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YP2015公開レセプション+ギャラリートーク動画をご覧いただけます

2016年5月28日、森山大道、北島敬三両選考委員をお招きし、「2015年度ヤング・ポートフォリオ」展公開レセプションと国内外の作品収蔵作家によるトーク、選考委員による講評を行いました。KMoPAでは、本レセプションによって作家同士の交流、選考委員との会話が、今後の作家活動のパワーに繋がることを願っています。

当日出席された作家は海外からの7名を含む下記の21名でした。それぞれのお名前をクリックしてどうぞご覧ください。

石倉徳弘

石倉徳弘

 

 

 

 

 

 

 

石倉徳弘

 

Shinya Itahana

Shinya Itahana

 

 

 

 

 

 

 

Shinya Itahana

 

加藤圭祐

加藤圭祐

 

 

 

 

 

 

 

加藤圭祐

 

北田祥喜

北田祥喜

 

 

 

 

 

 

 

北田祥喜

 

松井泰憲

松井泰憲

 

 

 

 

 

 

 

松井泰憲

 

中 悠紀

中 悠紀

 

 

 

 

 

 

 

中 悠紀

 

ミンヒー・アンMinhee AHN

ミンヒー・アンMinhee AHN

 

 

 

 

 

 

 

ミンヒー・アンMinhee AHN

 

シム・チャンSim CHANG

シム・チャンSim CHANG

 

 

 

 

 

 

 

シム・チャンSim CHANG

 

エリザベス・ハウストElizabeth HAUST

エリザベス・ハウストElizabeth HAUST

 

 

 

 

 

 

 

エリザベス・ハウストElizabeth HAUST

 

マリヤ・コジャノヴァMariya KOZHANOVA

マリヤ・コジャノヴァMariya KOZHANOVA

 

 

 

 

 

 

 

マリヤ・コジャノヴァMariya KOZHANOVA

 

ハオ・リーHao LI

ハオ・リーHao LI

 

 

 

 

 

 

 

ハオ・リーHo LI

 

ウォン・ウェイ・チョンWONG Wei Chung

ウォン・ウェイ・チョンWONG Wei Chung

 

 

 

 

 

 

 

ウォン・ウェイ・チョンWONG Wei Chung

 

ドロタ・ウルブレスカDorota WRÓBLEWSKA

ドロタ・ウルブレスカDorota WRÓBLEWSKA

 

 

 

 

 

 

 

ドロタ・ウルブレスカDorota WRÓBLEWSKA

 

坂口真理子

坂口真理子

 

 

 

 

 

 

 

坂口真理子

 

田口 昇

田口 昇

 

 

 

 

 

 

 

田口 昇

 

高倉大輔

高倉大輔

 

 

 

 

 

 

 

高倉大輔

 

田代一倫

田代一倫

 

 

 

 

 

 

 

田代一倫

 

東京るまん℃

東京るまん℃

 

 

 

 

 

 

 

東京るまん℃

 

富谷昌子

富谷昌子

 

 

 

 

 

 

 

富谷昌子
弓場井宜嗣

弓場井宜嗣

 

 

 

 

 

 

 

弓場井宜嗣

 

林 典子

林 典子

 

 

 

 

 

 

 

林 典子

 

 

 

 

 

 

 

 

 

 

 

 

 

THE JUDGES COMMENT (TRANSLATION)

Booklet pages 10-11:

・TAKAKURA Daisuke

We can feel something ominous and doppelgänger-like lying beneath this buoyant image. (Kitajima)

・Alena ZHANDAROVA

The attraction of these works lies in their constitutive elements and the gap between the acting and the non-acting. (Kitajima)

・SAKAGUCHI Mariko

To get in the bath this brazenly takes a lot of guts. All I can say is, ‘well done!’ (Moriyama)

・WONG Wei Chung

The difficulty with this kind of photograph is that if it does not contain some element of surprise, it is simply classified as ‘interesting’.  After that the photographer has to think about himself and move in the direction his thoughts take him.  From these possibilities, I have selected a work that will arouse the imagination and surpass the creator’s original intention.(Kitajima)

 

Booklet pages 12-13:

