼吸对我们的精神产生的影响，这两个过程同时发生。摄影和视觉艺术对我而言，就是去捕捉我与世界的关系，与生我养我的土地之间的关系，与正在进行中的世界的关系。我觉得摄影是去切取事物表面的一部分，去揭开世界的表层。而我的大部分作品都是在捕捉一种，能让人感觉到内外关系，既定关系逆转的图像。"
Lily Night 通过摄影去寻找支撑其存在的无意识的领域，并试图把对她的价值观形成起到影响作用的事物与外在世界的交点可视化。她通过拍摄，筛选，排列，去分析和发现自身和家人的关系，自身在社会中的位置。她以旁观者般略带距离的视线观望，像是要把这些与其自身的存在无法分割的图像片段抛向更远的地方，投向更多人那里一样。而正是通过与世界相连，这些作品才终于获得普遍性。在 Lily Night 的暗箱里藏有一个所有人都无法逃避的现实-我们既是世界上独一无二的存在，同时又只是这世界的一个片段，我们既不普通，又不特别。这部作品也蕴含着在反思个人与家庭，个人与社会，个人与世界的交集与对立时，会必然邂逅的那个没有正确解答的永恒的疑问。
《抽象与必然》
丹羽晴美（摄影理论研究/东京都现代美术馆 策展人）
LILY NIGHT「ABSCURA」 会期：2022年2月10日（木）〜2月28日（月） 時間：10:30〜18:00（最終日16:00） 会場：リコーイメージングスクエア東京 ギャラリーA 定休日：火曜・水曜、入場無料 関連イベント「LILY NIGHT 出版記念展トークイベント」 日時：2022年2月25日（金）20:00〜21:30 出演：LILY NIGHT × 山本浩貴 × 姫野希美 |
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LILY NIGHT
1988年 中国黒龍江省哈爾濱市生まれ
埼玉大学教養学部美学専攻卒業主な展示
2021 「Enter the Void」（NOHGA HOTEL UENO TOKYO）受賞
2019 第8回 エモンフォトアワードグランプリコレクション
モデナ写真財団（イタリア）
LILY NIGHT
born in 1988, Harbin, Heilongjiang, China
BA Department of Aesthetics, Faculty of Arts and Sciences, Saitama University
MA Department of History and Philosophy of Art, Kent University
MA Department of Arts Studies and Curatorial Practices, Tokyo University of the Arts
Selected Exhibitions
2021 Enter the Void, NOHGA HOTEL UENO TOKYO
2021 Partially Anesthesia, Art Wall Gallery, Ginza Tsutaya
2020 LAST NIGHT, FUGENSHA
2020 i was real, Kanzan gallery
2019 Dyed My Hair Blond, Burnt Dark at sea, Emon Photo Gallery
2018 ligament, SONY Imaging Gallery
Award
2019 the 8th EMON Photo Award, Grand Prix
2018 the 18th Photo "1_WALL", Final List
2017 the 7th TOKYO FRONTLINE Photo Award, Jury Prize
2017 the 33rd Higashikawa International Photo Festival Public Portfolio Audition, Grand Prix
Public collection
Modena Photography Foundation, Italy
Higashikawa International Photography Foundation, Japan
中井菜央『雪の刻』
発行：赤々舎 Size： H255mm × W210mm Page：176 pages Binding：Hardcover Published in Feb 2022 ISBN：978-4-86541-142-3 |
¥ 5,000＋tax
国内送料無料！ 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。 |
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THE TIME RULED BY SNOW
Nao NAKAI
Seven years ago, I traveled around the areas in the north with heavy snowfall before heading south, arriving at Tsunan Town in Niigata. What I saw was three meters of persistent snow--melting and softening in the daytime, freezing and compressing at night--like large waves sweeping over the city, engulfing everything. I decided to shoot there.
The snow clouds took away the light in the sky, while the snow that had accumulated on the ground completely absorbed sound. But inside the house, nothing changed. Time stood still. The endless silence was broken by the roar of the snow sliding off the roof. Time, which had stopped, became more urgently present. However, such commotions that feel life-threatening for those staying inside are just tiny dots spread across the whole place. The pinhole, plugged with snow, brings us back to the world where sound and time are even more inanimate than before the event took place.
In the middle of April, we started hearing a dripping sound from inside the snowpack. The snow has melted and created a hollow space inside. Such minute changes gradually link with each other and form clusters. When the degree of change exceeds a certain point, it undergoes an explosive transformation. The hollow becomes an opening to the outside, through which time emerges with colors, sounds, and smells, twisting and forcing its way forward, while plants and animals--transcending species and categories--overlap and merge as one life. Time invigorates nature and people.
