{"title":"Ai Iwane Collection","description":"","products":[{"product_id":"daido-moriyama-ango","title":"Daido Moriyama - Ango","description":"\u003cp\u003e\u003cstrong\u003e\u003cmeta charset=\"utf-8\"\u003e\n\n\u003ca href=\"https:\/\/www.galerieecho119.com\/collections\/daido-moriyama-collection\" title=\"Daido Moriyama\"\u003eDaido Moriyama\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e \u003cem\u003e\u003cstrong\u003eAngo\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e Published by Bookshop M, 2017\u003cbr\u003e Size 24 x 16.5 cm\u003cbr\u003e 188 pages, 57 images\u003cbr\u003e Hardcover\u003cbr\u003e Language: English\u003cbr\u003e ISBN 978-4-908647-09-3\u003cbr\u003e\u003cbr\u003e \u003cem\u003e“In the old days, before the capital moved from Kyoto to Tokyo, cherry trees were considered a frightening sight. No one considered them a sign of beauty. […] Without a trace of human life underneath, a cherry in full bloom becomes a frightening sight.”\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe fifth installment in Match \u0026amp; Company's \"Japanese Photography x Contemporary Literature\" series.\u003c\/em\u003e \u003cem\u003eIn \"Daido Moriyama: Ango,\" Daido Moriyama's eerie cherry blossom photographs are set against Ango Sakaguchi's famous short story \"In the Forest, Under the Cherry Blossoms in Full Bloom.\u003c\/em\u003e \u003cem\u003e\" Moriyama and Sakaguchi's \"demonic beauty of cherry blossoms\" is transformed into a pitch-black photobook of bottomless loneliness, emptiness, and dangerous seduction.\u003c\/em\u003e\u003c\/p\u003e","brand":"Galerie Écho 119","offers":[{"title":"Default Title","offer_id":31838695063604,"sku":"","price":98.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0258\/7433\/3748\/products\/DAIDOMORIYAMA_ANGO_COUV2.jpg?v=1627991721"},{"product_id":"antoine-dagata-fukushima","title":"ANTOINE D'AGATA - FUKUSHIMA","description":"\u003cp\u003e\u003cstrong\u003eAntoine d'Agata\u003c\/strong\u003e\u003cbr\u003e\u003cb\u003e\u003ci\u003eFukushima\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003ePublished by \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eSuper Labo, 2015\u003c\/span\u003e\u003cbr\u003eBook Size \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e18.3 x 12.3 cm\u003c\/span\u003e\u003cbr\u003ePages \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e608 pages\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e600 images(b\/w)\u003c\/span\u003e\u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003eHardcover : comes in a slipcase\u003cbr\u003eLanguage Japanese and English\u003cbr\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003eLimited edition of 500 with numbered and signed certificate\u003c\/span\u003e\u003cbr\u003eISBN \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e978-4-905052-77-7\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e“The void surrounds me and eats my belly. Through the clear glass of the car window, everything is grey: slow descent into a warm and acrid cell nucleus, memory wearing off through scattered images whose logic is as atomized as the territories I go through. The method, because it takes the form of a diary whose structure is premeditated in order to challenge its own rules, ends up depending on resurgences that alter the physical space of the exclusion zone. I am being led by my own moves from fear into stillness, knowing every gesture traces an impossible path to be followed. Abandoned houses face the sea and the wind in the desert contaminated landscape. Being there, breathing cold air, memories of an outside world slowly dissolved into the crisp reality of boredom. Ghosts are like vanished gods of an extinct world. No company but fear, no hierarchy in horror, but the invisible process of alteration. Facts fulfil threatening promises, articulate a physical and mental journey that integrates the inconsistencies and aberrations of hazard: a step into the slow agony of consciousness, dark territory where verb and matter mingle into recurrent shapes. Each structure is like a dark omen, a sign of disasters to come, an unsolved enigma without a past or a future. Life fades out and leaves no space for will. Senses fall apart and break into mental ruin. The last