・Russell Scott PEAGLER

The photographer has given thought as to how to create a visual depiction that expresses the harshness of this harsh world. I salute him for his desire to express this. (Hosoe)

・Nandita RAMAN

This work, including the impression of faded colors, talks to us of the objects themselves. (Moriyama)

・K. M. ASAD

He displays a highly refined snapshot technique. The expression on the face of the widow in this work is wonderful. (Kitajima)

Booklet pages 14-15:

・Alicja DOBRUCKA

Tents and high-rise buildings, this combination of the two is interesting. The disconnect with reality is superb. (Kitajima)

・TAGUCHI Noboru

An all-over image: the way that color and objects overflow from the picture is interesting. (Kitajima)

The world he captures creates quite a real view; it is like looking at a strange picture book of a southern island. (Moriyama)

・Shinya Itahana

There are all kinds of landscapes and scenes, but I think that landscapes converge on people. If you can see a person, you know that there is a landscape behind them. (Moriyama)

・Natthaphon CHAIWORAWAT

This is a totally impossible landscape. It is not necessarily surrealistic, but it is strange for the way in which the unsteady path he took to reach there is luridly clear. (Hosoe)

Booklet pages 16-17:

・Elizabeth HAUST

We can’t compete with the eccentricities of foreigners. All of this is good. (Moriyama)

She tries to make it bizarre and meaningful, but it is also attractive. She possesses an extremely strong power of expression. (Hosoe)

・Dorota WRÓBLEWSKA

With camera shake and extreme blow-ups, these works capture enigmatic images and allow us a glimpse of the mysterious ‘layers’ that photography possesses. (Moriyama)

・Vladyslav KRASNOSHCHOK

These are strange photographs. He seems to be very introverted and suffering. (Hosoe)

They possess a dramatic interest; it was like looking at a scene from a play. (Moriyama)

Booklet pages 18-19:

・Tokyo Rumando

We have seen examples of women taking photographs of themselves in various situations for some time now and many of them can be said to be stereotyped, but these stand out and are good. They go beyond the usual. (Moriyama)

・Sim CHANG

Rather than a contemporary background, this picture combines historic or traditional culture with the present day, all in one fell swoop, and its simplicity is what makes it interesting. (Kitajima)

・Minhee AHN

I have never seen anybody who has done this before. It resembles a human hand. I don’t know if it should be described as avant-garde, antisocial, or anti-art. Manic creativity is frightening. (Hosoe)

・Mariya KOZHANOVA

Depending on the context, this can be described as either immoral, or moral. Its ambiguity is interesting. (Hosoe)

Booklet pages 20-21:

・MATSUI Yasunori

The lion and leopard are good. I have never seen this kind of image in animal photography before. (Moriyama)

・NAITO Yoko

When I am confronted with a view like this, I am unable to do anything. I can only sum up my feelings by saying, ‘Thank you for showing it to us!’ (Moriyama)

・Hao LI

Both concept and technique show a high degree of perfection. I think that the size is also just right. (Kitajima)

The intersection or conflict that exists between the interesting shape and its reality. Artistically it is fascinating. (Hosoe)

・Darren RIGO

Natural and artificial, nature and photograph, I find the interest in this work lies in the juxtaposition of multiple layers. (Kitajima)

Booklet pages 22-23:

・Ismail FERDOUS

It resembles the bible. This classicism. It even has a feeling of the kind of work that used to be produced by Italian artists. This could become a great masterpiece. (Hosoe)

・HAYASHI Noriko

Extremely professional. (Hosoe)

The look in their eyes leaves me speechless. (Kitajima)

・KATO Keisuke

The scent of the world in this photograph mingles with that of the photographer to create a strange sexuality. (Moriyama)

It is not the kind of realism that aims to expose, the overall atmosphere is very rich and I like it. (Kitajima)

Booklet pages 24-25:

・NAKA Yuki

Street snapshots are unexpectedly difficult. But I think these have been taken well, they capture the scene beautifully and present a good image of Paris. (Moriyama)

