人気ブログランキング |

東川町国際写真フェスティバル Offcial blog

fotofes09.exblog.jp ブログトップ

<   2018年 06月 ( 26 )   > この月の画像一覧

川内倫子氏 展覧会「A MATTER OF LIGHT: Nine photographers」

東川賞受賞作家 展覧会のお知らせ

Vatican Museumsにて開催中の展覧会「A MATTER OF LIGHT: Nine photographers」に、川内倫子氏出展しています。

A MATTER OF LIGHT: Nine photographers


Photographs by: Bill Armstrong, Antonio Biasiucci, Peter Bialobrzeski, Alain Fleischer, Francesco Jodice, Mimmo Jodice, Rinko Kawauchi, Martin Parr and Massimo Siragusa

Curated by Micol Forti and Alessandra Mauro

The exhibition A Matter of Light. Nine Photographers in the Vatican Museums (In piena luce. Nove fotografi interpretano i Musei Vaticani), curated by Micol Forti and Alessandra Mauro and conceived by the Vatican Museums, will take place in the Palazzo Reale in Milan from 24 May to 1 July 2018. The exhibition forms part of the rich programme of events for Milan Photoweek 2018.

Promoted and produced by the Municipality of Milan – Culture Office, Palazzo Reale and the Vatican Museums, in collaboration with Contrasto, the exhibition derives from the plan to constitute the first photographic collection within the Contemporary Art Collection of the Vatican Museums.

To achieve the ambitious goal of creating a new collection, it was decided to offer an opportunity to reflection and experimentation: to transform an historic, social, multicultural, “ritual”, or rather, fully symbolic location such as the Vatican Museums into the object-subject of the creative work of a group of international photographers, diverse in terms of research perspectives, education, origin and style.

“The splendid halls of the Palazzo Reale make this first presentation in a public institution even more special”, states the Assessor for Culture for the Municipality of Milan, Filippo Del Corno, “recounting in images one of the most well-known and significant museums in the world. Nine masters of photography, Italian and foreign, take an original approach to a place that is unique and precious in terms of art, history and architecture: the Vatican Museums”.

The photographers chosen to work within the Vatican Museums are Bill Armstrong, Peter Bialobrzeski, Antonio Biasiucci, Alain Fleischer, Francesco Jodice, Mimmo Jodice, Rinko Kawauchi, Martin Parr and Massimo Siragusa. Each one of them has worked in distinct moments and on different aspects of this multiple museum, producing nine autonomous works that document and interpret the interior and architectural space of the halls, the flow of visitors and the memories that daily animate the people and spaces, the works on display and those conserved in the deposits, signs of wear and tear, and bodily traces.

It is the first time that a Museum has commissioned a production of this type, aimed at constituting a new photographic collection inseparably linked to the museum itself, which becomes both its subject and its recipient. “To commission from a group of “voices” and “eyes” from the international art scene a sort of reportage that opens the doors of the Vatican Museums, showing them in their complexity, is a bold operation that demonstrates the vitality of a unique place, not without contradictions”, writes Barbara Jatta.

The project A Matter of Light. Nine photographers in the Vatican Museums is intended to construct a series of pathways between imagination and memory, documentation and interpretation, composing a collection of images that may become an archive of the present, a tool for understanding and observation, a key allowing access to future studies, through visions that, though diverse, are all current and necessary in different ways.

The exhibition is accompanied by a book edited by Edizioni Musei Vaticani and Contrasto, with essays by David Campany, Giovanni Careri, Micol Forti, Barbara Jatta, Johanne Lamoureux, and Alessandra Mauro.

The operational costs of this exhibition were sponsored thanks to the generosity of Mr. Peter Farrell, from the California Chapter and the NY Chapter (Carlson Estate).