possible form of language, obsessive sequence, manic inventory, distorted record of vain itineraries, erosion of all pretence of reason. Under the Moon, dust devours forgotten hopes, life resumes to statistics, stiff little figures face the void, armed only with ignorance. Shades of death swallowed by dawn, mould everywhere, a mouth sketches a soft embrace, in a frantic search for a past already lost. A pure sense of chaos, an obscene blend of physics and ecstasy, a vision of unleashed forces that crush civilisation into a mass of rubble and deadly lies. Silence does not make sense, instinct breathes life into the stillness of a surviving town, humanity insists on existing. The underlying principle of that frail movement is the broken desire of those who flee as far as strength allows. While the dead know in their flesh how far hell extends.” artist statement \u003cbr\u003e\u003cbr\u003e------\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e“Le vide m’entoure et me ronge le ventre. Through the transparent glass of the car window, everything is gray: slow descent into a hot and acrid cellular core, memory fades through scattered images whose logic is as atomized as the territories I cross. The method, because it takes the form of a diary whose structure is premeditated to challenge its own rules, ends up depending on resurgences that alter the physical space of the exclusion zone. I am driven by my own movements from fear to stillness, knowing that each gesture traces an impossible path to follow. Abandoned houses face the sea and the wind in a contaminated desert landscape. Being there, breathing the cold air, memories of an outside world slowly dissolve into the crisp reality of boredom. Ghosts are like the vanished gods of an extinct world. No company but fear, no hierarchy in horror, but the invisible process of alteration. Facts fulfill menacing promises, articulate a physical and mental journey that integrates the inconsistencies and aberrations of chance: a step into the slow agony of consciousness, a dark territory where word and matter mingle in recurring forms. Each structure is like a dark omen, a sign of disasters to come, an unresolved enigma without past or future. Life fades and leaves no room for will. The senses collapse and transform into mental ruin. Last possible form of language, obsessive sequence, manic inventory, distorted account of vain itineraries, erosion of any pretense of reason. Under the Moon, dust devours forgotten hopes, life returns to statistics, small stiff figures face the void, armed only with ignorance. Shades of death swallowed by dawn, mold everywhere, a mouth sketches a sweet embrace, in a frantic search for a past already lost. A pure sense of chaos, an obscene mixture of physicality and ecstasy, a vision of unleashed forces crushing civilization into a mass of rubble and deadly lies. Silence has no meaning, instinct breathes life into the stillness of a surviving city, humanity insists on existing. The underlying principle of this fragile movement is the broken desire of those who flee as far as strength allows. While the dead know in their flesh how far hell extends.” artist text\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Galerie Écho 119","offers":[{"title":"Default Title","offer_id":36742802014364,"sku":"","price":150.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0258\/7433\/3748\/products\/antoinedagata_fukushima_couv.jpg?v=1604510502"},{"product_id":"tatsuya-shimohira-seisorenkan","title":"TATSUYA SHIMOHIRA – SEISORENKAN","description":"\u003cp\u003e \u003cstrong\u003eTATSUYA SHIMOHIRA\u003c\/strong\u003e\u003cbr\u003e \u003cb\u003e\u003ci\u003eSEISORENKAN\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e Published by\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eZen Foto Gallery, 2015\u003c\/span\u003e\u003cbr\u003e Book Size\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003e29.7 x 29.7 cm\u003c\/span\u003e \u003cbr\u003ePages \u003cspan data-mce-fragment=\"1\"\u003e48 pages\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/span\u003e \u003cspan data-mce-fragment=\"1\"\u003e40 images\u003c\/span\u003e\u003cbr\u003e \u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003eSoftcover\u003cbr\u003e\u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eLimited