ギャラリートーク/GALLERY TALK Toggle

YP2016 THE JUDES COMMENT (TRANSLATION)

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)

p.11 Ida TAAVITSAINEN

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)

 p.24 Sergiy LEBEDEYNSKYY

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)

 

 

 

 

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