and the New

Vatican Museums Press Office

Lucina Vattuone +39.06.69883041

Contrasto Press and Communication Office

Valentina Notarberardino +39 06 32828237; vnotarberardino@contrastobooks.com

Municipality of Milan Press Office

Elena Conenna; elenamaria.conenna@comune.milano.it

A joint exhibition by City of Milan-Department of Culture, Palazzo Reale and Vatican Museums

by higashikawa_blog | 2018-06-16 19:18 | 受賞作家関連

池田葉子氏 展覧会「Crystalline」

東川賞受賞作家 展覧会のお知らせ

gallery ART UNLIMITEDにて、池田葉子氏の展覧会が開催中です。


©Yoko Ikeda



池田 葉子





gallery ART UNLIMITED 〒107-0062 東京都港区南青山1-26-4 六本木ダイヤビル3F

by higashikawa_blog | 2018-06-15 22:22 | 受賞作家関連

川内倫子氏 写真集「はじまりのひ」

東川賞受賞作家 出版のお知らせ









定価 : 2,500円(本体 : 2,315円)
ISBN 978-4-7630-1809-0 C0072
変型 合紙並製本 32頁(図版20点)

by higashikawa_blog | 2018-06-15 22:13 | 受賞作家関連

森村泰昌氏 展覧会「森村泰昌の絵画館」

東川賞受賞作家 展覧会のお知らせ

NADiff Galleryにて、森村泰昌氏の展覧会が開催中です。


©Yasumasa Morimura


この度、NADiff Gallery、およびNADiff Window Gallery では、美術家・森村泰昌の手掛けるマルチプル最新作「モリムラ絵画館」をご紹介します。
森村はマルチプルプロジェクト“MoriP100”を2017年から開始し、第一弾をアンディ・ウォーホル、第二弾はフリーダ・カーロがテーマとなり、賑々しいラインナップで発表されました。そして今回は、肖像 画の絵画作品をテーマにした「モリムラ絵画館」が展開されます。




森村泰昌の絵画館 ―MoriP100プロジェクト/モリムラが手がけるマルチプルアートの新機軸― トークイベント



出 演=杉田敦(美術批評)×森村泰昌

会 場:NADiff a/p/a/r/t 店内

定 員:70名

入 場:1,000円

予約制:TEL. 03-3446-4977


月曜日定休 ※月曜が祝日の場合は翌日
NADiff a/p/a/r/t
150-0013 東京都渋谷区恵比寿1-18-4 NADiff A/P/A/R/T 1F

by higashikawa_blog | 2018-06-15 22:08 | 受賞作家関連

中藤毅彦氏 展覧会「V.S東京写真展+」

東川賞受賞作家 展覧会のお知らせ





飯田鉄+ギャラリーニエプス メンバーによる「東京」をテーマとした写真作品展。様々な顔を持つ大都市をそれぞれの切り口で捉え、東京の多面体的な魅力を浮かび上がらせる試み。

2018年 6月18日(月)〜30日(土)
檜画廊 〒101-0051 千代田区神田神保町1-17(すずらん通り)
TEL&FAX 03-3291-9364

by higashikawa_blog | 2018-06-15 22:01 | 受賞作家関連

展覧会「The Origins of Japanese Contemporary Photography - Film grain as words」

東川賞受賞作家 展覧会のお知らせ

GoEun Museum of Photographyにて始まった展覧会「The Origins of Japanese Contemporary Photography - Film grain as words」に、荒木経惟氏、石内都氏が出展しております。

The Origins of Japanese Contemporary Photography - Film grain as words

©Miyako Ishiuchi


From the mid-1950s to the 70s, Japan achieved rapid economic development through a period that began to be called, 'Japanese economic miracle'. With the help of special procurements in the instances of the 1964 Tokyo Olympics and the 1970 Osaka Expo, by 1968, Japan was able to rise to the second highest GNP of the world. Although there was the occurrence of 1973 oil crisis in between, Japan continued a stable growth in the 70s. In regards to politics, with the anpo-tousou (nationwide campaign against the ratification of Japan-U.S. Security Treaty), the 60s and 70s were given the name, 'season of politics'. And in 1972, Okinawa, which had been under U.S. occupation for nearly a quarter-century, was returned to Japanese sovereignty.

During this time, a new trend―which leads on up to present day―arose in the photography scene. Up-and-coming photographers, who had doubts about the prewar and wartime journalistic photography, began to think of ways to bring photography-for-media back under their control and to express their own thoughts within their works. It was Shomei Tomatsu who spearheaded this movement. Tomatsu influenced the activities of Takuma Nakahira and Daido Moriyama, who came together for the magazine PROVOKE. As shown in there 'are, bure, boke' (grainy, blurry, and out-of-focus) style, these figures rejected and dismantled the status quo of photography and its visual methods. Resistance towards the existing system or establishment impacted not only the politics but also the world of photography.