edition of 500\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eSIGNED by the artist\u003c\/span\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\n \u003cp\u003eAbout 10 years ago, I was fortunate enough to move to Hachinohe in Aomori Prefecture and live there for a while. I heard various stories about the area where I lived, especially about Matsuri (traditional Japanese festivals). Festivals originated in ancient times and tradition as an effective way to connect with the land. Almost inevitably, I was drawn to Matsuri and traditions that concern the land as a central theme of my photography. One day, for a moment, while watching the \"Shishimai\" (Lion Dance) at an old shrine in Hachinohe, I felt as if I had returned to ancient times. This experience was quite difficult to express in words, the unknown and strange feeling that was going through my head. After I finished shooting in Tohoku, I returned to Kanto, then moved to Ise in Mie Prefecture and continued taking photographs.\u003c\/p\u003e\n\n \u003cp\u003e“When Something Begins” —— In ancient times, when human beings first appeared, they saw or felt visible or invisible boundaries on the surface of the landscape, rocks, trees, water, and so on. Would this be different from the unfamiliar and strange feeling I had? As I moved from place to place, I had a feeling—perhaps I should call it “the spirit of the earth”—that I was being driven by the spirit of the earth as I moved from place to place. Wherever I went, I felt a cosmology in which heaven and earth were connected and unified through my flesh. This feeling overlapped with the unfamiliar sensations that came to me when I watched the Shishimai dance. I think the strengths of these sensations determine when I press the camera shutter. My happiness is complete if I am able to express these unknown feelings by printing these photographs.\u003c\/p\u003e\n\n \u003cp\u003e– Artist's Statement\u003c\/p\u003e","brand":"Galerie Écho 119","offers":[{"title":"Default Title","offer_id":36763378679964,"sku":"","price":40.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0258\/7433\/3748\/products\/TATSUYASHIMOHIRA_SEISORENKAN_COUV.jpg?v=1747158348"},{"product_id":"naoya-hatakeyama-kesengawa","title":"Naoya Hatakeyama - Kesengawa","description":"\u003cp\u003e \u003cstrong\u003eNaoya Hatakeyama\u003c\/strong\u003e\u003cbr\u003e \u003cem\u003e\u003cstrong\u003eKesengawa\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cem\u003e\u003c\/em\u003e Published by Light Motiv, 2012\u003cbr\u003e Size: 30 x 19 cm\u003cbr\u003e 120 Pages\u003cbr\u003e Hardcover\u003cbr\u003e Languages: English, French\u003c\/p\u003e\n\n \u003cp\u003eAfter the tsunami destroyed his hometown, Naoya Hatakeyama decided to return and assess the damage caused by the disaster. On the journey to Rikuzentakata, he wrote a diary entry, which was later transcribed in \"Kesengawa.\" His texts accompanied the images taken before and after the disaster. The panorama of this town on Japan's northeast coast radically changed, from peaceful nature to a destroyed cluster of homes.\u003cem\u003e  \u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Galerie Écho 119","offers":[{"title":"Default Title","offer_id":43202304966874,"sku":"","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0258\/7433\/3748\/products\/NAOYAHATAKEYAMA_KESENGAWA_COUV.jpg?v=1662472420"},{"product_id":"kazuo-kitai-one-road","title":"Kazuo Kitai - One Road (signed)","description":"\u003cp\u003e \u003cstrong\u003eKazuo Kitai\u003cbr\u003e \u003ci\u003eOne Road\u003c\/i\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e Published by Zen Photo, 2014\u003cbr\u003e Size: 28 x 20.5 cm\u003cbr\u003e 112 pages\u003cbr\u003e Languages: English, Japanese\u003cbr\u003e First edition of 700 copies, rare.\u003c\/p\u003e\n\n\u003cp\u003e A book that is now a rare find, and rightly so! Kazuo Kitai, a leading Japanese photographer, offers us a personal and moving portrait of the regions ravaged by the 2011 tsunami.\u003c\/p\u003e\n\n\u003cp\u003e \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\"Walking through these villages where everything had been washed away, including houses and dikes, traces indicated the location of an old road. People had started walking on these traces again, recreating a path on the old one. It was as if the road had a life of its own. I took countless photographs of roads taken over the centuries. 