• Le Corbusier / Photographs by Mikiya Takimoto

    MA2 Gallery

    窓から望む景色。柔らかな光に包まれたカーテン。石の床に反射する色ガラス。幾何学立体の壁面。それら断片から確かに「ル・コルビュジエ」の面影を見た。瀧本幹也 作品のお問い合わせ 購入はMA2 Gallery (Tokyo)まで。

    Scenery viewed from the window. Curtain enclosed in soft light. Colored glass that reflects the stone floor. Geometric three-dimensional wall. From that fragment, I saw remnants of Le Corbusier.   Mikiya Takimoto   MA2 Gallery (Tokyo).

    MA2 Gallery/ Tokyo/ 2017 10 14 - 11 04


    2011年に発表した『LAND SPACE』は、生命が誕生する遙か以前に地球の大地はこうだったのかもしれないという「LAND」と、人類最先端文明の象徴として宇宙開発を捉えた「SPACE」という、ふたつの相対するシリーズからなる。地球内部からのエネルギーの捌け口である火山の噴火口や原初の惑星の姿。対しては人工的に宇宙空間へ脱出を試みる際引き留めの力にあらがう噴射口、突入の際は抵抗する高温の力から守る耐熱パネル。それら両者の痕跡が偶然にも神秘的な相似形であることに気づいた。その後の『GRAIN OF LIGHT』では地球表面を覆い包み込む海。堪えず揺らめく悠久な時間を夢見ることとなった。今回の『FLAME/SURFACE』はその延長線上にあり発展形である。「FLAME」は天文的エネルギーの火山ガスが、赤道直下の地球内部から時間をかけ上昇してきて、地表面で着火し蒼く怪しげに発光する現象を捉えたものだ。その様子は遠く彼方の星雲にも見てとれた。「SURFACE」は惑星に存在する「水」という物質の現象として捉えてみた。視点を仮に地球の外に置き換え観察したら、先入観なしにどう見えるのだろうか。そう考えていくと海の写真の天地を限定することすら愚問に思えてきた。地球の営みが繰り返される。そのリズムに合わせシャッターを切るうちに、喩えようもなくとても永い宇宙的な時間感覚を味わった。 瀧本幹也

    The 2011 photograph collection, “LAND SPACE” consisted of two contrasting series; “LAND” visualized what the earth might have been like long before the birth of life, and “SPACE” captured space development as a symbol of the cutting edge of human civilization. The former showed volcanic craters, which spew energy from the depths of the earth, and the landforms of our primordial planet. In contrast, the latter showed the manmade injection port of a rocket engine, which struggles against resisting forces in an effort to escape into space, and heat-resistant panels that protect against high temperatures upon reentry. I noticed that the traces borne by both subject matters are intriguingly similar. Following the photobook, “GRAIN OF LIGHT” addressed the ocean, which envelopes the earth’s surface. In that project, I became absorbed in the continual ebb and flow of time. “FLAME/SURFACE” marks a further evolution along the path. “FLAME” portrays the phenomenon of eerie blue light that occurs when the incredible energy of volcanic gas eventually rises from the earth’s interior below the equator and ignites on the surface. This struck me as similar in appearance to a distant nebula. “SURFACE” examines the planetary phenomenon of water. How does it look without preconceptions when the viewpoint is switched to a distance from earth? Such musings have led me to believe that fixing the up and down of sea photography is merely arbitrary. The earth’s activities are cyclical. As I released the camera’s shutter along with those rhythms, I experienced a feeling I can only describe as long, cosmic time.   Mikiya Takimoto

    CANON GALLERY S/ Tokyo/ 2017 10 12 - 11 27


    マンハッタンのノリータ地区に位置する PLUS 81 GALLERY - NEW YORKにて、瀧本幹也の90年代の初期の作品から現在にいたるまでの中から厳選した作品を展示。制作された年代や題材、目的はあえて多種に及ぶが統一感のある展示で、新しい試みとなった。ニューヨークでは初の個展。

    This showing at the Plus 81 Gallery - New York in Manhattan’s Nolita neighborhood will include a selection of images spanning Mikiya Takimoto’s earliest works in the 90s to his present projects. Though these images are from different eras with different topics and different purposes, the exhibition represents a new experiment that instead focuses upon what they share in common. This is Mikiya Takimoto’s first solo exhibition in New York.

