『りんご通信 2』
 Editor ：姫野希美 Design：大多和琴 Cover photo：川崎祐 発行：赤々舎 Size： H406mm × W277mm Page：12 pages Published in Jan 2022 |
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『りんご通信 1』
Editor ：姫野希美 Design：大多和琴 Cover photo：木村和平 発行：赤々舎 Size： H406mm × W277mm Page：8 pages Published in November 2021 |
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『りんご通信 6』
Editor ：姫野希美 Design：大多和琴 Cover photo：上原沙也加 発行：赤々舎 Size： H406mm × W277mm Page：14 pages Published in March 2024 |
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深瀬昌久『サスケ』
Book Design：François Dézafit 日本語組版：榊原健祐 発行：赤々舎 Size： H260mm × W185mm Page：192 pages Binding：Hardcover Published in June 2021 ISBN：978-4-86541-136-2 |
¥ 5,000＋tax
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SASUKE
Masahisa Fukase
This publication 《SASUKE》is dedicated to Masahisa Fukase's emblematic series on his two cats: Sasuke and Momoe, combining unpublished and iconic images.
World famous Japanese photographer, notably known for his cult book The Solitude of Ravens (1986), Masahisa Fukase turns in 1977 his lens towards his new companion: his cat Sasuke. Surrounded by felines since his childhood, Fukase decides with the arrival of this new kitten to make him a photographic subject in his own right. He takes it everywhere with him and, in a long-term almost experimental form, explores a new practice: "That year I took a lot of pictures crawling on my stomach to be at eye level of a cat and, in a way, that made me a cat. It was a job full of joy, taking these photos playing with what I liked, in accordance with the changes of nature." Taking advantage of this model full of life, Fukase created as usual an extraordinary photograph in its technical and visual inventiveness.
One day, Sasuke disappears and the Fukase sticks hundreds of small posters (as featured on the cover of the book) in his neighborhood. After that, he welcomes a second cat, nicknamed Momoe, who will also enter the frame: "I didn't want to photograph the most beautiful cats in the world but rather capture their charm in my lens, while reflecting me in their pupils. You could rightly say that this collection is actually a «self-portrait» for which I took the form of Sasuke and Momoe." The book is divided in 4 chapters, organizing the chronology of Fukase's life with his cats and, as often in his work, showing a form of projection of the photographer into his subject. The cat, a faithful companion who never leaves him, takes the place of his wife, eternal heartache, also represented by the iconic fleeing crows.
His cats have been the subject of several books in his lifetime and Tomo Kosuga has dug into the photographer's archives to conceive this ultimate book as the achievement of a series of publications devoted to his cats.
This book closes the series of publications devoted to his cats.
深瀬昌久 (Masahisa Fukase)
1934年、北海道中川郡美深町に生まれる。日本大学芸術学部写真学科卒業。日本デザインセンターや河出書房新社などの勤務を経て、1968年に独立。1974年、アメリカ・MoMAで開催された歴史的な日本写真の展覧会「New Japanese Photography」への出展を皮切りに、これまで世界各国の展覧会に出展多数。1992年、不慮の事故で脳障害を負い、20年間の闘病の末、2012年没。享年78。代表作「鴉」は日本写真の金字塔として世界的に高い評価を得ている。没後に創設された深瀬昌久アーカイブスの働きにより、2017年には仏・アルル国際写真祭にて没後初の大回顧展「l'incurable égoïste」を開催。2018年、京都のKYOTOGRAPHIE にて国内初の回顧展「遊戯」を開催。また同年、蘭・Foamにて美術館初となる回顧展「Private Scenes」を開催。その開催に合わせて、深瀬がその生涯をかけて制作した作品群を編さんした写真集「Masahisa Fukase」（赤々舎より日本語版、Editions Xavier Barralより英語版及び仏語版）が刊行された。masahisafukase.com
トモ コスガ （Tomo Kosuga）
1983年、東京都新宿区生まれ。深瀬昌久アーカイブス 創設者兼ディレクター。2000年頃より深瀬の作品研究を開始。深瀬の没後、遺族からの依頼を受け、2014年に深瀬昌久アーカイブスを創設。アーカイブ活動に留まることなく、深瀬の展覧会キュレーションや出版物の編集や解説執筆を担う。アート・プロデューサーとしても各種展覧会の企画やプロデュースを手がけ、また写真表現を専門としたライターとして日本写真の現在を各種媒体に寄稿。これまでキュレーションまたは共同キュレーションに携わった展覧会として、深瀬昌久「Private Scenes」（2018年 蘭・Foam）、深瀬昌久「l'incurable égoïste」（2017年 仏・アルル国際写真祭）、深瀬昌久「救いようのないエゴイスト」（2015年 東京・Diesel Art Gallery）のほか多数。著書として「Masahisa Fukase」（赤々舎より日本語版、Editions Xavier Barralより英語版及び仏語版）がある。写真表現を考えるYouTubeチャンネル「トモコスガ言葉なき対話」にて日々発信中。www.youtube.com/tomokaflex
映里 『饗宴 ── 愛について』1996 ─ 2000
