ロベール・ドアノーの写真使用について
2024年7月1日から9月29日まで開催されているアルル国際写真フェスティバルの公式プログラム「I’m So Happy You Are Here （フランス語タイトル Quelle joie de vous voir）」の日本側プロダクションを担当。
Top image: Yamazawa Eiko. What I Am Doing No. 77, 1986. Courtesy of the artist / Third Gallery Aya, Osaka / Aperture.
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展覧会詳細
会 場 ： アルル国際写真フェスティバル
:Palais de L’Archevêché
アクセス：PALAIS DE L’ARCHEVÊCHÉ – ACCESS – FIRST FLOOR
会 期 ：2024年7月1日〜9月29日
開館時間：10時〜19時30分(最終入場は、閉館の30分前まで。)
入場料 ：TICKETING
URL ：https://www.rencontres-arles.com/en/expositions/view/1543/quelle-joie-de-vous-voir
キュレーター：レスリー・Ａ・マーティン、竹内万里子、ポリーヌ・
EXHIBITION ORGANIZED BY APERTURE IN COLLABORATION WITH THE RENCONTRES D’ARLES.
WITH SUPPORT FROM KERING | WOMEN IN MOTION AND THE FONDATION FRANCO-JAPONAISE SASAKAWA.
出版: I’M SO HAPPY YOU ARE HERE: JAPANESE WOMEN PHOTOGRAPHERS FROM THE 1950S TO NOW, APERTURE, 2024; FEMMES PHOTOGRAPHES JAPONAISES, DES ANNÉES 1950 À NOS JOURS, ÉDITIONS TEXTUEL, 2024.
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出品作家（アルファベット順）
原美樹子、HIROMIX、石川真生、石内都、片山真理、川内倫子、小松浩子、今道子、長島有里枝、楢橋朝子、蜷川実花、西村多美子、野口里佳、野村佐紀子、岡部桃、岡上淑子、オノデラユキ、澤田知子、志賀理江子、杉浦邦恵、多和田有希、常盤とよ子、潮田登久子、渡辺眸、山沢栄子、やなぎみわ
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Hara Mikiko (1967), Hiromix (1976), Ishikawa Mao (1953), Ishiuchi Miyako (1947), Katayama Mari (1987), Kawauchi Rinko (1972), Komatsu Hiroko (1969), Kon Michiko (1955), Nagashima Yurie (1973), Narahashi Asako (1959), Ninagawa Mika (1972), Nishimura Tamiko (1948), Noguchi Rika (1971), Nomura Sakiko (1967), Okabe Momo (1981), Okanoue Toshiko (1928), Onodera Yuki (1962), Sawada Tomoko (1977), Shiga Lieko (1980), Sugiura Kunié (1942), Tawada Yuki (1978), Tokiwa Toyoko (1930-2019), Ushioda Tokuko (1940), Watanabe Hitomi (1939), Yamazawa Eiko (1899-1995) and Yanagi Miwa (1967).
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I’m So Happy You Are Here offers an exciting new perspective on Japanese photography: a much-needed counterpoint, complement, and challenge to historical precedents and the established canon—an electrifying expansion of our understanding of Japanese photographic history, but also of photo-history at large. Over the past decade, the world of photography has made a concerted effort to fill critical gaps in its historiography. The excavation and recovery of women’s work, including this one, serves as a testament to the liberating nature of self-representation and self-expression, and to the importance of photography as a medium to express and share one’s own story: to be heard and to be seen.
This restorative survey presents a wide range of photographic approaches brought to bear on the experiences and perspectives of women on their own lives and on Japanese history and society, showcasing their creativity through key images, installation- based works, video, and photobooks.
With a focus on material from the 1950s to now, I’m So Happy You Are Here presents over twenty-five artists from different generations—many of whom have been recognized for their vital contributions, while others have developed unique and important practices without substantial public recognition. This collection of historical and contemporary works weaves together three major motifs—observations of everyday life that are both deep and delicate; critical perspectives on Japanese society, particularly on the roles inhabited— and often reinterpreted—by Japanese women; as well as experiments with and extensions of the photographic form.
Exhibited together for the first time, these works provide a multiplicity of perspectives on Japan and Japanese photography, and a broader, more nuanced reflection on the diverse contributions of Japanese women to the medium.
Lesley A. Martin, Takeuchi Mariko and Pauline Vermare
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Kawauchi Rinko. Untitled, 2004, the eyes the ears series. Courtesy of the artist / Aperture.
Nomura Sakiko. Untitled, 1997, Hiroki series. Courtesy of the artist / Akio Nagasawa Gallery, Tokyo / Galerie Écho 119, Paris / Aperture
Narahashi Asako. Kawaguchiko, 2003, half awake and half asleep in the water series. Courtesy of the artist / Osiris Co., Ltd., Tokyo / Aperture.
Watanabe Hitomi. Untitled, 1968-1969, Tōdai Zenkyōtō series. Courtesy of the artist / Galerie Écho 119, Paris / Aperture.
©️minachom
