『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 7』
Editor ：姫野希美 Design：大多和琴 Cover photo：ファン・イェジ 発行：赤々舎 Size： H406mm × W277mm Page：12 pages Published in April 2025 |
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りんご通信は小社のWEBで書籍をご購入頂いた方にお付けしております。 こちらのページにて単体ご購入も頂けます。 |
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©Koki Daido |
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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.
今福龍太『原写真論』
Book Design：佐藤篤司 発行：赤々舎 Size： H185mm × W148mm Page：344 pages Binding：Softcover Published in June 2021 ISBN：978-4-86541-135-5 |
¥ 3,000＋tax
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今福龍太 (Ryuta Imafuku)
文化人類学者・批評家。一九八〇年代初頭からラテンアメリカ各地で人類学的なフィールドワークに従事。早くから写真、映画、音楽、メディア、スポーツ、文学等の領域でも旺盛な批評活動を展開。二〇〇二年から奄美・沖縄・台湾の群島を結ぶ遊動型の野外学舎〈奄美自由大学〉を主宰。ブラジルのサンパウロ・カトリック大学でも随時集中セミナーを持つ。著書に『ミニマ・グラシア』『薄墨色の文法』『ジェロニモたちの方舟』『レヴィ゠ストロース 夜と音楽』『ヘンリー・ソロー 野生の学舎』（讀賣文学賞）『ハーフ・ブリード』『ブラジル映画史講義』『宮沢賢治 デクノボーの叡知』（宮沢賢治賞・角川財団学芸賞）『サッカー批評原論』ほか多数。二五年にわたる対話を集成した『小さな夜をこえて』もある。主著『クレオール主義』『群島─世界論』を含む新旧著作のコレクション《パルティータ》全五巻（水声社）が二〇一八年に完結。
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東松照明
『新編 太陽の鉛筆』 (Out of Stock) 
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