Organizers：榮榮＆映里 Art Direction：田中義久 Design：谷川佳子 翻訳：ジリアン・シュルツ、趙氷清、Fontaine Limited 発行：三影堂撮影芸術中心、赤々舎 Size：H 350mm x W 260mm Page：168 pages Binding：Hardcover Published in August 2021 ISBN：9978-4-86541-120-1 |
¥ 6,000＋tax
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This book takes what were originally four separate series produced over twenty years ago, bringing them together under a single theme ̶ love. In the period
when I took these photographs, young people, blindly accepting the predictions of Nostradamus, were caught up in a sense of approaching apocalypse as an era
came to an end. Crushed by the very real feeling that life held no hope, it seemed as if my only reason for living was to wait for the doom of humanity due to commence in July 1999. Then, at the age of twenty-three, discover- ing the dance company H Art Chaos and photographing its lead dancer Naoko Shirakawa catastrophically transformed my ideas on the value of photography as artistic expression. If photography were art, I realized,
I would have to become the agent in the process, confidently asserting my own ideas and following my own sense of aesthetics. My photographs did not exist for someone else. I gained a painful awareness that it was me, and me alone, who was producing the photographs. I quit my job, but for a while I was unable to shoot people, and I was on the verge of losing my motivation for living. Then I found inspiration in friends who were experimenting freely as they attempted to find out what it was that they really wanted to do. That led me to the act of taking photographs, an act that eventually gave
me the drive to live. The photographs I produced at
that time now seem highly relevant to what people are going through today.
When I started out, love was not in my repertoire, and even in my dreams I would not have envisaged myself thinking of love as a theme for my photographs. My idea o'f love'is continually changing as I explore, going deeper and deeper into photography, and its inseparable presence within me leads to big struggles from time to time. I think in terms of"love=photography."Photogra- phy is my only method for learning about love, and love is the only idea from which photographs can emerge. In other words, love is the truth behind the photographs that I am seeking. And it was in the group of works presented here that I discovered the beginnings of that never-ending quest.
Extracted from the afterword inri "Symposion ── About Love" )
"These works make people feel a kind of pent up suffering, the fate and distress of those who have no choice but to express themselves artistically. When it comes to trying to painstakingly control and direct the creative energy that can strike at any moment, it's when the flame touches the point of ignition that "work" is created. She takes that which must be articulated to be revealed--her pent up restlessness, impatience, indignation, conflict, and desire--along with all kinds of thoughts, and personally pours them out in front of the camera. She uses the camera to extract them, developing them on film or bringing them to the printer, makes sample prints, meticulously sifts through them one by one, selects a few to enlarge, and after careful scrutiny, returns to her place in front of the camera. This task is repeated over and over. Self portraiture is the act of relativizing the self in the midst of a continuously repeating process. Thousands of photographs are born from the seemingly uncontrollable vortex within her, she makes an objective selection and ultimately only the handful that survive become "artworks." "
Extracted from the text Kasahara Michiko (Vice Director, Artizon Museum, Ishibashi Foundation)
関連情報KYOTOGRAPHIE 2021 Exhibition 榮榮＆映里（ロンロン&インリ）「即非京都」 会期：2021年9月18日(土)〜10月17日(日) 休み：9/21、9/27、10/4、10/12 時間：9:00〜16:30 会場：琵琶湖疏水記念館 屋外スペース （京都府京都市左京区南禅寺草川町１７ ） 入場無料 |
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映里
inri
Born in 1973 in Kanagawa prefecture, Japan.