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Spring is the time of hanabi, the annual celebration of cherry blossoms, a symbol of the transience and fragility of life, but in 2020, it also coincided with the very beginning of the Covid pandemic. Here, French photographer Alexandre Morvan documents the invisible threat the virus poses to everyday life. As his work progressed, he began to draw connections between the strangeness of the situation and the dystopian worlds of the Japanese anime and television series he had watched in his youth. Anticipating major environmental and humanitarian crises, some of these films proved prescient. This book is a story of transmission—the transmission of a virus, but also the transmission of lifeworlds from the fictions of the past to our lived reality today.\u003c\/p\u003e\n\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Galerie Écho 119","offers":[{"title":"Default Title","offer_id":49128239661388,"sku":"","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0258\/7433\/3748\/files\/cherrytrees.png?v=1733415765"},{"product_id":"ai-iwane-coho-come-home","title":"Ai Iwane - Coho Come Home","description":"\u003cp\u003e \u003cstrong\u003eAi Iwane\u003c\/strong\u003e\u003cbr\u003e \u003cstrong\u003eCoho Come Home\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e Published by Bookshop M, 2024\u003cbr\u003e Size: 16.8 x 23.7 cm\u003cbr\u003e 32 pages\u003cbr\u003e Soft cover\u003cbr\u003e Language: English, Japanese\u003cbr\u003e\u003c\/p\u003e\n\n \u003cp\u003eAi Iwane's photobook \"Coho Come Home\" chronicles life in Petrolia, California, a small community founded by children near the Mattole River. Iwane, who first visited Petrolia in 1991, focuses on the residents' relationship with coho salmon: The Mattole Valley was one of the first places in the United States where grassroots activism helped restore native salmon populations.\u003c\/p\u003e\n\n\u003cp\u003e “In the fall of 2020, the Bear River Tribe revitalized the traditional salmon ceremony for the first time in 118 years.\u003cbr\u003e As a teenager when I went to study in the United States in 1991, I knew nothing about the valley's inhabitants' ongoing efforts to welcome back salmon, but 30 years later, I had the opportunity to have another wonderful encounter with the Mattole.\u003cbr\u003e\u003cbr\u003e - excerpt from Ai Iwane's afterword\u003c\/p\u003e","brand":"Galerie Écho 119","offers":[{"title":"Default Title","offer_id":52544813564236,"sku":"","price":24.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0258\/7433\/3748\/files\/AI-Iwane_CohoComeHome.jpg?v=1747151416"},{"product_id":"decades-no-1-2000_20","title":"Decades - No. 1 2000_20","description":"\u003cp\u003e \u003cstrong\u003eDecades\u003c\/strong\u003e\u003cbr\u003e \u003cstrong\u003eNo.2 2021_22\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003e Posted by Akaaka, 2020\u003cbr\u003e Size: 28 x 21.8 cm\u003cbr\u003e 200 pages\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003e Initiated by Japanese photographer Ai Iwane, the new photography magazine \"Decades\" crosses cultures and bridges gaps in time. In a pensive mood during one of the corona lockdowns of 2020, Iwane rediscovered a deceased friend in photos taken twenty years ago, smiling, traveling, and alive. She invited other contemporary photographers to present their vision of the world in 2020 and juxtapose it with what they were doing in 2000.\u003c\/p\u003e\n\n \u003cp\u003eWith photographers such as ERIC from Hong Kong, Antoine D'Agata from France, Seung Woo Back from South Korea, Mandela Hudson from the United States, and Miyako Ishiuchi and Ryuichi Ishikawa from Japan, the contributors span numerous cultures, age groups, and lived experiences. By giving each artist the space to present their series and written reflections, the first issue of \"Decades\" manages to demonstrate a genuine interest in the perspectives of its contributors.\u003c\/p\u003e","brand":"Galerie Écho 119","offers":[{"title":"Default Title","offer_id":52545577746764,"sku":"","price":18.