    +81 GALLERY – NEW YORK/ New York/ 2016 06 10 - 07 17
  • Oatman / New York


    10月開催の東京国際写真祭2015TIPFのサテライト会場にて展示された「Oatman / New York Mikiya Takimoto Photo Exhibition」。 場所を六本木のFUJIFILM GALLERY Xへ移して同規模での巡回展。「 Route66を砂漠や荒野を抜け西に向かう。ブラックマウンテンズ鉱山の中腹を険しく蛇行し峠を下ったところに残された小さな街がOatmanだ。1930年代に弁護士が住んでいたという家を訪問する機会を得た。」 ー 瀧本幹也

    A continuation of the Oatman / New York exhibition shown at a satellite venue for the 2015 Tokyo International Photography Festival (TIPF) moved to the Fujifilm Gallery X. "I journeyed west along Route 66 through the deserts and wilderness. Oatman is a small former mining town situated at the base of a pass winding through the Black Mountains. I had the chance to visit the home of a lawyer who lived there in the 1930s." ー Mikiya Takimoto

    FUJIFILM GALLERY X/ Tokyo/ 2015 12 11 - 12 24
  • Oatman / New York


    第1回東京国際写真祭2015TIPFの開催に併せてサテライト会場にて「Oatman / New York Mikiya Takimoto Photo Exhibition」 38点を展示。アリゾナ州とニューヨークの対照的なアメリカの原風景を撮影。「Route 66を砂漠や荒野を抜け西に向かう。ブラックマウンテンズ鉱山の中腹を険しく蛇行し峠をくだったところに残された街がOatmanだ。1930年代に弁護士が住んでいた家を、訪問する機会を得た」ー 瀧本幹也     

    An exhibition of 38 images held at a satellite venue during the 2015 Tokyo International Photography Festival (TIPF). "I journeyed west along Route 66 through the deserts and wilderness. Oatman is a small former mining town situated at the base of a pass winding through the Black Mountains. I had the chance to visit the home of a lawyer who lived there in the 1930s." - Mikiya Takimoto

    TOKYO POLYTECHNIC UNIVERSITY/ Tokyo/ 2015 10 11 - 10 12



    A small photography display for Our Little Sister. Images taken during the filming of the cinematic feature "Our Little Sister" were shown in a space the blended set pieces from the movie mixed with borrowed landscape from the graveyard visible from the window of the venue. The result was a simulated experience of the movie's vision within the environment of TOBICHI2.

    TOBICHI2/ Tokyo/ 2015 07 29 - 08 03


    2011年に東京のMA2 Galleryで展示された「LAND SPACE」の巡回展。規模を拡大して大判の作品を展示した。瀧本幹也の九州での初写真展。

    A touring exhibition of "LAND SPACE" shown at the Tokyo MA2 Gallery in 2011. The scale was increased for this first photo exhibition in Kyushu.

    MITSUBISHI-JISHO ARTIUM/ Fukuoka/ 2014 05 31 - 06 29

    MA2 Gallery

    たえまない海のリズムを連続的に撮影された作品「 GRAIN OF LIGHT 」。同様に連続的に展示することで追体験でき、また今回特注の特殊なオリジナルフレームにセットすることによって不定形な海面の揺らぎを閉ざすことなく境界線を抽象化した。「陽の光が海面の揺らぎに反射して幾千もの光の粒をつくる。常に動き続けるこの必然的な行為は、二度と同じものがうまれ得ない瞬間的な奇跡の連続でもある。原初の地球から果てしなく続いていく行為、その刹那の光の粒を大切に露光してみようと思った。」ー 瀧本幹也 作品のお問い合わせ 購入はMA2 Gallery (Tokyo)まで。

    This exhibition offered a vicarious experience through a continuous display of the ocean's rhythms. It also abstracted the boundary lines without sacrificing the freedom of the fluctuating, indefinite form of the ocean surface through the use specially made original frames. "The sunlight reflects off the rippling surface of the ocean and creates thousands of particles of light. This incessant, inevitable process is also a succession of momentary miracles, no two of which are ever alike. I wanted to preserve these ephemeral particles of light and the act that has been producing them ceaselessly since primordial times on Earth." - Mikiya Takimoto   MA2 Gallery (Tokyo).

    MA2 Gallery/ Tokyo/ 2014 05 09 - 06 08
  • Nonocular

    Leica gallery Tokyo


    These photos were taken during a visit to Polynesia and Rotorua, the homes of the aboriginal Maori people. Both regions are rife with geothermal activity, and dotted with geysers, hot mud pools, and other almost surreal scenery molded by the hands of Mother Nature. Feeling the pulse of the Earth there, Mikiya Takimoto quietly closed the shutter as he drew up what he found stirring in the labyrinthine depths of his unconscious.

