ギャラリートーク/GALLERY TALK Toggle


Booklet p.10 Al LAPKOVSKY

The natural observed in unnatural settings. Each expression and gesture embodies a promise and a grammar. The unique emotional tone overall is fascinating. I call it “Latvian emotion.” (Kitajima)

 p.11 Alena ZHANDAROVA

It seems at first glance that anyone could have taken these photographs, but they actually are unprecedented. This kind of originality deserves the highest praise. The breadth of creative expression is amazing. (Hosoe)


It is interesting how she transforms the idea into a visual concept. That subtle concreteness adds an uncanny something that is very appealing. (Kitajima)

Uncanny! A tiny bit of malice. Not unconscious, calculated. But she doesn’t want us to feel it. (Hosoe)

p.12 CHEN Yan-Cheng

This search for photographic expression in a supremely everyday setting is important. I see a great potential in this photographer. (Chang)

 pp.12-13 LIN Hsuan-Lang

The subjects appear unaware of being photographed; the atmosphere and color are good. But shooting unusual subjects for the sake of unusual photographs is a bit monotonous and boring. (Kitajima)

There is something special about these photographs. They capture an atmosphere found only in Taipei. (Chang)

 p.13 CHONG Kok Yew

There is a special presence here, the interest you feel when “seeing something for the first time through its being photographed. If the photographer were more aware of that presence and made maximum use of it, this could have been a more revolutionary, more powerful photograph. (Kitajima)

p.14 Hanne van der WOUDE

A group of photographs that we wanted to add to the series we purchased in fiscal 2013. In them we feel the dignity of each and every elderly subject. We see a complex mixture of aging, humor, loneliness, friendship, and “I am still alive.” (Hosoe)

 p.15 Michaela SPRUNA

There is that bit of black humor. An awkwardness that makes the photographic technique interesting. Fuzzy pink humor. (Hosoe)

While it must have been someone in the family who shot these photographs, we don’t know who. What a strange family portrait. (Kitajima)

p.16 CHIGA Kenji

The color is very good. And it is interesting the way in which the title, “The Land of Hope,” clashes with the hopeless reality. (Chang)

 p.17 Piotr ZBIERSKI

These photographs seem to have a religious background. At the same time, we feel that what inside the photographer and what he is photographing are, in a sense, assigned the same value. These photographs are, thus, more than personal statements; they seem to express something of the collective unconscious of the Polish people. They are fascinating. (Kitajima)

When looking at these photographs, I see a freedom of expression in photographic images that results from a European education in art. I see both high quality and strong potential. (Chang)

 p.18 Jennifer ORHÉLYS

These are images without borders, but when seen among submissions from a variety of countries, there is something very French about them. I feel a strange weight in them. (Kitajima)

They look like fashion shots, but the expression is outstanding. Very stylish. (Chang)

 p.19 LIN Wen-Chiang

While this is a young photographer, we see a variety of experience displayed in these photographs. This, to me, is good work. (Chang)

I don’t understand it. I can’t explain it. But there is something strangely interesting here. (Hosoe)

 p.20 TAKASHIMA Kuta

In this photograph, there is a weightiness created by the mixture of twentieth century and classical civilization. The creation of something new resulted in that chaotic feeling. But that is how civilizations grow. In moments like these.

 p.21 HIRANO Satoshi

These photographs beautifully capture both the crowd that participates in this odd one-day festival and the tall buildings that make the city itself loom so large behind them.

 p.22 HAYASHI Noriko

Both the photographers perspective and the photograph’s expression are elegant and stylish. The content of the photographs has a literary, lyric quality. (Chang)

 p.23 NAKA Yuki

What we see here is not a superficial gaze but the boldness to look closely before the shot is taken. It isn’t throwing oneself at the subject, but instead the expressive power. (Hosoe)

In those moments when the photographer says, “May I shoot a photograph of you?” and the subject agrees, “OK,” realities once concealed may be revealed. The awareness that taking photographs in which agreement on “Who am I?” and “Who are you?” has not been reached adds a certain tension. That is why photographers should use this approach. (Kitajima)


Starting with private moments as themes, this photographer has produced photographs, each with a strong impact. It is thrilling to see how carefully these small-format images are finished. Even when we don’t understand exactly what is going on, they reach out to us. (Kitajima)

 p.25 FUJIMOTO Keiji

This photographer’s ability to insert himself among the locals, blend in, and cooly document what is going on is extraordinary. (Hosoe)

Nothing seems strange. Everything is positive, no matter what. Great. (Kitajima)

 p.26 MAETA Kazuya

These photographs display the original documentary character of the photograph, in which the subjects and the history and culture of the place are fused and become one. (Hosoe)

 p.27 JHAN Jhen-Hao

Colorful and chaotic, not abandoned but somehow dead. As if everything has stopped. (Kitajima)

In these photographs I feel the photographer’s deliberate decision to shoot scenes without people, to show us a city that has died. The still-life approach is what makes these photographs meaningful. (Hosoe)

 p.28 TOKITA Shion

This kind of humor is precious. (Hosoe)

It is interesting just how fascinating an ordinary street scene can be. There is nothing false or awkward, nothing forced. I hope that this photographer can keep his groove on. (Kitajima)

 p.29 IWAMOTO Satoru

Covering the face with masks is a fascinating Japanese custom. Especially in these photographs shot at night, we feel both the familiarity and the coolness of the photographer’s gaze. (Chang)

 pp.30-31 UCHIKURA Shinichiro

When I see these photographs I don’t think about the dogs. I am entranced by what is normal and freaky in human societies. What is the world coming to? (Kitajima)

 pp.30-31 KITADA Yoshinobu

Shifting distances and multiple exposures. We can feel how the photographer moves from one shot to another. That is the framework that supports these photographs. Consistency. (Kitajima)

 p.32 SAITO Daisuke

These landscapes are examples of both documenting disaster and photographic creativity. These are extremely powerful photographs. (Chang)

In many photographs of disasters we see spectacle, but not here. There is nothing cunning or clever here, just careful work to produce a clear image. This careful recording and documentation is anti-spectacle. (Kitajima)



















Shinya Itahana

Shinya Itahana








Shinya Itahana



































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













田口 昇

田口 昇








田口 昇























































林 典子

林 典子








林 典子















Booklet pages 10-11:


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


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


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)


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:


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


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)


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)


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)


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)


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)


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)


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:


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)


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)


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)


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)


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


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)


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)