・ISHIKURA Tokuhiro

I was amazed by his ability to find interesting people in the streets. I think it must be difficult to both search for and get permission to photograph them. The people he photographs all have dignity. The way he meets them is good too. (Kitajima)

・Julio BITTENCOURT

Looking at many photographs sequentially, some of them stand out for their distinctiveness and that is what makes these works interesting. Individually, their degree of finish, as single pictorial works, is also very high. (Kitajima)

Booklet pages 26-27:

・TASHIRO Kazutomo

He captures people living in that area (the site of the Great East Japan Earthquake) within the landscape perfectly. The photographs are not explanatory, but the fact that he has managed to take so many, shows the energy and devotion he feels towards photography. This is transmitted through the work. (Moriyama)

・OKAHARA Kosuke

I would like people to look carefully at these photographs together with records of the Great East Japan Earthquake. (Hosoe)

Every photograph, no matter what, contains memories connected to all those who see them. (Moriyama)

Booklet pages 28-29:

・KITADA Yoshinobu

He depicts various localities in today’s Japan beautifully, I like them. (Moriyama)

・IWAMOTO Satoru

The procession shown in this photograph goes beyond the circumstances of the festival to create a beautiful image. (Kitajima)

・IMAMURA Takuma

I like its casualness. We are able to discern all kinds of things within the forthright viewpoint it presents. It depicts the state of Japan’s everyday life and it is interesting for the way in which we gradually realize the time that flows through it. (Moriyama)

・TOMIYA Masako

The atmosphere of the Tsugaru area of northeastern Japan is not exaggerated but transmitted quite gently through this work, creating a photograph with a highly favorable impression. (Kitajima)

Booklet pages 30-31:

・YUBAI Yoshitsugu

I think that he has captured the gay neighborhood of San Francisco well. It is difficult to photograph this well. He has taken an inside approach and really put his heart into it. (Moriyama)

I was amazed (at the subjects), he was not flustered when he took the pictures, but accepted the situation and moved deeper into it. I think they are joyful photographs taken from a sympathetic viewpoint. (Kitajima)

・NISHIMURA Takashi

The way in which he gives birth to an ‘ultimate’ image is great. (Kitajima)

I like it. The physiology, the constitution, the tenacity that this person possesses is everything. There is something strange about him. (Moriyama)

 

The judges comments (translation)

Booklet pages 10-11:

  • KUWAJIMA Ikuru

It’s all good. The cropping is excellent. (Moriyama)

Strange composition, strange timing, beautifully captured. (Hosoe)

  • SUGIYAMA Hiroyasu

Photographs that move you are difficult to express in words. (Moriyama)

  • YAMAGUCHI Yutaro

It’s hard to believe that these were taken by a Japanese. They display the relationships between the subjects on quite a deep level. (Seto)

 

Pages 12-13:

  • Sergiy LEBEDYNSKYY

These works appeal to the broad depth of people’s memories. They contain a kind of universality and I was surprised to learn that they were taken this year. (Moriyama)

  • DEN Gai

They appear to be casual, normal ‘snaps’, but there is something weird about them. Suddenly you feel they contain a different world. (Moriyama)

  • TAKASHIMA Kuta

Each image has been created in subtly different way; they are based on a unique worldview. (Moriyama)

 

Pages 14-15:

  • CHONG Kok Yew

I have seen numerous photographs of elderly people, but this is the first photograph I have seen of them actually kissing. I like it. (Moriyama)

If you look at the woman’s gaze, you can feel something of the life she has lived through. (Hosoe)

  • Daniel LEE

Looking at them feels like reading a strange novel. (Moriyama)

  • ISHIKURA Tokuhiro

The titles don’t match but the photographs are great. (Seto)

  • ENOMOTO Yusuke

I like the one of the people standing watching. It stimulates my memory. (Moriyama)

 

Pages 16-17:

  • Probal RASHID

This photograph was the strangest and attracted me strongly. (Moriyama)

  • A. M. AHAD

These are powerful photographs. I wonder how they are received in Bangladesh. (Hosoe)

  • Muhammed Shaiful ISLAM

The picture of the child in number 4803 is terrific. (Moriyama)

