Palais el Badi, Yves Saint Laurent Museum
Comptoir des Mines Gallery, Marrakech, morocco,
supported by the Agency for Cultural Affairs,Japan
Graphic design: Le Studio w+e
Presentation, projection, talk, residency, catalog, postcard and Pamphlet
Concepts, Experiments, Gaps, Illusion, Playfulness & Hyper-Sensation in a “Perfect” Comprehensible Digital Era from Japan.
The Second International Meeting of Photography in Marrakech (2019) was a collaborative event supported by the Agency for Cultural Affairs, Government of Japan, featuring artists Yuji Hamada, Ken Kitano, Naruki Oshima, Yuki Onodera, Risaku Suzuki, and Kazuyoshi Usui, some of whom were also in residence.
The schedule included:
The Second International Meeting of Photography in Marrakech (2019) was a collaborative event supported by the Agency for Cultural Affairs, Government of Japan, featuring artists Yuji Hamada, Ken Kitano, Naruki Oshima, Yuki Onodera, Risaku Suzuki, and Kazuyoshi Usui, some of whom were also in residence.
The schedule included:
- October 17: Presentation at the Yves Saint Laurent Museum with Christine Eyene.
- October 18: Artist discussion at Comptoir des Mines Gallery.
- October 19: Screening at Palais el Badi, followed by a Q&A session.
© Suzuki Risaku, courtesy of
Taka Ishii Gallery
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© Kazuyoshi Usui
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© Naruki Oshima
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© Yuji Hamada
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© Ken Kitano
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© Yuki Onodera
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In 2015, I met five photographers (except Yuki Onodera) in Aix-en-Provence during the “Regards Croisés Japon-Provence, Photo Aix 2015” exhibition at Galerie Zola. We spent a week discussing photography and our work, forming an ongoing exchange that continues to inspire us. Despite being from different generations (ages 40-56), our conversations have evolved beyond the typical festival encounter.
When Abdellah Oustad asked me to curate an exhibition of five Japanese photographers, I immediately thought of them. Their work addresses my core question, “Photography? Why?” and reflects on the medium's perception and potential. Sharing their work in Morocco, where there’s little connection to Japan, creates a sense of mystery. Rather than labeling it “Japanese Photography,” I want to emphasize “Possibilities and Potentiality in Photography from Japan,” as their experimental approaches push the boundaries of the medium, making them both successful and renowned.
When Abdellah Oustad asked me to curate an exhibition of five Japanese photographers, I immediately thought of them. Their work addresses my core question, “Photography? Why?” and reflects on the medium's perception and potential. Sharing their work in Morocco, where there’s little connection to Japan, creates a sense of mystery. Rather than labeling it “Japanese Photography,” I want to emphasize “Possibilities and Potentiality in Photography from Japan,” as their experimental approaches push the boundaries of the medium, making them both successful and renowned.
| カタログページ＿_pages_int_catalogue__photo_why.pdf |
| ハガキ＿ウッブ＿envoi_cartes.pdf |
| パンフレント＿envoi_depliant_5.pdf |