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0258\/7433\/3748\/files\/Ai-IWANE_Decades_No1.jpg?v=1747154087"},{"product_id":"decades-no-1-2021_22","title":"Decades - No. 1 2021_22","description":"\u003cp\u003e \u003cstrong\u003eDecades\u003c\/strong\u003e\u003cbr\u003e \u003cstrong\u003eNo.2 2021_22\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003e Posted by Akaaka, 2023\u003cbr\u003e Size: 25 x 18.2 cm\u003cbr\u003e 200 pages\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003e This magazine, Decades, was launched in 2020 with the aim of collecting photographs on the perception\/illusion of the transformation of experiential time due to rapidly changing social norms, restrictions and closures. \u003cbr\u003eIn fact, I don't remember the summer of 2020, when we worked on the magazine, very well. What future awaits us today when the various infection-related restrictions are lifted and the tense days of social distancing come to an end? And how will we remember today in the months, years, or decades to come, as a memory before what happens next?\u003c\/p\u003e\n\n\u003cp\u003e For the second issue of the photography magazine Decades, we asked ten photographers and ten writers, all roughly the same age, to write essays about their photographs\/events from 2021-22. These events took place in Fukushima, Tokyo, Beijing, Hangzhou, Seoul, Siem Reap, Phnom Penh, Ishinomaki, Warsaw, Ukraine, the Czech Republic, Moldova, California, and Kochi in 2021-22.\u003c\/p\u003e","brand":"Galerie Écho 119","offers":[{"title":"Default Title","offer_id":52545873871180,"sku":null,"price":20.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0258\/7433\/3748\/files\/Ai-IWANE_Decades_No.2.jpg?v=1747156270"},{"product_id":"repliques-11-03-11-des-photographes-japonais-face-au-cataclysme","title":"Replicas 11.03.11. Japanese photographers face the cataclysm","description":"\u003cp\u003e\u003cstrong\u003eReplicas 11.03.11. Japanese photographers face the cataclysm\u003c\/strong\u003e\u003cbr\u003e \u003cstrong\u003eVarious artists\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e Published by Atelier EXB, 2024\u003cbr\u003e Size: 23.5 x 16.5 cm\u003cbr\u003e 264 pages\u003cbr\u003e Soft cover\u003cbr\u003e Language: French\u003cbr\u003e \u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003cbr\u003e\u003cbr\u003eOn March 11, 2011, an earthquake of unprecedented magnitude devastated the northeast coast of Japan. This catastrophe would shock and challenge a new generation of photographers: how can images capture a nightmarish reality? What role should the photographer play? How can trauma, but also rehabilitation and reconstruction, be evoked? How can radioactivity be made visible?\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cbr\u003e\u003cspan\u003eThis book, edited by Philipe Séclier and Amada Marina, addresses these questions through the work of twelve photographers, whose practice was completely reassessed after the tragedy. The result is images depicting the desolation, displacement, and social discrimination caused by the nuclear accident—artistic gestures that reveal signs of resistance and resilience.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e \u003cspan\u003eThe works of the twelve photographers—introduced for each body of work by a statement of intent—speak of reconstruction and reexamine the status of the medium: from daguerreotypes to photomontages, including serial presentations in the form of contact sheets and composite panoramic images. A double introduction by the two editors, as well as three texts that evoke the events of March 11, 2011, accompany this visual corpus.