Photography?why?(2019), Marrakesh, Morocco
Concepts, Experiments, Gaps, Illusion, Playfulness & Hyper-Sensation
in a “Perfect” Comprehensible Digital Era from Japan.
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Graphic design: Le Studio w+e
Event present at: The second international meeting of photography in Marrakech
with the support of The Agency for Cultural Affairs Government of Japan in fiscal 2019
Artists: Yuji Hamada, Ken Kitano, Naruki Oshima, Yuki Onodera, Risaku Suzuki, Kazuyoshi Usui.
Artists in residence: Yuji Hamada, Ken Kitano, Naruki Oshima, Kazuyoshi Usui.
Contents:
October 17: Yves Saint Laurent Museum, presentation with Christine Eyene
(art historian, curator, and artistic director of the Biennale of Casablanca)
October 18: Comptoir des mines Gallery, presentation by the artists on the creative process
October 19: Palais el Badi, projection on a large screen of the work of the six artists. Each artist will present his or her work and have a Q&A session with the public.
All rights of texts and images are reserved: © Yuji Hamada, © Ken Kitano, © Naruki Oshima, © Yuki Onodera, © Suzuki Risaku, courtesy of
Taka Ishii Gallery, © Kazuyoshi Usui.
Project organization: Go ahead research
Project leader / Curation: Miki Nitadori
Assistance / Simultaneous translation: Sachie Burgio Sasada, Sayo Senoo
Photography Documentation: Joe Ball
Graphic design: Le Studio w+e
Translation: Anne-Sylvie Homassel (FR), Paul Muse (EN), R. El Magdouli (AR)
with the support of The Agency for Cultural Affairs Government of Japan in fiscal 2019
Artists: Yuji Hamada, Ken Kitano, Naruki Oshima, Yuki Onodera, Risaku Suzuki, Kazuyoshi Usui.
Artists in residence: Yuji Hamada, Ken Kitano, Naruki Oshima, Kazuyoshi Usui.
Contents:
October 17: Yves Saint Laurent Museum, presentation with Christine Eyene
(art historian, curator, and artistic director of the Biennale of Casablanca)
October 18: Comptoir des mines Gallery, presentation by the artists on the creative process
October 19: Palais el Badi, projection on a large screen of the work of the six artists. Each artist will present his or her work and have a Q&A session with the public.
All rights of texts and images are reserved: © Yuji Hamada, © Ken Kitano, © Naruki Oshima, © Yuki Onodera, © Suzuki Risaku, courtesy of
Taka Ishii Gallery, © Kazuyoshi Usui.
Project organization: Go ahead research
Project leader / Curation: Miki Nitadori
Assistance / Simultaneous translation: Sachie Burgio Sasada, Sayo Senoo
Photography Documentation: Joe Ball
Graphic design: Le Studio w+e
Translation: Anne-Sylvie Homassel (FR), Paul Muse (EN), R. El Magdouli (AR)
© 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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I met these five photographers(except Yuki Onodera) in Aix-en Provence in 2015 when we were invited to exhibit at “Regards Croisés Japon-Provence Photo Aix 2015” at Galerie Zola de la Cité du Livre. We spent a week together, every day, speaking about lighting in the exhibition, hanging, photography, our own work ( from creation, conception, materiality, technique & distribution), other people’s work, our contemporary time, our preoccupation, and ourselves. We are all between 40 to 56 years old, albeit from different generations.
Normally, in festivals or exhibitions, people meet and move on as soon as the Festival ends. Our meetings and conversations have continued until today. We meet, and enjoy exchanging and speaking together as photographers, artists andas people. As Ken Kitano said “As artists, we cannot create alone, we are supported by many people.” Our meetings are like a casual study group, where we inspire each other and think further about photography.
When Abdellah Oustad asked me last summer to curate a photography exhibition of five Japanese photographers, my mind was already set. Their work
represents my main question on photography - photography? Why ? which concerns with the perception and capacity of photography today. I thought it
would be very important to share their work with the public, especially in Morocco where there is not much historical link to Japan, and so there is a mystery for both countries. I would like to present their work as “Possibilities and Potentiality in Photography from Japan”, rather than “Japanese Photography”, a phrase that segments and prejudges the possibility and diversity of practice. The photographers I wish to present are marginal, outside the mainstream of what is known as “Japanese photography”. Despite this they are all successful, although they are not doing today’s “ Japanese photography”. They are well known for their uniqueness, questioning the possibilities of photography, and our own ideas of what photography is. They experiment with the medium.
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| パンフレント＿envoi_depliant_5.pdf |