1960年代半ばごろからカメラが一般に普及し始めた時、“写真は芸術足りえるのか”という疑問を持って多くの芸術家が写真を使い始めたが、それはすぐに世界を“見る”とは何であるのかという美術本質への問いかけへと変わった。そのことは、写真という定義をも変えることとなる。それまで備えてきた記録性や複数性を越え、その後に出てきたデジタルによる視覚的効果をも越えた、“見る”ことへの問いかけから世界が、”見える”ことへの認識を私たちに促すものとなった。イギリス人著述家、キュレーター、ロンドン芸術大学 カンバーウェル・カレッジ・オブ・アーツ 写真コース・ディレクターのダンカン・ウールドリッジ(Duncan Wooldridge)がそのエッセイの中で語るように、作者の写真はまさに私たちに“視覚をいかに見直すか”を示してくれる。我々は、作者の写真によっていかに世界が多面的であり多様性に満ちたものであるかを知るだろう。」- 千葉 由美子(Yumiko Chiba Associates)



鷹野隆大 毎日写真 1999-2021
会期:2021年6月29日(火)- 9月23日(木・祝)
時間:10:00-17:00 / 金・土  10:00–21:00

The notable series Reclining Woo—Man (1997–2001) by Ryudai Takano (b. 1963, Japanese) exhibits an unalike depiction of nudity, which often being ignored in the arts. The title derives from “Reclining Woman”—a title often found among European classical paintings. The title is a parody, but the photographs are not. Takano was exploring how to capture his own sense of beauty prior to meeting Kikuo. It was such an overwhelming encounter that caused Takano to abandon his quest. Kikuo; a stout, naked, middle-aged man, lying on a sofa bed. To give an example, it might have felt for him as if Mars, the Roman god of war appeared as a muse. After that, Kikuo continued to drive Takano’s creation for 10 years. When the camera became popular around the mid-1960s, many artists began to employ photography by questioning if “photography can be sufficient as art?”. However, soon the question got slightly altered to the essence of art, “what is ‘to see’ the world?”. This extended the definition of photography. Photographs early possessed a record-ability and multiplicity and when digital photography emerged in common households in the late 1990s it added its visual effects. Nowadays, photography has surpassed these ideas; it does not solely seek for “to see” but it has prompted us to be aware of the uncertainty of “what we see”. As Duncan Wooldridge mentions in his foreword, Ryudai Takano's photographs are showing us “how to rethink vision”—we will know the multifaceted world and its diversity through his photographs. The book contains a foreword written by critic and essayist Duncan Wooldridge (b. 1981, British)

by Ryudai Takano

REGULAR PRICE ¥4,400  (tax incl.)

softcover with poster
28 pages
200 x 274 mm
black and white
limited edition of 500 copies

published by LIBRARYMAN