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003e Photographers:\u003cbr\u003e \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eTakashi Arai,\u003c\/span\u003e \u003cspan\u003eHikaru Fujii,\u003c\/span\u003e \u003cspan\u003eNaoya Hatakeyama,\u003c\/span\u003e \u003cspan\u003eAi Iwane,\u003c\/span\u003e \u003cspan\u003eMiho Kajioka,\u003c\/span\u003e \u003cspan\u003eJun Kanno,\u003c\/span\u003e \u003cspan\u003eKazuma Obara,\u003c\/span\u003e \u003cspan\u003eTadashi Ono,\u003c\/span\u003e \u003cspan\u003eDaisuke Saito,\u003c\/span\u003e \u003cspan\u003eKeiko Sasaoka,\u003c\/span\u003e \u003cspan\u003eLieko Shiga,\u003c\/span\u003e \u003cspan\u003eMayumi Suzuki\u003c\/span\u003e\u003c\/p\u003e","brand":"Galerie Écho 119","offers":[{"title":"Default Title","offer_id":52546086142284,"sku":"","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0258\/7433\/3748\/files\/Divers_Repliques_a85fc8af-ecbc-442b-826c-f0de62a8cfe2.jpg?v=1747157773"},{"product_id":"charles-freger-esprits-du-japon","title":"Charles Fréger - Spirits of Japan","description":"\u003cp\u003e \u003cstrong\u003eCharles Fréger\u003c\/strong\u003e\u003cbr\u003e \u003cstrong\u003eSpirits of Japan\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e Published by Musée des Confluences and \u003cspan\u003eBernard Chauveau, 2018\u003cbr\u003e Size: 16.5 x 22.8 cm \u0026amp; 21.1 x 26.8 cm\u003cbr\u003e Language: French\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003eThis work was published on the occasion of the exhibition “Yokainoshima, spirits of Japan” presented at the Musée des Confluence and offers an overview of Japanese folklore.\u003c\/span\u003e\u003c\/p\u003e","brand":"Galerie Écho 119","offers":[{"title":"Default Title","offer_id":52551217054028,"sku":"","price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0258\/7433\/3748\/files\/Charles-FREGER_Esprits_Du_Japon.jpg?v=1747485888"},{"product_id":"koo-bohnchang-hysteric-nine","title":"Koo Bohnchang - Hysteric Nine","description":"\u003cp\u003e \u003cstrong\u003eKoo Bohnchang\u003c\/strong\u003e\u003cbr\u003e \u003cstrong\u003eHysteric Nine\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e Published by Rat Hole Gallery and Hysteric Glamour, 2003\u003cbr\u003e Size: 26.1 x 22.8 cm\u003cbr\u003e 84 pages\u003cbr\u003e Hardcover\u003cbr\u003e First edition limited to 400 copies\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\n \u003cp\u003eKorean artist Koo Bohnchang's \"Masks\" series, published in issue 9 of the photobook series by Japanese fashion brand Hysteric Glamour, marks a departure in the artist's career. For the first time, Koo explores traditional Korean art and culture, photographing a series of inventive yet disturbing portraits of people wearing Korean \"Tal\" masks. Traditionally, men and women who wore these masks were able to pass freely between our world and the spirit world. These masks granted ordinary people a special power, transforming them into something else. In his photographs, the cultural significance of masks becomes another element Koo uses to create multi-layered compositions that play with surrealism, personality, expression, fear, and comedy. \u003cbr\u003eThe book includes a foreword by the artist and an essay by art critic Kotaro Iizawa (in Japanese and English).\u003cbr\u003e \"The overall fantasy atmosphere of the work and the feeling that the subjects have freed themselves from the yoke of gravity and are floating in the air rather testify to his individual sensibility as a photographer. Ultimately, we find that this series is a unique blend and fusion of recording and artistic expression, reality and illusion, tradition and contemporaneity.\"\u003cbr\u003e - excerpt from Kotaro Iizawa's essay\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e","brand":"Galerie Écho 119","offers":[{"title":"Default Title","offer_id":52551336624460,"sku":"","price":90.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0258\/7433\/3748\/files\/BOO-Koogchan_Hysteriuc_Nine.jpg?v=1747481933"},{"product_id":"toshiya-murakoshi-a-gradual-thraw-signe","title":"Toshiya Murakoshi - A gradual Thraw (signed)","description":"\u003cp\u003e \u003cstrong\u003eToshiya Murakoshi\u003c\/strong\u003e\u003cbr\u003e \u003cstrong\u003eA gradual Thraw\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cstrong\u003ePublished by Case Publishing, 2017\u003cbr\u003e \u003cspan\u003eSize: 26 x 36.8 cm\u003cbr\u003e 34 pages, 14 images\u003cbr\u003e Hardcover\u003cbr\u003e Signed by the artist\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cdl\u003e\n\n \u003cdt\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003e\u003cbr\u003eThe silent and powerful landscape photographs that make up Toshiya Murakoshi's series \"A Gradual Thaw\" were taken in his native Fukushima Prefecture between 2011 and 2015. With this project, Murakoshi searches for traces of his own memories.