東川町国際写真フェスティバル Offcial blog

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2017年 03月 08日 ( 3 )

荒木経惟氏 展覧会「淫春」



東川賞受賞作家 展覧会のお知らせ。

art space AMにて、荒木経惟氏の展覧会が開催中です。


淫春

b0187229_16101568.jpg
以下リンクより

夏(淫夏)、冬(淫冬)、秋(淫秋)と題された3つの展覧会の完結編として、
春草萌えいずるこの時節、四季を一巡して「荒木経惟 淫春」展がスタートいたします。

淫秋展の、モノクローム写真を和紙にプリントし、般若心経を墨筆でしたためた作品とは対照的に
淫春展では、カラーフィルムで撮影された作品が、色鮮やかにファインダーの中の楽園を描き出し、
闊達自在な言葉の書が躍る、華やかな作品群をご紹介いたします。

「土日写真」と称して、荒木氏の手指でアレンジされ撮影された、
短い命に時を呑み朽ちていく切り花と、
ときにあどけなく(すとんとたたずみ)、ときにしどけなく(紅絵の具を鮮血のようにしたたらせて)
花々と絡む、様々な出自の人形やフィギュアたちのつくりだす「花遊園」。
瑞夢と悪夢の交錯する魅惑のフィールドは、作家の書欲をくすぐり、
ユーモラスで奇々怪々な言葉の数々が、独特の文字に託されて、美事に写真と融和します。

荒木氏の写真には、常に対極が織り込まれておりますが、
この園にもまた、生と死、幸と不幸が去来します。
「般若心経惟」の雅号で、死の淵から生を見据えた作品群を陰とすれば、
今回の「淫春」展の作品から散光する、死の存在によって輪郭が明らかにされて
より輝きを増す生の感覚は、陽にたとえられるかもしれません。

来たる5月に喜寿を迎えんとする荒木氏は、たぎる創作への欲望を解き放ち、
すべてのシャッター音から作品がもれなく続々と生み出されています。
事物は時間とともに絶えなく微動し続け
その微動を写しとることが写真行為ではないかと思うようになった、
と語る荒木氏が体現する写真世界では、過去・今・未来が共振してゆらめき、
どこへ向かうとも知れない懐かしさが、風景を情景に変えてしまいます。
「実は俺、ノスタルジーっていうの、嫌いじゃないんだよね」

二度とは同じ道を歩まない写真家の才能力を、最大限に発露する作品群は、
めくるめくエネルギーをあふれさせ、慈愛と活力に満たされて
太陽のように見る者を照らします。

皆様のご来場を、心より楽しみに、お待ちいたしております。



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2017年3月3日~6月6日
13:00〜19:00
art space AM
 東京都渋谷区神宮前6-33-14 神宮ハイツ301



[PR]
by higashikawa_blog | 2017-03-08 16:15 | 受賞作家関連

田原桂一氏 展覧会「Photosynthesis 1978–1980」


東川賞受賞作家 展覧会のお知らせ。

チェコにて、田原桂一氏の展覧会が開催されます。


Photosynthesis 1978–1980

b0187229_15595178.jpg
©Keiichi Tahara


以下リンクより

Keiichi Tahara: Photosynthesis 1978–1980 featuring Min Tanaka

The National Gallery in Prague is proud to present for the first time in Europe an exquisite series of large format black-and-white photographs from the series Photosythesis 1978–1980 by the acclaimed Japanese photographer, Keiichi Tahara.

Exploring the relationship between physical light and the human body, this series is based upon multiple photo sessions which Keiichi Tahara conducted between 1978-1980 with the legendary Japanese actor and dancer Min Tanaka. It was initiated at the exhibition "MA-Space/Time in Japan" which took place in the frame of the Paris Autumn Festival in October, 1978.

“How does light affect perception? What about emotions? I was obsessed with these questions at that time”, recalls the photographer, “The idea of ‘Body Weather’ brought Min and I together. This depicts the pivotal moment where meditations on physical light met the art form of the human body. The project turned out to be a fascinating three years blurring the lines between the object and subject matter of art”.

While portraying Min Tanaka in “Photosynthesis” Keiichi Tahara experimented with various types of light, ambiences and seasons. The sites included urban and natural environments: from Paris, Rome, and New York, across Iceland and Bordeaux, down to Tokyo, Kujuu-Kurihama and Akikawa-Keikoku. The photographer’s aim was to observe how a dancer's body adapts to outer stimuli, or to rephrase it: a human body reaching into the light with its raw skin and nerve endings.

Keiichi Tahara recalls working on two locations, in France and Iceland: “In Bordeaux, France lie the remains of a U-boat pen built by the Germans in the Second World War. It resembles an enormous vessel covered with chunks of concrete to assure protection against air attacks. Slivers of light and recollection interweave in this vast unmanned space, where a solitary human body entwines with the light. In June, the season of the midnight sun, we had been endlessly driving through the geothermal areas of Iceland in search of a good place for a photo shoot. Days bled into nights. The sun never went down. The glistening black ground and intense tranquility enclosed on us. The camera clicking and rewinding film were the only sounds accompanying our steps”.