    Leica gallery Tokyo/ Tokyo/ 2014 04 18 - 07 13


    坂本龍一氏が主宰する一般社団法人more treesとLOUIS VUITTONが共鳴し「LOUIS VUITTON FOREST by more trees」を誕生させた。坂本氏からの依頼を受け一年を通し四季を描写し続けた。間伐し手を入れることによって森が再生していく。”森を正面から堂々と撮ること”それは葉々が仰ぎ見る太陽からの目線なのではないか。会場となったLOUIS VUITTON ROPPONGI HILLSでも同様の目線で森を鑑賞できるよう構成した。

    "LOUIS VUITTON FOREST by more trees" is collaboration born from the synergy of Louis Vuitton and musician Ryuichi Sakamoto's foundation "more trees". Mikiya Takimoto was commissioned by Sakamoto to spend a year capturing images of the four seasons. Forests are reborn through thinning and care. Photographing the forests in a head-on, open manner - perhaps this is the perspective of the sun that can be seen gazing down upon the leaves. The exhibition at Louis Vuitton Roppongi allowed visitors to appreciate the forest from this same viewpoint.

    LOUIS VUITTON ROPPONGI HILLS/ Tokyo/ 2011 07 28 - 08 31

    MA2 Gallery

    本作は太古から続く静謐な地球の営みを収めた「LAND」と、NASAのケネディ宇宙センターを四度にわたり訪れ最先端の人類文明の叡智を結集した宇宙事業を捉えた「SPACE」の、ふたつの異なるプロジェクトから成る。四十数億年をかけて創造された大地と、人類がたった数十年で到達した文明の極致。それらは対極する存在であるが、地球内部からのエネルギーであるマグマが噴出する火口は、地球を出入りするといったロケットの噴射口を連想させるように奇妙な相似形を描く。まるで地震と原子力発電の関係を暗示させるようでもある。「LAND」と「SPACE」を往還することによって、生命が出現する遙か以前の地球という惑星の姿を目撃することになる。作品のお問い合わせ 購入は MA2 Gallery (Tokyo) まで。

    This exhibition was composed of two projects: "LAND", which celebrates the tranquil workings of the Earth since ancient times, and "SPACE", a look at the embodiment of human intellect that is the space industry shot over four visits to the Kennedy Space Center. Earth, which was formed over the course of over 40 billion years, and this pinnacle of civilization, which humanity achieved in just several decades. Though they stand as polar opposites, the goal of this exhibition was to depict the curious similarity between the craters from the energy contained within the Earth erupts forth and the nozzles of the rockets used to leave and return to our planet. It also hints at the connection between earthquakes and nuclear energy. The intercourse of "LAND" and "SPACE" allows us to behold the form of planet Earth as it was in the distant past before life emerged.   MA2 Gallery (Tokyo).

    MA2 Gallery/ Tokyo/ 2011 07 16 - 08 28
  • trees

    pippo gallery

    08年に宮城県塩釜市のbirdo spaceで開催した写真展「trees」の巡回展。第2回塩竈フォトフェスティバルとの同時開催で東京では今作初展示。

    "trees", originally displayed at birdo space of Miyagi Prefecture Shiogama in 2008, was later shown simultaneously as a traveling exhibition and at the 2nd Shiogoma Photo Festival.

    pippo gallery/ Tokyo/ 2009 09 12 - 10 14
  • Iceland

    GALLERY at lammfromm


    Iceland is an island nation located near the Arctic Circle. These photos, which depict the harsh yet beautiful mountains of this land known for both fire and ice, show the clear air and the rich formative art that nature has woven there. Though both are natural, the mountain surfaces and the amazingly vibrant hues of the patterns seen as the snow melts resonate in an almost graphical manner.

    GALLERY at lammfromm/ Tokyo/ 2008 11 07 - 12 15
  • trees

    birdo space

    第1回塩竈フォトフェスティバルに併せて、宮城県の塩竈を題材に撮りおろされた作品。1300年の歴史を持つ塩竈神社のご神木や、庭園の樹木たちを被写体にし、日本の伝統美を独特で新鮮な視点で切り取る作品からは、「ポップであることは単に軽さや表面的なことではない。」ということを深く理解させる。「そこを通り過ぎようとした時、花札の図案を思い出していた。それらは日本のポップアートに見えた。」 ー 瀧本幹也