The anpo-tousou became a spark that fed the flames of student protests and the Sanrizuka struggle, a protest against the construction of Narita Airport. There were photographers who captured these scenes from within the barricade. Kazuo Kitai was one of them. Against the abundance of photographs in the media capturing the barricade beyond the police and riot squad, these photographers took the day-to-day scenery through the point-of-view of students and farmers within the barricade. Also, along with the fast-paced economic development, various changes and maladjustments were prevalent in Japan. The issue with pollution being one of them, some photographers attempted to expose the circumstance with their photographs: Shisei Kuwabara covered on the 'Minamata disease' (a disease caused by mercury poisoning). With culture and customs undergoing transformations as well, photographers like Hiromi Tsuchida were in the pursuit of capturing things that remain unchanged; things indicative of Japanese culture.

In 1966, the exhibition Contemporary Photographers, Toward a Social Landscape was held in the George Eastman House in New York. There were photographers in Japan not unlike the artists featured in this exhibition, called the 'Konpora', who focused their attention on capturing the quotidian. There is also an appearance of photographers who practiced shi shashin (rendered in English as 'I-photography' or 'personal photography') using their personal perspective and occurrences as their subject matter. Nobuyoshi Araki and Masahisa Fukase involve their family members as models in their works. And Ishiuchi Miyako set her memory, experience, and outlook as a woman, as themes for her works.

The 60s and 70s were an era in which Japan went through a great degree of change―marked by the resistance of the younger generation towards the existing system and establishment, and the simultaneous contribution to new perspectives in photography―changing photography to a great degree as well. In this exhibition, we present the works of five photographers, Shomei Tomatsu, Kazuo Kitai, Hiromi Tsuchida, Nobuyoshi Araki, and Ishiuchi Miyako, introducing a segment of what comprised the origins of Japanese contemporary photography.

It can be said that Tomatsu was involved in all major incidents within the photography scene of this era. He took on a leader-like role for Japanese contemporary photography. Tomatsu’s photography is filled with the themes of scars of the war, occupation, Americanization, and the question of what Japan is or being Japanese means. Tomatsu was drawn to Okinawa ever since he made his first visit in 1969 and continued making frequent visits there. On the reason why he was so drawn to Okinawa, he says, "I didn’t arrive at Okinawa but returned back to Japan, and am not returning back to Tokyo but to America."1 "Okinawa, (…) the whole of its islands is under occupation. And has been under the rule of United States Military Government for a quarter-century. In spite of this, most of Okinawa still remains pure and untainted."2, he writes in his photobook, The Pencil of the Sun, which captures Okinawa not as a symbol of occupation but as 'Japan' through the liberal display of its people’s lifestyles, cultures and customs.

In the late 60s, which welcomed the peak of 'season of politics', Kazuo Kitai photographed the days of students who shut themselves in at his alma mater, Nihon University College of Art, and published them on the pictorial magazine Asahi Graph. But growing doubts about its increasingly biased activities, he moves on to record the lifestyles of the people in the rural village, Sanrizuka, located in the outskirts of Narita, Chiba pref ecture. Although the construction of an airport was scheduled in the imminent future, the site was still filled with pastoral scenery at the time. It used to be a peaceful area; when civil servants made a visit to survey the site, the farmers responded by shouting at them while hitting steel drums (containers). But with the influx of people?embracing various ideologies?to the area, the protests got more violent and were met with forced evictions executed by the government. Sanrizuka assembles the said scenery captured from the perspective of the farmers.

The photograph, which brought Hiromi Tsuchida to fame, is of a middle-aged farm couple sitting in the shade of a tree, enjoying a drinking party. Fed up with the amount of photographers at the festival of a famous mountain village, he took the photograph a distance away from the shrine. "I originally didn’t want to take this kind of photograph. (…) I want to get away from here (…). But when I showed these photographs to Yamagishi, he took an interest in them."3 Tsuchida, who was born and raised in the mountain village of Hokuriku region, who moved out with an admiration for city life, ended up getting high reviews from the editor-in-chief of the magazine Camera Mainichi―which has brought many prominent up-and-coming photographers to the world―for capturing the scenery of the very world he wanted escape from. He traveled within Japan "to walk through Japanese festivals or historic religious sites", in an effort to capture Japanese lifestyles and customs, which were in an ever-changing state due to the waves of urbanization and accelerated economic growth. This endeavor was released under the name Zokushin.

