写真家｜Photographer上田良｜UEDA Yaya

1989年大阪府生まれ。2014年京都精華大学大学院芸術研究科博士前期課程修了。自作の造形物を撮影した写真作品をはじめ、版画やドローイングなどの制作を行っている。近年の展覧会に「アッセンブリッジ・ナゴヤ2020」（港まちポットラックビルディング、旧・名古屋税関港寮、2020年）、個展「METAL GLUE / スロウ・ドローイング苑」（ニュースペースパ、2023年）、「Ginza Curator’s Room #005 天使のとまり木」（思文閣銀座、2023年）など。2015年写真新世紀佳作、2017年VOCA奨励賞受賞、2019年群馬青年ビエンナーレ奨励賞受賞。

She was born in Osaka Prefecture in 1989 and graduated from the Kyoto Seika University Graduate School of Art with a master’s degree. In addition to producing photographic works by photographing her own creations, she also creates works such as woodblock prints and drawings. Her latest exhibitions include “Assembridge NAGOYA 2020” (Minatomachi POTLUCK BUILDING, Former Minato Dormitory of Nagoya Customs, 2020), the solo exhibition, “METAL GLUE/Slow Drawing Garden” (New Space PA, 2023), “Ginza Curator’s Room #005 Angel’s Perch” (Shibunkaku Ginza, 2023), and “2015 New Cosmos of Photography.” She was awarded the VOCA Encouragement Prize in 2017 and the Gunma Biennale for Young Artists Encouragement Prize in 2019.

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詩人｜Poet 青柳菜摘｜AOYAGI Natsumi

1990年東京都生まれ。リサーチやフィールドワークを重ねながら、観察、記録、物語をめぐる作者自身の経験を表現することをめざして、その不可能性を記録メディアでいかに表現するかを主題に取り組んでいる。近年の活動に個展「亡船記」（十和田市現代美術館、2022年）、オンラインプロジェクト「TWO PRIVATE ROOMS – 往復朗読」（2020年−継続中）、第10回恵比寿映像祭（東京都写真美術館、2018年）など。詩集『そだつのをやめる』（thoasa、2022年）で第28回中原中也賞受賞。コ本や honkbooks主宰。

She was born in Tokyo in 1990. While carrying out research and field work, she aims to express her own experiences through observations, recordings, and
narratives , and tackles subjects from the approach of how to express that impossibility through recording media. Her recent activities include the solo exhibition, “Logbook of a Sea Goddess” (Towada Art Center, 2022), the online project, TWO PRIVATE ROOMS – A Circle of Reading” (2022 to present), and “The Yebisu International Festival for Art & Alternative Visions 2018” (Tokyo Photographic Art Museum, 2018). She was awarded the 28th Nakahara Chuya Prize for the anthology of poems, “Done Being Nurtured” (thoasa, 2022). She also manages the practitioner art collective honkbooks.

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Programs

NEW JAPANESE PHOTOGRAPHY 1974→2024

Alternative Visions: A Female Perspective /The Wall vs the Page

©Kai Keijiroその「男らしさ」はどこからきたの? Where did that ‘masculinity’ come from?

New Japanese Photography in New Light

©Kai Keijiro
その「男らしさ」はどこからきたの?
Where did that ‘masculinity’ come from?