    Photos taken in Shiogoma, Miyagi Prefecture for the 1st Shiogoma Photo Festival. These images featuring the sacred tree of Shiogoma, which dates back to 1300, and the groves of its garden offer a unique take on traditional Japanese aesthetics, along with a profound interpretation of why being pop doesn't have to mean being superficial or trifling. "I had almost passed through the area when I was suddenly reminded of the designs on hanafuda playing cards. The scenery resembled a kind of Japanese pop art." - Mikiya Takimoto

    birdo space/ Miyagi/ 2008 03 22 - 03 30

    Gallery DeLux Tokyotower


    An exhibition set up in a special, limited time only gallery within Tokyo Tower, one of the city's most famous tourist destinations. The display of over 30 large-sized pieces gave the traditional photo exhibition format a new, more three-dimensional feel by interpreting the devices that naturally invite visitors to gaze from the viewing floor as sightseeing depicted in miniature. The connected cafe featured a video piece made specially for the Sightseeing exhibition, and a photo collection bearing the same name was also published at the same time.

    Gallery DeLux Tokyotower/ Tokyo/ 2007 01 20 - 02 18

    spiral garden

    現代デザインの礎を築いたドイツ「 BAUHAUS 」。デッサウ校舎の壁を色面構成的に捉えた作品群。建築家槇文彦氏設計の東京南青山SPIRALに新たに壁を設置し、そこに写真作品で再現する試み。四十点の大型作品から成る本展と同時に同名写真集を出版。瀧本幹也初の写真展になる。

    This collection of images depicting the color plane composition of the buildings at the Bauhaus Dessau, the German school that laid the foundations for modern design. New walls crafted by architect Fumihiko Maki were erected at Spiral in Minami Aoyama, Tokyo as part of an experimental installation recreating the subject with photos. A photo collection bearing the same name was published coinciding with this exhibition of 40 large-scale images. This was Mikiya Takimoto's first photo exhibition.

    spiral garden/ Tokyo/ 2005 04 07 - 04 11




    ゼラチンシルバーセッション第9回目のテーマは「ポートレイト」 フイルム撮影を表現の一つとして、写真家48名による撮りおろし作品の展示。シャッターが開かれ、光が焼きつけられる。フィルムが巻き上げられる間、遮光幕が閉じられ露光することは出来ない。ポートレートを撮るとき、フィルムのコマとコマの間には神秘的な時間が流れている。その間さえも撮ってしまいたいという欲求に似た衝動に駆られることが度々ある。その想いを果たして写すことが出来ているのか解らない。神秘的な時間に戻れないからこそ、フィルムの写真を通して埋めることに強く惹かれている。 http://gss-film.com/exhibition/2017

    The theme for the 9th Gelatin Silver Session was 'portraits.' This exhibition features original works by 48 photographers using film photography as one artistic medium. The shutter opens, and the light is burned onto the film. As the film advances, the shutter closes and exposure ceases. When taking a portrait shot, a mysterious moment exists in the instant between the frames. We frequently burn with an urge akin to the desire to capture that moment on film as well. But one can never be sure if they have achieved that goal. It is the impossibility of returning to that mysterious time that strongly attracts you to fill in the gaps with photographs on film.

    AXIS GALLERY/ Tokyo/ 2017 04 21 – 05 07
  • 日日是美日

    MA2 Gallery


    Exhibition of works by 8 artists (Akito Akagi, Ko Ushijima, Mikiya Takimoto, Jun Tanaka, Michiyo Hayashi, Akihiro Higuchi, Goro Hirata, Noriko Yamamoto) that transcends boundaries of art and craft.

    MA2 Gallery/ Tokyo/ 2017 03 04 - 03 25
  • ART PHOTO TOKYO edition zero


    「ART PHOTO TOKYO -edition zero-」の特徴は、対象をファインアートに限らず、ファションやコマーシャルフォトグラファーの作品も含め、すべてを並列に扱う点にある。世界トップクラスのギャラリーやアーティスト、ファッションフォトグラファー、コマーシャルフォトグラファー、写真・映像作家約60名が集結しての展示。日本カルチャーの中心都市である“TOKYO”から、最新アートを世界に向けて発信すべく、写真のみならず、写真と映像のコラボレーション作品など、ジャンルレスなアート作品が多数展示された。アジアのクリエイティブのハブとなるアートフェアを目指していく。フイルムの持つ情報を最も鮮明で忠実な状態を表現するコンタクトプリントの展示で参加。

    ART PHOTO TOKYO edition zero is special in that it is not limited to only fine art and displays works in fashion, commercial photography, and more all side by side. This exhibition features pieces from around 60 world-class gallerists, artists, fashion photographers, commercial photographers, other photographers, and filmmakers. With the aim of introducing new art from Tokyo that is the heart of culture in Japan to the rest of the world, numerous ‘genreless’ art works are exhibited, including not only photography, but also photo-video collaboration pieces. The focus of the exhibition is to be an art fair that is a hub for creative artists in Asia. Participates with contact print display that presents the information contained in film the most vividly and faithfully.

