migration

Keiji Tsuyuguchi

An island nation, built upon the framework of modern imperial rule, emerged to the east of the Eurasian continent, separated by the sea. Since its inception, various circumstances have continuously generated people forced into migration. One of the things photography in this book seeks to capture is the juxtaposition between the lands from which displaced individuals originally hailed and the northern islands they migrated to. One such island, dubbed"Hokkaido"by the newly formed nation, was incorporated into the state alongside its indigenous Ainu people and became a target for colonization from the mainland. Simultaneously, numerous forced relocations of the Ainu people became institutionalized. 

Additionally, this book primarily focuses on various regions such as parts of the cities Tokyo and Sapporo, where the administrative body known as the"Development Commission,"which was heavily involved in these relocations, was established post-state formation, regions formed by the mining industry now facing decline and extinction, and these various territories are captured through photography.  

Located in the heart of Tokyo, the city where the Development Commission was placed and surrounded by various powers constituting the nation's authority, lies the"Imperial Palace,"an invisible space where residing is excluded, and one of the subjects of this book. 

On the other hand, in recent years, we have experienced the emergence of highly unique spaces in our archipelago. This includes the formation of the"Difficult-to-Return Zone"and its surrounding areas, contaminated by high levels of radioactive materials due to the Fukushima Daiichi nuclear power plant accident. Once again, people were forced to move from their traditional homes and leave the area. 

This attempt to find strong homogeneity between these vastly different spaces in origin, history, and time̶the Difficult-to-Return Zone and the Imperial Palace̶forms another axis of this book. 

The forces that gave rise to the Imperial Palace and the Difficult-to-Return Zone continue to create several spaces that appear similar or homogenous to them. These spaces, inherently invisible due to the exclusion of habitation, intersect and overlap with the locations constituting the first axis, appearing in our sight. Therefore, what appears in photographs̶the seemingly visible landscapes, cities, mines, nuclear power plants, farmlands, and the residences of those who live there̶forms part of this book.

These photographs are juxtaposed with timelines of events that occurred in those places and spaces. However, the timelines compiled here are merely arbitrary listings of events selected from existing or perpetually ongoing event descriptions. The photographs taken here merely fix fragments of chance encounters at specific times and places. 

Spaces akin to the Imperial Palace and the Difficult-to-Return Zone, with their homogeneity, pervade invisibly. If so, we must resist the rituals that have repeatedly occurred in spaces where habitation is excluded and create and conduct something akin tocounter-rituals, not to remember something, but never to forget. It's about probing our dwelling places with our own "life" perspective, revealing unseen layers, honing our vision to expose the turmoil and chaos.

Contents

Related Exhibitons

露口啓二「移住」 会期：2024年7月11日（木）〜7月21日（日） 時間：12:00～19:00［木・金・土］／12:00～17:00 ［日］ 会場：iwao gallery（東京都台東区蔵前2-1-27 2F） 休廊日：月・火・水  トークイベント  四方幸子（キュレーター／批評家） × 露口啓二（写真家）  日時：2024年7月12日（金）19:00〜

Related text 露口啓二「移住」展に寄せて 四方幸子「移住─現在そして未来を生き抜くために」

Artist Information 

KAZUYO KINOSHITA: A Retrospective

KAZUYO KINOSHITA, who studying painting at Kyoto University of the Arts, began exhibiting while still a student. During the 1960s, influenced by the avant-garde art collective Group "i"gathering of artists in Kobe, she began to explore more deeply her burgeoning interest in questions of existence. In the 1970s she produced numerous works that used photography to ponder the relationship between image and perception, and image and matter. Kinoshita's photo series, lucid expres- sions of her idea that "while there is absolute existence and relative existence, there can be only one existence," earned her high acclaim at home and abroad for their distinctly cerebral ap- proach. It was an approach also in keeping with currents in international art during this period, leading to a solo exhibition for Kinoshita in Heidelberg in 1981.

Coinciding with this first overseas solo outing, Kinoshita undertook a series of experiments to see if it were possible to make works using a method other than photography, without changing her actual concept. The early '80s saw her wielding pastels in works that explored com- patibility of material and expression, before returning once more to painting. Having reached the conclusion that the best approach would be to personally create existence itself on the picture plane, Kinoshita succeeded in breaking away from schematic concepts. After naming the first work in this new series'82-CA1,Kinoshita altered the look of "existence"on the picture plane frequently, with each new iteration of her ever-changing brushwork. On receiving a cancer diagnosis in 1990 she visited Los Angeles several times seeking treatments, continuing to work untiringly during her sojourns in the city. In 1994 Kinoshita passed away in Kobe, at the age of fifty-five, leaving a legacy of paintings and drawings numbering over 700 just since her return to painting in 1982.

This book is composed of three chapters tracing different periods of Kinoshita's career, exploring every facet of her practice via very early works rarely or never shown in public, the photographic works that made her name in Japan and further afield, and the paintings that became her life's work after 1982. The constant, underlying theme of Kinoshita's practice -- interrogating the nature of existence -- resonates as strongly in today's world as it did during her lifetime.