In 1994, she graduated from Nippon Photography Institute and began working as a press photographer for Asahi Shinbun in Tokyo. In 1997, she became a freelance photographer and began independently creating work. In 2000, she began creatively collaborating with Chinese art photographer RongRong. In 2007, she and RongRong cofounded China's first nongovernmental contemporary photography art center, Three Shadows Photography Art Centre, in Beijing's Caochangdi district. In 2015, Three Shadows Xiamen Photography Art Centre opened in Xiamen, Fujian province. Dedicated to building and developing a platform to explore and promote Chinese contemporary photography, Three Shadows produces a variety of exhibitions and programs every year. Starting in 2009, she founded the "Three Shadows Photo Award" with the aim of discovering and supporting young photographers in China. That same year, she kicked off a number of international photography projects, including the first official partnership with Rencontres d'Arles to produce Beijing's first international photo festival, "Caochangdi PhotoSpring--Arles in Beijing" (2010-2012), followed by "Jimei x Arles International Photo Festival" (2015 onward). In 2016, she and RongRong were awarded the Sony World Photography Awards Outstanding Contribution to Photography prize, issued by the World Photography Organization.
Selected exhibitions:
MAXIMAX, fujikawa gallery/next, Japan, 2001. Cross Pressures, Oulu City Art Museum, The Finnish Museum of Photography, Finland, 2001.Tui-Transfiguration: The Image World of RongRong&inri, 1993-2003, 798 Art District, China, 2003. Chinart, Museum Kuppersmuhle Sammlung Grothe, Germany; Museo Arte Contemporanea di Italy; Ludwig Museum, Hungary, 2003-2004. 5th Shanghai Biennale-Techniques of the Visible, Shanghai Art Museum, China, 2004. All Under Heaven, Museum van Hedendaagse Kunst, Belgium, 2004. Le moine et le demon: Art Contemporain Chinois, Musée Art Contemporain Lyon, France, 2004. About Beauty, House of World Cultures, Germany, 2005. RongRong & inri, Rencontres d' Arles, France, 2007. DIOR & CHINESE ARTISTS, Ullens Center for Contemporary Art, China, 2008. Daegu Photo Biennale, Korea, 2008. RongRong & inri: The Power of Ruins. Between Destruction and Construction, Casa Asia, Madrid and Barcelona, Spain, 2008. Europalia--International Art Festival, Brussels Art Museum, Belgium, 2009. Third Guangdong International Biennale, Guangdong Museum of Art, China, 2009. Compound Eye, HeXiangNing Art Museum, China, 2010. Three Begets Ten Thousands Things, Shiseido Gallery, Japan, 2011. WORLD BOUNDARY: Three Realms & Ten Directions, Echigo-Tsumari Art Triennale, Japan, 2012. Collection Exhibition 2013: The Aesthetics of Photography, Tokyo Metropolitan Museum of Photography, Japan, 2013. All you need is Love: 10th Anniversary Exhibition, Mori Art Museum, Japan, 2013. We may have met before--Chinese Contemporary Photography, Foam Amsterdam, Netherland, 2015. Chinese Photography: Twentieth Century and Beyond, Three Shadows Photography Art Centre, China, 2015. Tsumari Story, Kyoto Graphie international photography festival, Japan, 2015. Focus: RongRong&inri, the Modern Art Museum of Fort Worth, USA, 2015. Memories Through Cycle, Art Tower Mito, Japan, 2016.