    KAYABACHO KYODO BUILDING/ Tokyo/ 2016 11 18 – 11 20

    Irie Taikichi Memorial Museum

    ゼラチンシルバーセッション2015年「撮りおろし競作」と2007年「ネガ交換」の作品で再び構成。入江泰吉記念奈良市写真美術館での巡回展。 http://gss-film.com/exhibition/2016

    This show was composed of works from 2007's "nega exchange" and "competitive photos" from the Gelatin Silver Session 2015 in Tokyo. It was a traveling exhibition at the Irie Taikichi Memorial Museum of Photography Nara City.

    Irie Taikichi Memorial Museum/ Nara/ 2016 04 02 – 06 12


    ゼラチンシルバーセッション第8回目のテーマは「撮りおろし競作」。参加写真家が二人一組となり、それぞれが決めたテーマで作品を撮り下ろす。市橋織江 x 瀧本幹也「gradation」を展示。「写真に対する想い。それを突き詰めて考えて行くと、紙に定着されたものが単純に好きなんだと思う。印画紙だったり印刷物だったり、紙の質感の上に面のイメージがある。物としてそこに存在している紙への想いなのかもしれない。今回は膨大なイメージを内包した本のエッジを切りとり、情報をデジタル的に可視化させたような写真が撮れないものかと試してみた。」 ー 瀧本幹也 http://gss-film.com/exhibition/2015

    The theme of the Gelatin Silver Session 2015 was competitive photos. Participating photographers were paired off in groups of two and each took images of a set theme. Orie Ichihashi and Mikiya Takimoto worked together to present "gradation". "My feelings towards photography. When I start delving into this topic, I think what it comes down to is that I simply like seeing things fixed on paper. Whether it's photographic printing paper or just regular printing paper, you still have an image set down on the texture of the paper. It may be that I feel something for paper as it exists as an object. This time we shot the edges of books that contain massive images and experimented with what we thought were digital visualizations of information that you can't take in photos."

    AXIS GALLERY/ Tokyo/ 2015 04 25 – 05 09


    第1回目のゼラチンシルバーセッションから7年が経ち、さらに銀塩写真市場の縮小が進むなか、『SAVE THE FILM』を掲げた第7回目のゼラチンシルバーセッション。今回は参加写真家による未発表の作品を展示。また生誕100年記念特別展示として植田正治のオリジナルプリントも展示。  http://gss-film.com/exhibition/2013

    7 years had passed since the first Gelatin Silver Session, during which time the silver salide photography market shrank even further. So, the theme of the seventh Gelatin Silver Session was "Save the Film". The exhibit consisted of unreleased images by the participating photographers. This displays the original print of Shoji Ueda as memory special display for centenary of the birth.

    AXIS GALLERY/ Tokyo/ 2013 10 04 – 10 20
  • BOOK – Chapter 1

    MA2 Gallery

    本とは手に収まる大きさにもかかわらず、その中には果てしない小宇宙が秘められていて、私たちを魅了する。“ 本 ”をテーマに9名のアーティストたちが独自の解釈で創作された作品を展示。 瀧本幹也は自身が所有している写真集やアートブックを積み上げて撮影した作品を発表した。それらの本から少なからず影響を受けている。本の断面をデジタル的な情報イメージの様に見せつつ、情報の蓄積ともいえる“ 本 ”を原寸大で再現した。

    We have always been fascinated by the way books contain an infinite microcosmos while still fitting in the palm of our hands. This exhibition consisted of 9 artists' original interpretations of books. Mikiya Takimoto presented a piece made by stacking his photo collections and art books. This influenced him in then recreating a full-sized "book" that could be said to be an accumulation of images.

    MA2 Gallery/ Tokyo/ 2013 05 18 - 06 16


    参加メンバーも大幅に増えた6回目となるゼラチンシルバーセッションのテーマは「ベストプリント」。国内外で注目を集めている写真家51名がベストプリントを求め暗室に籠り奮闘する。ベストプリントというものを、どのように捉え表現するか。 http://gss-film.com/exhibition/2012

    The sixth Gelatin Silver Session, themed "Best Prints", saw a dramatic increase in the number of participants. 51 of celebrated photographers from Japan and abroad offered interpretations of how they present their best prints.