  • PRASHANTA Kumar Saha

This photograph in particular creates a documentary containing a severe criticism of Bangladesh. (Hosoe)

 

Pages 18-19:

  • K. M. ASAD

The way in which they have been taken quite naturally as a documentary is a bit frightening. (Hosoe)

I like the vividness of the prints. (Moriyama)

  • Shahadat HOSSAIN

Everything about them is good. (Moriyama)

The way that they are shot from above is interesting. (Hosoe)

  • Khaled HASAN

Overall they are low key and flat, expressing a particular world. (Moriyama)

The contrast between the high-rises in the background and the buildings in the foreground allows us to feel the current situation; it symbolizes the present day. (Hosoe)

 

Pages 20-21:

  • Jan VALA

This is a continuation from last year. Technically, I think they are brilliant. (Seto)

I like the feeling of a locked room mystery. (Moriyama)

  • Piotr ZBIERSKI

There is nothing special about the subjects, but overall, they have a freaky atmosphere. (Moriyama)

Which is to say, they are good photographs. (Hosoe)

  • Mu-Tien HO

The back in 4052 is good. (Moriyama)

I saw these in Taiwan and recommended her to enter them in the YP. The shots have all been set up but the impression they create of peeping in on a scene is interesting. (Seto)

 

Pages 22-23:

  • HIMOZONO Eiko

She has a unique character.  The inscrutability of her work is interesting.  The pictures are all unconnected and mysterious. (Moriyama)

The colors are not safe. The gaudy color adds to the depth of the expression. The doll gives the impression that if a man were to approach, he would be stabbed. (Hosoe)

  • NAITO Yoko

Her work is smooth, but not simple. She creates a unique world through her color expressions. (Hosoe)

  • WATANABE Youka

They do not show anything in particular, but these pictures catch the attention. (Seto)

Particularly this photograph. That is a strange photograph. (Moriyama)

  • Severin VOGL

An unreal world that appears real. (Hosoe)

They possess a strange fascination. (Moriyama)

 

Pages 24-25:

  • Julia SMIRNOVA

They appear to have been taken quickly, but if you look carefully, they even possess a surrealistic impression. (Hosoe)

  • MIYOSHI Chihiro

I love the fact that they are entirely beautiful. (Moriyama)

I have rarely seen photographs like these. (Hosoe)

  • MIZUTANI Yoshinori

The way that real birds appear artificial is interesting. It feels as if another form of scenery has been born within the nature of the city. (Hosoe)

It is totally weird. (Moriyama)

 

Pages 26-27:

  • AO Leong Fu

They are frightening. They all contain images of death. (Seto)

They are excessive. In various meanings of the word. Their excessiveness is amazing. (Moriyama)

They can be said to be one artist’s expression of a contemporary exasperation. (Hosoe)

  • MATSUI Yasunori

I never knew you could create such powerful photographs using just one eye of an animal. ‘Do you hate animals?’ I would love to talk to him. (Hosoe)

  • KIMURA Hajime

I like the heartrending feel. The gloomy tone of the monochrome, too. (Moriyama)

  • YAMAJI Masaou

The person taking the pictures manages to get so close to his subjects that you wonder if he is homeless too. It feels as if he is photographing his friends. (Hosoe)

 

Pages 28-29:

  • TAIRA Hiroyoshi

Basically, he is a skilled ‘snap’ photographer. (Seto)

I think it was done on purpose, but although the photographs were taken during the day, they have been printed very dark. We can feel the weight of the works. I think it is an important form of expression. (Hosoe)

Simple and scary. (Moriyama)

  • TAFUKU Toshifumi

They are painful but good. Both models and photographers look like something from a picture book, which is what makes them painful to see. (Moriyama)

 

Pages 30-31:

  • Luna

It looks as if we are peering into a supermarket. (Moriyama)

This concept would never occur to me, it’s interesting. (Seto)

  • Julio BITTENCOURT

I think that the pictorial coloring in these works has been created purposely and skillfully. Amid this chaos we can feel the strong will of the photographer. (Hosoe)

It feels like darkness at midday. (Moriyama)

  • LEE Dongwoong

The views are indefinably erotic. (Moriyama)

 

 

 

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