Nobuyoshi Araki was a trueborn Edokko (a term referring to a person born and raised in Edo). After graduating from university, he worked as a cameraman for a big advertising agency; he met his soon-to-be wife, Yoko there. His photographs of their honeymoon got compiled into the self-published photobook, Sentimental Journey, produced in a print run of thousand copies. From snapshots of the street to activities of the couple, the work features seemingly staged scenes of the trip. In the foreword, Araki writes, "Sentimental Journey represents my love and my resolution as a photographer. (…) I think I’ll continue to make works like I-novels (term used to describe a type of confessional literature). This is because I think of I-novels as a genre closest to photography", proclaiming that he―in his 30s at the time―will bet his career on the 'I-novel' (I-photography) style. He then continued on to take photographs of his wife Yoko’s daily life. But twenty years later, Yoko gets afflicted with a disease that takes her life. What captures the last of Yoko is the work, Winter Journey.

Ishiuchi Miyako moved to Yokosuka―a town with an American military base―from a provincial town of North Kanto region because of her father’s arrangements. At the time, Yokosuka gave her a significant culture shock, leaving her with no pleasant memories, being a place she desired to escape. She spent her teenage years cramped up in a six tatami mat apartment room with the rest of her family (family of four). An ever-changing variety of people inhabit and move out of these apartments poorly built with mortar. According to Ishiuchi, these small apartment rooms are like "a packaging for human beings"4 and the residents "smell or indiscernible lost articles are embedded within."5 The series she photographed thinking of 'human beings as a part of the wall', was made into her first photobook APARTMENT.

At this exhibition we mainly introduce works taken by the photographers when they were still in their late twenties and thirties, with the exception of the works by Shomei Tomatsu. The young artists came into spotlight through these works, and moved on to become major figures to lead the Japanese photography scene―it can be said that they are the originators of contemporary Japanese photography. Photography is a vernacular medium and thus cannot be severed from its generation and setting. Perhaps these works are the fruition of the photographer’s desperate contemplation on or resistance to the society at the time. The title of this exhibition was inspired from Shomei Tomatsu’s writing on the obi (a strip of paper looped around a book) of Ishiuchi Miyako’s photobook APARTMENT: "film grain is language in its own right." These photographers were at the forefront in devising a method of expressing one’s thoughts through a new language called photography. With this, it goes without saying that these portrayals of Japan-of-the-time will come into view, richer than what can be recounted in words.

Hiroshi Suganuma (Curator)

1 The Pencil of the Sun
2 Ibid.
3 Counting Hiromi Tsuchida (Recruit)
4 Ishiuchi Miyako exhibition catalogue Hiroshima/Yokosuka (Meguro Museum of Art)
5 Ibid.

June 9, 2018 – August 29, 2018
Tuesday-Sunday, 10:00 ~ 19:00
The Museum is closed on
:Every Monday and 1 January, the lunar New Year’s Holiday, Chuseok
Admissions :
GoEun Museum of Photography opens to the public for free
16, Haeundae-ro 452beon-gil, Haeundae-gu, Busan, Korea [48089]

by higashikawa_blog | 2018-06-10 20:31 | 受賞作家関連


東川賞受賞作家 展覧会のお知らせ

ベルギーのibasho galleryにて開催される展覧会「NI'HOMME - SUMMER GROUP EXHIBITION」に、大橋英児氏が出展いたします。


©Eiji Ohashi

Since the opening of IBASHO in March 2015 we have been exposed to so much photographic talent coming from Japan, that we have decided to start curating annual group exhibitions showing new and unknown works from contemporary Japanese photographers. Last year we started with the first group exhibition called 'Female Force from Japan' which was a big success. This year we are focusing on the works of twelve highly talented male photographers from 'Nihon' (Japan).