    AXIS GALLERY/ Tokyo/ 2012 10 01 – 10 17

    hpgrp gallery NY

    日本のファッション写真を世界に発信し紹介する企画グループ展。石川次郎氏を選考責任者として迎え、日本を代表する編集者、ファッションやアート関係者が9名の写真家を選出し写真作品を選んだ。世界からみて独自の進化を続ける日本のファッションが納められた写真を、アートギャラリーの集まるニューヨーク、チェルシーエリアにある hpgrp GALLERY NYにて9月のニューヨーク ファッションウィークに合わせて展示された。

    This was a project exhibition meant to share Japanese fashion photography with the world. Images depicting the unique ongoing evolution of Japanese fashion were shown in New York, the center of the photography scene.

    hpgrp gallery NY/ New York/ 2011 09 08 - 09 24
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    WATARI-UM on Sundays

    『 写真本 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 』の発売を記念したグループ展。1日を1時間ごとに24分割し、現代の日本を代表する写真家がその時間の東京を撮影。それぞれの写真は、写真家による私的な時間表現だが、時が経つにつれ、その時間性が徐々に浮き出し、いつか見た者自身の2010年のある日のイメージに重なるのではないか。また開催を記念して同名タイトル写真集も出版された。

    "photo book 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24" The photo exhibition which commemorated the sale which is so. Each day was divided into 24 hours, and some of Japan's most iconic photographers filmed Tokyo during each of these hours. While the images depicted each photographer's personal expression of time, as time passed the temporal nature gradually rose to the surface so that they began to resemble images of a day the viewer saw themselves in 2010. That was the nature of the experiment.

    WATARI-UM on Sundays/ Tokyo/ 2011 04 05 - 05 08


    5年目となるゼラチンシルバーセッションの今回のテーマは「代表作」。写真家として世の中から認められた写真や、仕事として注目を集めたもの。自分自身を変えた1枚など。写真家33名がそれぞれの解釈で捉え表現した「代表作」が発表展示された。また後世に多大な影響を残した稲越功一や植田正治、写真の教科書とも言えるアンセル・アダムスのオリジナルプリントも特別展示した。 http://gss-film.com/exhibition/2010

    The theme of the fifth Gelatin Silver Session was "iconic works". This includes photos that earned one recognition in the world as an artist as well as client work that has received acclaim, images that changed one's life and career. 33 photographers displayed their iconic works that they believed represented this. This displayed a photograph of Koichi Inakoshi and Shoji Ueda who left great influence in history and Ansel Adams who could say with the textbook of the photograph in particular.

    AXIS GALLERY/ Tokyo/ 2010 04 29 – 05 15

    Lomography Gallery Store Tokyo

    デジタルカメラ全盛の時代の中、「The Future is Analogue」をスローガンに掲げユニークなフィルムカメラを紹介するロモグラフィーと、次世代に銀塩写真フィルムを残す活動を行うGSSのコラボレーション企画。ロモグラフィーがプロデュースするフィルムカメラを用いて、写真家がそれぞれの作品を展示。瀧本幹也はピンホールカメラのDIANA MULTI PINHOLE OPERATORを使用し針穴を開けるところの写真を撮影した。参加写真家は、石塚元太良、笠井爾示、川辺明伸、櫛本美絵、操上和美、小林紀晴、小林伸一郎、鋤田正義、瀬尾浩司、瀧本幹也、中野正貴、M.HASUI、ハービー・山口、平間至、広川泰士、広川智基、藤塚光政、本城直季、宮原夢画、山本哲也。http://gss-film.com/exhibition/2009

    This was a collaboration project between Lomography, which introduces unique analog film cameras in the age of the digital camera under the motto of "The Future in Analogue", and Gelatin Silver Session, which works to preserve silver salide film for the future generations. The photographers presented images taken using special film cameras produced by Lomography. Mikiya Takimoto used DIANA MULTI PINHOLE OPERATOR of a pinhole camera. The picture which opens a pinhole was taken. A participation photographer is Gentaro Ishizuka, Chikashi Kasai, Akinobu Kawabe, Mie Kushimoto, Kazumi Kurigami, Kisei Kobayashi, Shinichiro Kobayashi, Masayoshi Sukita, Hiroshi Seo, Mikiya Takimoto, Masataka Nakano, M.HASUI, Herbie Yamaguchi, Itaru Hirama, Taishi Hirokawa, Tomoki Hirokawa, Mitsumasa Fujitsuka, Naoki Honjyo, Muga Miyahara and Tetsuya Yamamoto.