“Although this work has been nearly abandoned for the past 35 years, today it holds special meaning to the both of us in revisiting our creative starting points”, Tahara concludes.

Min Tanaka was born in Tokyo in 1945. Trained in classical ballet and American modern dance around 1960s, in 1974 he started his own career and developed a new style called “hyper-dance.” In 1978, he made his international debut at the Louvre Museum. His performance – extremely gentle and infinitesimal movement to withdraw the potentiality of a body – had a strong impact on the art world, far beyond the dance scene, as a brand-new form of an artistic expression. In 1982, Tanaka met butoh dance pioneer Tatsumi Hijikata and begun collaborating with him. In 1984, he performed “School of Love-Dance,” directed and choreographed by Tatsumi Hijikata. From 1985, Tanaka has been living in a village in the mountains, concentrating his daily life on farming in order to search for deeper physicality. Beyond the formalist genre framework, his activities became more collaborative, incorporating various forms of art such as improvisation music, contemporary music, and opera, not to mention visual art. Since his first appearance in the film “Twilight Samurai” directed by Yoji Yamada in 2002, he has been acting in a number of films, from the Hollywood movie “47 RONIN” to self-produced, experimental films. While working in the film industry nationally and internationally, he has continued his own avant-garde dance activities consistently ever since 1970s. Tanaka’s incessant and exclusive search for dance as well as the origin of dance, which co-exists with a body – a state of flux – has resulted in developing an approach to dance based on site-specificity and improvisation. It has led to "Locus Focus” project series that is taking place in a variety of every-day life contexts throughout Japan and abroad. Additionally, Tanaka has authored such books as “My Bare Body”, “Conscious Body, Contagious Mind”, and a photo-book: “Photosynthesis MIN by Keiichi TAHARA”.

Keiichi Tahara works in a variety of media, ranging from photography, sculpture, and various installations to massive light-scape pieces that are produced as a part of urban planning projects. His commitment to the search for the form of light and his delicate but strong sensibility towards light and shadow constitute the foundation of all of his works. Tahara was born in Kyoto in 1951. He learned photographic techniques at an early age from his grandfather who was a professional photographer. He began making photographs after moving to France in 1972, where he remained for 30 years. He encountered a sharp, harsh and piercing light that he had never experienced in Japan while traveling Europe with Red Buddha Theater where he was a lighting and visual technician. His first series of work “Ville (City)” (1973–1976) captured the unique light in Paris in black-and-white photography. With the next series “Fenêtre” (1973-1980) he won the Grand Prix at the Rencontres d’Arles in France (1977). Tahara went on to produce a variety of photographic works including the “Portrait” series (1978–1987) and “Eclat” series (1979–1983), and traveled throughout Europe to photograph late 19th century architectural spaces. Proceeding from the thought that he does not want to limit himself to photography, but instead wants “to see the existence of light itself; to catch light with my own hand,” since the late 1980s Tahara has realized a number of projects in many parts of the globe —including sculptures and installations—that are based entirely on light, such as, for example, “Garden of Light” (Eniva, Hokkaido, 1989) where light sculptures are installed in a public space that is covered by a meter of snow six months of the year. The light changes in response to music and presents a space of poetic dimensions. Tahara's works are on permanent display in museums and other various sites.

As French philosopher and psychiatrist, Felix Guattari explains in “Les machinations de lumiere de Keiichi Tahara”: “No matter what means of expression Keiichi Tahara appropriates in his works, they are always premised on their reconstruction as light and shadow… The works are constantly inflected as they perennially shift and transform. Inside and outside, white and black, nature and culture­. The introverted and extroverted aspects of Tahara’s personality do not contradict each other. His introversion is apparent from the long years he spent shooting windows for his “Fenêtre” series and fixing his gaze on interior living spaces for his “Eclat” series. That he traveled around Europe making Seikimatsu kenchiku [fin-de-siecle architecture], his massive six-volume set of books of images of architecture, or rather spaces, is evidence of his simultaneous extroversion. These various aspects of his work are not in opposition. They are constructed along a continuum… The infinite number of fractals and fissures, which Tahara’s photographic activities produce, are important because they empty all interpretations of meaning while requiring their endless regurgitation, and further create a new existential ecology equipped with a universe of new lines of meaning and referents.”