16 June 2018 — 01 September 2018

tolstraat 67 — 2000 antwerp — belgium

opening hours
friday until sunday — 14:00 until 18:00
and by appointment

by higashikawa_blog | 2018-06-10 20:12 | 受賞作家関連

【お知らせ】撮って楽しい、体験して楽しい \ひがしかわ撮影会2018 参加者募集

フルサイズミラーレス一眼「ソニーα7III、α7RIIIシリーズ」を使用して 東川の豊かな自然風景を撮影しながら講師と参加者同士の交流もしていただける 撮って楽しい、体験して楽しい撮影会を開催いたします。 撮影終了後は、エプソンの高画質モデル「Colorio V-editionシリーズ」を使って その日に撮影した写真をプリントして、高橋真澄先生に講評していただきます。 大人から子どもまでご参加いただけます。ふるってご参加ください。(要予約)


時間:9:30~14:30 ※集合時間9:15
参加料金:当日支払い 大人1,000円、子供(中学生以下)500円
定員:15名(要予約 定員になり次第受付終了)
対象:居住地、年齢、プロ・アマ、個人、家族の如何を問わずどなたでも ※中学生以下は保護者同伴
講師:高橋 真澄 先生(写真家)
申込方法:電話にて受付(東川町文化ギャラリーTEL:0166-82-4700 吉里・関口まで)

「体験して楽しい」大雪旭岳源水を使って淹れたコーヒーを飲みながら 先生や参加者同士で交流していただけます(希望者にはソフトドリンクを提供)


ソニーストア 札幌の ギャラリースペースで 写真展実施!
ご参加いただいた皆さまの写真作品が ソニーストア 札幌のギャラリーにて展示されます!


参加を希望される方は、電話口にて 「ひがしかわ撮影会の申し込み」とお知らせください
〒071-1423 北海道上川郡東川町東町1-19-8
東川町写真の町課 東川町文化ギャラリー内 (担当:吉里・関口)

by higashikawa_blog | 2018-06-10 19:52 | イベント

【お知らせ】ストリートギャラリー2018 出展者募集

第34回東川町国際写真フェスティバル「ストリートギャラリー」は、自由公募の屋外写真展です。 今年から部門を「一般部門」「高校生部門」に分け、コンテストを開催します。一般部門は、ジャン ル、年齢などの制限は一切ありません。高校生部門は、高校生限定で無料で参加いただけます。(高 校生以外は、子どもから大人まで「一般部門」として受付させていただきます。) 参加者の皆さまには、専用展示台(90cm×180cm)を貸し出しますので、出展者のみなさんのそれぞ れの個性を生かした展示方法で展示してください。 東川町フォトフェスタを訪れるゲスト・写真家・雑誌編集者などの皆さんの目に触れ、アドバイスを いただける良い機会になります。ぜひ、お申し込みの上ご参加ください。


秋元 貴美子(日本大学芸術学部写真学科教授) 浅井 譲(日本大学芸術学部写真学科教授)
小林 貴(インターアート7代表)
坂本 太士(フォトコン副編集長)
速水 惟広(Tokyo Institute of Photographyディレクター)
吉野 弘章(東京工芸大学芸術学部写真学科教授)

■受付:8/4(土) 10:00~11:30 東川町文化ギャラリー前
■搬出:8/5(日) 16:00~
※専用の展示台(左写真参照)を貸し出しいたします。屋外での 展示ですので、野外の特性を生かした展示内容をご検討くださ い。展示台は作品が水に濡れにくい構造となっておりますが、 完全防水ではありません。雨天時の対策は参加者ご本人でお願 いします。 なお、展示台への貼付は、パーマセルテープ以外は使用できません。

【出展者宿泊場所】 出展者のみなさまの宿泊場所として、老人保健センターをご利用いただけます。(無料) 作品の展示だけではなく、合宿形式(男女別相部屋)への参加による新たな出会いの場として本企画を 活用いただければ幸いです。宿泊所には、布団の準備 を予定(数に限りがございます。)しているほか、右 記のとおり入浴券の頒布ならびに入浴施設までの送迎 を実施します。なお、簡易宿泊所ですので多少の不便 がありますことを予めご承知おきください。 ※ご注意:老人保健センター内は、すべて禁煙となっ ています 。