    Lomography Gallery Store Tokyo/ Tokyo/ 2009 10 30 – 11 30


    坂本龍一が発起人である森作りのプロジェクト「more trees」のチャリティーグループ写真展「 TOUCH WOOD 」。more treesは、坂本龍一氏が著名人の賛同を得て「more trees = もっと木を」というメッセージとともに、森づくり活動のプラットフォームになることを目的として2007年に設立したプロジェクト。国内外での森林整備をはじめ、植林、森林保全、森林に由来するカーボンオフセットサービスの提供を行っている。本展は、more treesの活動に賛同する写真家たち(井上佐由紀、上田義彦、瀧本幹也、田島一成、長島有里枝、naki、新田桂一、M.HASUI、平間至、広川泰士、松江泰治、MOTOKO、森住卓)による「 森 」をテーマにしたグループ展。作品は、森林から出る間伐材の需要を広げるという意図のもと、間伐材を使用したフレームに収められ展示、販売され、売り上げの一部は国内外の森林育成活動費に還元される、という内容。

    "TOUCH WOOD" was the charity photo exhibition of the forest-building project "more trees" started by Ryuichi Sakamoto. Sakamoto launched the project in 2007, obtaining celebrity endorsements to help spread the message with the goal of creating a platform for forest-building activities. Aside from forest development in Japan and abroad, the project provides afforestation, forest conservation, and carbo offset services originating in the forest. The theme of this exhibition was "forests", and if featured work by photographers ( Sayuki Inoue, Yoshihiko Ueda, Mikiya takimoto, Kazunali Tajima, Yurie Nagashima, naki, Keiichi Nitta, M.HASUI, Itaru Hirama, Taishi Hirokawa, Taiji Matsue, MOTOKO and Takashi Morizumi ) who support the more trees cause. All of the images were displayed in frames made from timber obtained from thinning in order spread demand for wood originating in this process. All of the proceeds from photo sales went to fund forest cultivation activities.

    PARCO FACTORY/ Tokyo/ 2009 09 04 - 09 23


    3年目となるゼラチンシルバーセッションの活動は、さらに写真家の数も増え26名の参加となった。また今回は写真文化の存続を願う活動に賛同した各界の著名人15組をゲストに迎え、その活動は大きなうねりになりつつある。瀧本幹也は坂本龍一、深津絵里と共にコラボレーション作品を制作した。溶岩が流れ出た後の再生過程をきりとった写真作品に、坂本が地球の内なる鼓動を感じる楽曲を添えた。また深津を被写体とし制作された作品では、原初的な大判カメラを捉えた写真を敢えてデジタル的なピクセルをイメージして表現した。しかしその制作方法は極めてアナログで、暗室で色を厳密に調整したプリントを1枚ずつ手で切って貼り込まれ制作された。3484枚の写真群で構成されている。また『写真家の視線を探る』と題された、コンタクトプリントとそこからセレクトしたプリントも同時に展示された。「昨今凄まじい勢いでデジタル化の波が押し寄せてきています。確かに便利ですが、物体としての存在感が希薄でなにか寂しくもあります。写真プリントという物体が残っている事は、つまり自分が写真とともに生きてきた証でもあるのです。昔のサービスプリントには当時のものであろう小さな指紋までもが残っていました。そういった思い出は、写真特有の文化です。フィルムを絶やさず次の世代に残していける様、この活動は続きます。」ー瀧本幹也 http://gss-film.com/exhibition/2008

    The third Gelatin Silver Session featured a larger number of supporting photographers than before, 26 in total. This year also involved 15 celebrated guest participants from various industries who endorse activities the continued existence of photo film culture and had a great impact on the event. Mikiya Takimoto collaborated with Ryuichi Sakamoto and Eri Fukatsu. The piece paired a photo capturing the regenerative process after a lava flow with music by Sakamoto that conjures up the inner pulse of the Earth. The piece featuring Eri Fukatsu as a subject featurings a photo taken with a primordial large format camera expressed as an image of digital pixels. The production method extremely analog, with each print prepared by hand in a darkroom to preserve the color. The final piece is composed of 3,484 photos. The title of the exhibition was "Exploring photographers' perspective", with contact prints and selected prints from among them on display. " The wave of digitalization is advancing at an incredible pace today. This saddens me a bit because, while it does make things more convenient, digital photography feels a bit lacking in terms of substance. The fact that photographic prints exist as objects is a sort of proof that they lived alongside me. My old prints even have traces of myself on them like small fingerprints. These kinds of memories are a culture unique to photography. I will continue doing projects like this so that film won't die out and will be around for future generations to enjoy." - Mikiya Takimoto