The exhibition Photosythesis 1978–1980 by Keiichi Tahara is accompanied by a durational dance performance by Min Tanaka within the space of 5th floor Respirium. Lasting for one week (March 17-25), conducted on a specially constructed stage with a unique arrangement of traveling theatre lights, Tanaka’s minimal, gestural performance is a live act of an exquisite endurance and physical force. As such, it creates a fascinating dialogue with the representation of dancer’s body as documented by Keiichi Tahara’s camera eye 37 years ago…



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Date: 17.03.2017 - 27.08.2017
Place: Trade Fair Palace




[PR]
by higashikawa_blog | 2017-03-08 16:02 | 受賞作家関連

展覧会 『フジフイルム・フォトコレクション』展 ― 日本の写真史を飾った写真家の「私の1枚」


東川賞受賞作家 展覧会のお知らせ。

FUJIFILM SQUAREにて開催される展覧会 『フジフイルム・フォトコレクション』展 ― 日本の写真史を飾った写真家の「私の1枚」に、下記受賞作家が出品いたします。

植田正治氏、川田喜久治氏、細江英公氏、高梨豊氏、篠山紀信氏、荒木経惟氏、奈良原一高氏、操上和美氏、須田一政氏、石内都氏、深瀬昌久氏、中村征夫氏、北島敬三氏、長倉洋海氏、広川泰士氏、伊奈英次氏、今道子氏、柴田敏雄氏、齋藤亮一氏、瀬戸正人氏、野町和嘉氏、佐藤時啓氏。


『フジフイルム・フォトコレクション』展 ― 日本の写真史を飾った写真家の「私の1枚」

b0187229_15501784.png
©Shoji Ueda

以下リンクより

FUJIFILM SQUARE(フジフイルム スクエア)では、2017年3月24日(金)から4月12日(水)まで、FUJIFILM SQUARE 企画写真展 『フジフイルム・フォトコレクション』展 ― 日本の写真史を飾った写真家の「私の1枚」を開催いたします。

 本写真展は、2014年の富士フイルム株式会社(創立時は富士写真フイルム株式会社)創立80周年を記念し、「写真文化を守る」ことを基本理念として、幕末・明治から現代に至る、日本を代表する写真作家101人*1の記録的価値の高い最高作品を収集したものです。
 日本の写真史と写真界の発展の軌跡をご覧いただける本コレクションは、2014年にフジフイルム スクエア(東京)・富士フイルムフォトサロン大阪で展示の後、昨年末までに公立美術館を中心に7か所で巡回展示*2を行い、写真関係者のみならず美術や芸術に精通する方々からも高い評価をいただきました。
これらが評価され、公益社団法人企業メセナ協議会より「芸術・文化振興による社会創造活動」として「THIS IS MECENAT2015」 「同2016」の認定をいただきました。

 写真に造詣の深い方はもちろん、初めて写真史に触れる若い皆様にも、この機会に世界でも稀有な「写真文化」を築き上げた日本の写真の精髄を、最高の銀塩プリント作品でご堪能頂ければ幸いです。


※ 3月25日(土)に写真展併催イベントとして、「フジフイルム・フォトコレクション」を通してみた日本写真史 ~飯沢耕太郎氏(写真評論家)~ を開催いたします。


※ 4月1日(土)に写真展併催イベントとして、写真家 立木義浩 ギャラリートーク 「<舌出し天使>とその時代を語る」 を開催いたします。



出展作家(作品の撮影年順)

フェリーチェ・ベアト、上野 彦馬、下岡 蓮杖、内田 九一、日下部 金兵衛、小川 一真、鹿島 清兵衛、福原 信三、塩谷 定好、桑原 甲子雄、安井 仲治、福原 路草、田淵 行男、濱谷 浩、岡田 紅陽、影山 光洋、林 忠彦、杵島 隆、植田 正治、木村 伊兵衛、渡辺 義雄、岩宮 武二、大竹 省二、大辻 清司、田沼 武能、鋤田 正義、長野 重一、石元 泰博、川田 喜久治、細江 英公、緑川 洋一、芳賀 日出男、富山 治夫、白簱 史朗、高梨 豊、立木 義浩、桑原 史成、坂田 栄一郎、篠山 紀信、土門 拳、広田 尚敬、小川 隆之、久保田 博二、土田 ヒロミ、荒木 経惟、沢渡 朔、十文字 美信、鈴木 清、東松 照明、森山 大道、北井 一夫、田村 彰、英奈良 原一、高森 永純、有田 泰而、木之下 晃、原 直久、江成 常夫、倉田 精二、杉山 守、秋山 亮二、操上 和美、須田 一政、南川 三治郎、石内 都、牛腸 茂雄、深瀬 昌久、前田 真三、中村 征夫、山崎 博、北島 敬三、水越 武、入江 泰吉、大西 みつぐ、島尾 伸三、普後 均、ハービー・山口、伊藤 義彦、山沢 栄子、清家 冨夫、長倉 洋海、築地 仁、水谷 章人、宮本 隆司、広川 泰士、伊奈 英次、上田 義彦、竹内 敏信、三好 耕三、星野 道夫、今 道子、柴田 敏雄、田中 光常、齋藤 亮一、潮田 登久子、瀬戸 正人、野町 和嘉、秋山 庄太郎、佐藤 時啓、白岡 順、鬼海 弘雄



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2017 年3 月24 日(金)~4 月12 日(水)
10:00~19:00(入場は18:50まで) 期間中無休

FUJIFILM SQUARE(フジフイルム スクエア)
〒107-0052 東京都港区赤坂9丁目7番3号(東京ミッドタウン・ウェスト)





[PR]
by higashikawa_blog | 2017-03-08 15:52 | 受賞作家関連
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Higashikawa photo Award


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