It was 8000 years ago that snow began to fall on this land. The strata have proven it. Earthenware shows how people's lives and culture mutated in response to snow. A forest of large and small trees, twisted by snow, creates the illusion of constant swaying. Even after the land returns to its original state, the traces of the villages and rice fields never cease to speak of the past. The pale black eyes belong to the people who were born, and grew older, under the reflected light of the humid snow.
This is a place where time is carved individually by all things, melting and echoing the time once carved, creating a singular vibrancy.
As its name dissolves, the land reverts into a zone where "snow" falls.
I tried to capture the "time" ruled by the "snow."
中井菜央「雪の刻（とき）」 あざみ野フォト・アニュアル 会期：2022年1月29日（土）〜2月27日（日） 時間：10:00〜18:00 会場：横浜市民ギャラリーあざみ野 （横浜市青葉区あざみ野南1-17-3） 会期中無休、入場無料 関連イベント「雪の刻」対談 日時｜2月19日（土）14:00-15:30 出演｜中井菜央（企画展出品作家）、佐藤雅一 （津南町農と縄文の体験実習館なじょもん学芸員） 会場｜3階 アトリエ 定員｜30名 参加費｜500円（要事前申し込み） 関連イベント「雪の刻」アーティスト・トーク 日時｜2月26日（土）14:00-15:00 出演｜中井菜央（企画展出品作家） 聞き手｜佐藤直子（担当学芸員） 会場｜3階 アトリエ 定員｜30名 参加費｜500円（要事前申し込み） |
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中井菜央
1978年 滋賀県生まれ 東京都在住
2006年 日本写真芸術専門学校卒業
主な個展
2022「雪の刻」横浜市⺠ギャラリーあざみ野（神奈川）
2021 「破れる風景」津南町農と縄文の体験実習館なじょもん（新潟）
2019 「繡」gallery Main（京都）
2019 「繡」Classic Lab 柳の家（新潟）
2018 「繡」Roonee 247 fine arts（東京）
2014 「未明」銀座ニコンサロン、大阪ニコンサロン
主なグループ展
2021 「人間より大きな世界へ」榕异美術館（上海）
2019 「KG+SELECT」元淳風小学校（京都）
受賞
2008 第4回「名取洋之助写真賞」奨励賞
Nao NAKAI
1978 Born in Shiga Prefecture Lives and works in Tokyo
2006 Graduated from Nippon Photography Institute
Solo Exhibitions
2022 "THE TIME RULED BY SNOW"Yokohama Civic Art Galley Azamino,Kanagawa
2021 "landscape fragment" the Agriculture and jomon Experience facility, Tsunanmachi, Niigata
2019 "Shu" Classic Lab "Yanagi no Ie", Niigata
2019 "Shu" Galley Main, Kyoto
2018 "Shu" Roonee 247 Fine Arts, Tokyo
2014 "Mimei" Ginza Nikon salon, Tokyo, Osaka Nikon salon
Group Exhibitions
2021 "The World Beyond the World" Rongyi Art Museum, Shanghai
2019 "KG+Select" Former Junpu Elementary School, Kyoto
Awards
2008 The 4th Yonosuke Natori Photographic Award- Encouraging Award
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写真家が向き合っているもの。 中井菜央＋田附勝＋佐藤雅一 （ほぼ日刊イトイ新聞） 
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小野啓『モール』
Cooperation：silverbooks 発行：赤々舎 Size： H182mm × W226mm Page：116 pages Binding：Hardcover Published in Junuary 2022 ISBN：978-4-86541-139-3 |
¥ 3,000＋tax
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MALL
KEI ONO
The mall makes me wonder what sort of world we are living in now. I wonder about the circulation of human activity, of the world in relation to humans.
Since 2002, I have been the photographing high-school students for a project that has resulted in two books: The Glare of Youth and NEW TEXT. Interested parties respond to a call I put out online, then I visit each of them in their hometown and take pictures at locations familiar to them. As the project went on, I realized that more and more of these students were choosing shopping malls. I've witnessed the mushrooming of gigantic shopping malls all over Japan. Now the malls are everywhere. Sometimes when I'm at one, I lose all sense of where I am. Something very new has been constructed in our society.
Almost twenty years have passed, and the high-schoolers whom I photographed are now in their middle or late thirties. They go to the malls with their new families. The mall is a very common after-school stop among teenagers today.