    AXIS GALLERY/ Tokyo/ 2008 10 02 – 10 16


    銀塩写真の衰退、その風潮に投じられた一石はゆっくりと波紋を広げ、ゼラチンシルバーセッション賛同写真家が16名にまで膨らんだ。メンバーを2名1組に分け、互いのネガを交換しプリントし合った。また『 時を経ても残るもの 』と題された写真家自身が選んだ、深く思入れのある1枚も展示した。「 写真の世界では急速なデジタル化の波によってフィルムの存続自体が危ぶまれています。レコード針などは小規模な工場でも作り続けることが可能ですが、フィルムを製造するという事はハイレベルな塗布技術や徹底したエマルジョンの品質管理が必要なのです。世界的に言っても2〜3社しか作れないということがそれを証明しています。一旦製造を休止すると二度と再開する事が出来ないのです。確かにデジカメは便利で撮ったらすぐ見ることができます。プリントしなければお金もかからないしカメラも薄くて軽い。しかしフィルムで撮られた写真とデジタルとを比べるとフィルムの方が作者の思いや感情、その場の空気など数値化できないなにか大切なものが写し込める気がします。写真表現のひとつの手段でもあるフィルムをなくさないよう今回の展覧会がなにかのきっかけになる事を願います。」ー 瀧本幹也 http://gss-film.com/exhibition/2007

    The ripples of Gelatin Silver Session, a project designed to fight the decline of silver salide photography, have slowly spread, with this time seeing the number of participants rise to 16 artists. The photographers were paired off, with the members of each group developing each other's negatives. Each photographer was then allowed to select and show a single image that meant a great deal to them in keeping with the theme "Things that remain after the passage of time". "The wave of digitalization that is sweeping the photography scene at such a rapid pace has put the very existence of film in danger. While it's possible to continue making other analog implements like needles for record players in smaller factories, film requires advanced coating techniques and thorough emulsion quality control. This has been proven by the fact that only two or three companies in the entire world can make it. If production stops even once it won't be possible to get it started again. Digital cameras are certainly convenient and allow one to see the image right away. As long as you don't print it there is no cost involved, and the cameras are slim and light. However, when a digital photo is compared to one taken on film, I feel that film captures the photographers thoughts and emotions, the atmosphere of the location - precious things that cannot be digitalized. My hope is that this exhibition will help us keep film available as a means of photographic expression." - Mikiya Takimoto

    AXIS GALLERY/ Tokyo/ 2007 10 12 – 10 20
  • +81 biishiki

    esso gallery NY

    +81 10th Anniversary 「biishiki」グループ展をニューヨークのチェルシーEsso Galleryにて開催。日本人特有の感性は潜在意識の中に共通して存在している。クリエイションにおいて根源となる感性 ー それを美意識と捉え日本を代表して8名の写真家や作家、クリエイターが発信した。

    +81's 10th Anniversary "biishiki" exhibition was held at the Esso Gallery Chelsea in New York. There is a unique sense of things that exists within the conscious of all Japanese people. Eight artists and photographer presented their idea of "biishiki", or this sense that lies at the root of creativity.

    esso gallery NY/ New York/ 2006 11 14 - 11 18


    銀塩写真でしか味わえない魅力を伝え、その技術やフィルム、印画紙を次世代に残すための活動。世界的なカメラ技術のデジタル化により、急速なスピードで縮小される銀塩写真の市場規模。それに危惧を感じ、写真文化の奥行きを支えてきた銀塩写真の素晴らしさを、多くの人に知ってもらおうと、立ち上がった4人の写真家(広川泰士、藤井保、平間至、瀧本幹也)によるセッション。そのゼラチンシルバーセッション第1回目。個人作品と写真家各自の自信のネガを、4人で交換しあってプリントしたものを展示しフィルムの魅力を探る。  http://gss-film.com/exhibition/2006

    Gelatin Silver Session is a project meant to share the unique charms of silver salide photography and in doing so preserve its techniques, film, and printing paper for the next generation. The worldwide spread of digital cameras has shrunk the market for silver salide photography at an incredible pace. Feeling misgivings over this, four photographers (Taishi Hirokawa, Tamotsu Fujii, Itaru Hirama, Mikiya Takimoto) have taken a stand to spread the word about the greatness of the silver salide photos that have supported the progression of camera culture for so long. The result is this first Gelatin Silver Session. The exhibition consisted of personal work and favorite negatives the four worked to print together.

    kurkku/ Tokyo/ 2006 10 24 – 11 26