キトウシ高原ホテルのトロン温泉の入浴券を、特別価格(通常1名さま600円のところ300円)にて販売い たします。数に限りがございますので、事前にお申し 込みいただいた方から順に、お一人さま1枚まで頒布 いたします。ご希望の方は参加申込時に入浴券購入希 望とお申し出(選択)をお願いします。(8月4日夜に は、入浴場所までの送迎バスがあります)


by higashikawa_blog | 2018-06-10 19:40 | イベント

【お知らせ】 写真インディペンデンス展の参加者募集

東川町国際写真フェスティバルのイベントとして、毎年恒例となっております、日本カメラ社協力【東川自由フォーラム2018:写真インディペンデンス展~出会いと合評の集い ~】の出展者を、募集します。 幅1.8m × 高さ2.25mの壁面を使って、写真で自由に表現を発表するこの公募展は、発表や発信ばかりではなく、第一線で活躍する写真家や評論家、学芸員の方々と直に接し、 意見をかわすことができる場です。また、出展作品の中で優れた作品は日本カメラ誌に掲載されます。この展覧会を通して皆様が東川町から羽ばたく機会となることを期待し、参加をお待ちしています。


【主 催】東川町写真の町実行委員会
【協 力】日本カメラ社
【開催日時】展示:2018 年 8 月 4 日(土)~8 月 29 日(水) 出会いと合評の集い:2018 年 8 月 5 日(日)10時30分~
【開催場所】北海道上川郡東川町1丁目19番8号 写真の町東川町文化ギャラリー
【募集定員】12 名
【応募期間】2018 年 6 月 4 日(月)~7 月 26 日(金) ※事前応募は無効です。 (定員になり次第締切とします)
・8 月 1 日(水)~3 日(金)の期間で東川町文化ギャラリーに来てご自身で展示作業のできる方。
・8 月 5 日(日)10:30からの出会いと合評の集いに参加できる方。
・参加一件(個人または 1 グループ)につき 1 壁面とさせていただきます。
・壁面:幅 1.8m × 高さ 2.25m(釘うち可)
・搬入・展示及び搬出は参加者の責任となりますが、希望の方は搬出のみ文化ギャラリー スタッフが取り外し
・発送を請け負います(希望者のみ)が、取り外しの際の破損の 責任は負いませんのでご了承ください。
・往復の送料は参加者の負担となります。当方での返送ご希望の参加者は保険の有無と 保険金額を明示してください。(指定が無い場合はヤマト運輸宅急便[着払い]にて返却 いたします。

・参加希望される方は、まずは電話でお申込み下さい。エントリー完了後、メールまたは FAXにて規定の申し込み用紙をお送りいただきます。 また、出品費2,000円は、8月1日(水)~3日(金)の展示の際に担当までお渡しください。作品の往復に係る送料、旅費及び滞在費は参加者の負担となります。 7月中旬を目途に、実行委員会から参加者全員に当日のスケジュール予定をご連絡させ ていただきます。


・上記搬入日から搬出日まで、主催者は管理上の注意を持って作品を保管致しますが、万一 の作品損傷に関しては天災、人災を問わず、主催者は一切保証致しません。 特に額装などされていない作品は画面の接触などによる損傷の危険が高まります。会期 中の保険は出品者ご自身でおかけください。

個室はございません。合宿形式(男女別相部屋)でのご宿泊となります。(素泊まり) なお、簡易宿泊所ですので多少の不便がありますことを予めご承知おきください。 また、キトウシ高原ホテルのトロン温泉の入浴券を、特別価格(通常1名さま600円のと ころ300円)にて販売いたします。数に限りがございますので、事前にお申し込みいた だいた方から順に、お一人さま1枚まで頒布いたします。(8月4日夜には、入浴場所ま での送迎バスがあります)

会場ではB5相当の大きさのキャプションを主催者側で作成致します。お申し込み用紙に記 載された略歴・作品コメントを記載します。略歴に関して、長文の場合に主催者側判断で 省略させていただくことがございますのでご了承ください。なお、必ず記載したい箇所が ある場合にはその旨お書き添えください。

東川町写真の町実行委員会事務局 〒071-1423 北海道上川郡東川町東町1丁目19-8 東川町写真の町課写真の町推進室/写真の町東川町文化ギャラリー(担当:吉里・阪部)
TEL:0166-82-2111(内線 591)



by higashikawa_blog | 2018-06-10 19:25 | イベント

Higashikawa photo Award

by higashikawa_blog
クリエイティビティを刺激するポータル homepage.excite
1 2
3 4 5 6 7 8 9
10 11 12 13 14 15 16
17 18 19 20 21 22 23
24 25 26 27 28 29 30