The project made me think that the scenes of the malls are, in some sense, the contemporary Japanese landscape. My generation missed out on the experience, but I've nurtured my own relationship with malls through photographing the students.
I started taking photos of malls in 2012. This series is a record of Japanese malls in the 2010s.［...]
The mall is like a city, although it is enclosed. Once you are out of it, you feel you no longer belong to it. The idea of whether you're inside or outside switches once you drive away from the building in your car, or in my case, when you take the bus to the nearest train station.
It has always been in the evening that I take a return bus. One day, I wanted to see the area outside the mall. I was curious, like Truman Burbank in the film The Truman Show.
What I found was simply the world in which I live. Around the mall, new residences were being built. Lining the streets were shops of major electronics retailers or fast-food giants, and on the roads were the trucks that supported it all. OK. This is our world. What I had thought of as separate things were in fact connected, and the mall was part of that whole too.
I was sure that the medium-format rangefinder camera was the best fit for the theme. I'd been using the camera since I was a student, and I walked tirelessly with it and a foldable tripod all over Japan. The nature of the project seemed to have expanded from portraits to include landscapes as well.
The more I walked, the more aware I became of the surroundings of each mall. Malls have sides to them that even their creators couldn't have foreseen; and that was the making of the world which we had subconsciously taken for granted. In the twenty years that I've done this, I've always tried to imagine the stories behind the people and places in my photos, but there are still so many things I don't know.
I want to know people. I want to understand this vast world, even a tiny fraction of it. For that purpose, I choose photography.
KEI ONO
小野啓
1977年 京都府生まれ
2001年 立命館大学経済学部卒業
2003年 ビジュアルアーツ専門学校・大阪写真学科卒業
出版物
2006年『青い光』（ビジュアルアーツ、青幻舎）
2013年『NEW TEXT』（赤々舎）
2017年『暗闇から手をのばせ』（silverbooks）
2019年『男子部屋の記録』（玄光社）
個展
2006年「青い光」ビジュアルアーツギャラリー（東京、大阪、名古屋、九州）
2010年「群青」新宿ニコンサロン（東京）
2011年「群青」大阪ニコンサロン(大阪)
2012年「NEW TEXT」ビジュアルアーツギャラリー（大阪）
2013年「NEW TEXT」72Gallery（東京）
2013年「NEW TEXT」AKAAKA（東京）
2013年「NEW TEXT」Place M（東京）
2014年「NEW TEXT」Place M（東京）
2018年「暗闇から手をのばせ」ビジュアルアーツギャラリー（大阪）
2018年「暗闇から手をのばせ」アーツギャラリー（名古屋）
2019年「男子部屋の記録」ビジュアルアーツギャラリー（大阪）
2021年「モールの風景」富士フイルムイメージングプラザ（東京、大阪）
受賞
2003年 富士フォトサロン新人賞奨励賞
2006年 第26回 写真『ひとつぼ展』入選
2006年 ビジュアルアーツフォトアワード大賞
2014年 第26回「写真の会」賞
KEI ONO
1977 Born in Kyoto, Japan
2001 Graduated from Ritsumeikan Univ., Department of Economics
2003 Graduated from Visual Arts Collage Osaka,Department of Photography
Publications
2006 The Glare of Youth, Visual Arts・Seigensha Art Publishing
2013 NEW TEXT, AKAAKA
2017 Reach out and Touch Faith, silverbooks
2019 Men's Room Record, Genkosha
Solo Exhibitions
2006 The Glare of Youth,Visual Arts Gallery, Tokyo・Osaka・Nagoya・Kyushu
2010 Gunjo, Shinjuku Nikon Salon, Tokyo
2011 Gunjo, Osaka Nikon Salon, Osaka
2012 NEW TEXT, Visual Arts Gallery,Osaka
2013 NEW TEXT, 72Gallery, Tokyo
2013 NEW TEXT, AKAAKA, Tokyo
2013 NEW TEXT, Place M, Tokyo
2014 NEW TEXT, Place M, Tokyo
2018 Reach out and Touch Faith, Visual Arts Gallery, Osaka
2018 Reach out and Touch Faith, Arts Gallery, Nagoya
2019 Men's room record, Visual Arts Gallery, Osaka
2021 Landscape of the Mall,FUJIFILM Imaging Plaza Gallery, Tokyo・Osaka
Awards
2003 Fuji Photo Salon the New Face Prize, Prize for Encouragement
2006 26th Photography "Hitotsubo Exhibition" Prize
2006 Visual Arts Photo Award, Grand Prix
2014 "Society of Photography" Prize
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