"This work was done by initially painting with a brush, then wiping with a cloth. The wiping means that the plane of the canvas and plane with the paint on it are of equal value. I did this because in my own mind, this is the same as it has always been, because I have a constant desire to make two-dimensional planes equal. Adopting that method, making the work itself an entity. All entities, like stars in the heavens, were created by the gods and may appear to be random, but exist in a specific relative order. But as far as we can tell, they exist naturally, and that existence is incred- ibly powerful. I want the painting to be an entity like that. "

Excerpts from "An interview with Kinoshita Kazuyo"

contribution:

 "Kinoshita Kazuyo: A Remembrance"  Kumada Tsukasa（Art Historian）

"Photography and Conceptualism"  Tatehata Akira（Director, the Museum of Modern Art, Saitama）

"Crystallizations of Artistic Thought: The Photographic Works and Paintings of Kinoshita Kazuyo"  Mitsuda Yuri（Professor, Tama Art University Graduate School Director, Tama Art University Art Archives Center Director, peu/art cottage）

Life Works

Shun Kataoka

In the small space of a garden, the dense cycles of time are seen.

Taking photographs is a way for me to halt the flow of the passing days. It renders invisible the repetition of seasons, which can be likened to a circle, and blocks a direct view of changes. Through photography, I arrest this flow around a specific place, creating lines of demarcation where none existed before. This gives rise to questions regarding the places I photograph. The color green informs my approach to one particular garden. I am fascinated by plants. They exist as an unending cycle of change where lush growth withers and flourishes and fades again.

My grandfather grew plants and vegetables. He weeded and watered them, continuing this work for 50 years. 
This garden is a place where traces of his efforts are felt everywhere. He used the leftovers from meals to make compost, and mixed different types of soil suitable for each plant. Every year he created handmade trellises and stakes to help the plants grow. Odds and ends leftover from everyday life played a part here as tools. For only a brief moment, these various objects lent their power. Inadvertently, the garden became a kind of basket that held all sorts of seeds and living things. Seeds planted in pots were overtaken by self-seeking co- habitants who came to live with them. Fruit split open and dried up, spilling their seeds out over the ground. [...]

Here two forces intersect: plants wildly growing, and my grandfather's hands. Though the moment when the ratio reversed cannot be known now, this convergence of life that began with seeds planted 50 years ago has drawn near, like the ripples of a pond, and has spilled out a little more each time the seeds have sprouted.

How many plants have taken root in the garden? I wondered about this as I watched the repeated cycle of this green ebb and flow. In the winter of my fourth year as a photographer, my grandfather departed from this world. The planter of seeds was absent. Even so, the garden, laid open to the transition of seasons, took hold of the seeds in its soil with an expansive embrace and helped them sprout. [...]

People desire plants. They raise them, and co-exist with them. People come and go and places change their appearance. This happens countless times, not only in this garden, but in a great number of places. Does the repetition and circular flow of things continue without end? To look intently at this garden's limited space is to know the unceasing intertwining of people and plants. When I close my eyes and touch the greenery, these boundaries intermingle. At that moment, I am in a dwelling where all life blends into one.

Excerpts from the afterwords

by Shun Kataoka

Although one wants to view grandfather's garden as having descended into chaos, I can't ignore the traces of the ingenuity of ordinary folks that are evident everywhere in it. [...]

Ordinary people must rely on their own labor and make innovative use of the tools at their disposal. Somewhere between reuse and misuse, the plants contentedly take root and grow leaves.

Even though its owner passes away, the garden lives on. Seeds that come from elsewhere fall on the garden and new plants join the aggregate of old plants. Dead plants become nourishment for the next generation. And the many-layered traces of his grandfather that remain in the garden are also nourishment for the photographer.

Excerpts from the text "An Ordinary Garden"  

by Tatsushi Fujihara（Associate Professor, Kyoto University）

Related Exhibitons & Events

１）片岡 俊 展示「Life Works」 会期：2024年4月19日（金）～5月1日（水） 時間：12:00〜19:00（最終日は17:00まで） 会場：Alt_Medium（東京都新宿区下落合2-6-3 堀内会館1F） 休廊日：木曜日 トークイベント「風景をみつめて考える」 ゲスト：大坪 晶（美術家・写真家） 日時：2024年4月20日（土）15:00〜

２）KG＋2024 片岡 俊 展示「S U I T E N」 会期：2024年4月27日（土）～5月12日（日） 時間：12:00〜18:00 会場：今宮神社御旅所（京都府京都市上京区大宮通鞍馬口上る若宮横町136） 5月5日休み

３）片岡 俊 写真集発売記念展「Life Works」 会期：2024年4月12日（金）～4月22日（月） 時間：10:00～20:00 会場：京都 蔦屋書店 5階 BOOK売場〈エスカレーター横〉

４）片岡 俊 写真集 出版記念展・フェア「Life Works」 会期：2024年4月12日（金）～5月12日（日） 時間：10:00～21:00 会場：梅田 蔦屋書店  シェアラウンジ〈スカイエリア〉 刊行記念トークイベント  第1部 13:00～14:00 石川竜一（写真家）× 高橋朗（PGI）× 片岡俊（写真家）  第2部 14:15～15:15 姫野希美（赤々舎）× 片岡俊（写真家）   質疑応答 15:15～15:30 第1部、第2部の登壇者が全員登壇します。 選書フェア「はじまりを開く一冊」 「Life Works」の寄稿文を執筆された藤原辰史氏の著書と、装丁を担当された名久井直子氏デザインの本も含めてご紹介。

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