\u003c\/span\u003e\u003c\/dt\u003e\n\n\n\u003c\/dl\u003e\n\n\u003cp\u003e \"If photographing one's hometown means getting rid of the ideas and objects acquired at birth and chasing after what remains at the very end, then photographing different regions is an attempt to find and acquire new things, ideas, and interests and to try to see how far this process can lead.\"\u003c\/p\u003e\n\n \u003cp\u003eToshiya Murakoshi was born in Sukagawa, Fukushima Prefecture, in 1980. He graduated from the Nippon Institute of Photography in 2003. In 2009, he established the TAP gallery in Kiyosumishirakawa, Tokyo. Murakoshi received the 2011 Japan Photography Association Newcomer Award and the 2015 Sagamihara Photograph New Face Incentive Award. His works are included in the collections of the Tokyo National Museum and the San Francisco Museum of Modern Art.\u003c\/p\u003e\n\n\u003cp\u003e Translated with DeepL.com (free version)\u003c\/p\u003e","brand":"Galerie Écho 119","offers":[{"title":"Default Title","offer_id":52551454458188,"sku":"","price":98.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0258\/7433\/3748\/files\/MURAKOSHI-Toshiya_A_gradual_Thraw.jpg?v=1747485265"},{"product_id":"toshiya-murakoshi-burn-after-seiing","title":"Toshiya Murakoshi - Burn After Seiing","description":"\u003cp\u003e \u003cstrong\u003eToshiya Murakoshi\u003c\/strong\u003e\u003cbr\u003e \u003cstrong\u003eBurn After Seeing\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cstrong\u003ePublished by Libro Arte, 2014\u003cbr\u003e \u003cspan\u003eSize: 25.5 x 22.5 cm\u003cbr\u003e 108 Pages\u003cbr\u003e Hardcover\u003cbr\u003e Signed by the artist\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cdl\u003e\u003c\/dl\u003e\n\n \u003cp\u003eIn \"Burn After Seeing,\" Toshiya Murakoshi retraces the memory of his hometown of Sukagawa, Fukushima, through photographs of his parents' home and the surrounding landscape. The works in this book were created after the death of the artist's grandmother in 2009, which inspired him to rediscover his relationship with photography, document his family's memories, and explore his surroundings.\u003cspan style=\"font-size: 0.875rem;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan style=\"font-size: 0.875rem;\"\u003eAt dusk, small sparks of fire drew a soft line across the azure sky, and they were so close they looked like fireflies. And the flames only resonated when they were driven by a strong wind, scattering sparks all around them.\u003cbr\u003e These sparks then disappeared as if attracted by the sky, which was becoming increasingly blue-black. As I followed these lights with my eyes, I wondered where they were going.\u003c\/span\u003e \u003cbr\u003eThe color of the sky deepened further and I watched carefully as the small sparks appeared.\u003cbr\u003e They had been blown away, stirred, and extinguished by the wind. 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Published in 1990 by Image House, Akita Tanno's PHOTO THEATER brings together a series that reflects Tanno's interest in performance. Here, Tanno has wonderfully captured the actors, the stage, and the scenes in a portrait of traditional Mibu Kyogen—Japanese Noh theater performed during three periods of the year at the Mibudera Temple in Japan's ancient capital, Kyoto.\u003cbr\u003e \u003cspan style=\"font-size: 0.875rem;\"\u003eThe book includes an afterword by Akira Tanno and a text by Mori Yasuhisa.\u003c\/span\u003e\u003c\/p\u003e","brand":"Galerie Écho 119","offers":[{"title":"Default Title","offer_id":52551623442764,"sku":"","price":29.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0258\/7433\/3748\/files\/Akira-TANNO_Photo_Theater.jpg?v=1747487078"},{"product_id":"keijiro-kai-clothed-in-sunny-finery-b","title":"Keijiro Kai - Clothed in Sunny Finery (B)","description":"\u003cp\u003e \u003cstrong\u003eKeijiro Kai\u003c\/strong\u003e\u003cbr\u003e \u003cstrong\u003eDressed in Sunny Finery\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e Published by Zen Foto Gallery, 2023 \u003cbr\u003eSize: 36.4 x 25.7 cm\u003cbr\u003e 52 pages, 27 images\u003cbr\u003e Language: English, Japanese\u003cbr\u003e Soft cover\u003c\/p\u003e\n\n\u003cp\u003e Keijiro Kai's \"Clothed in Sunny Finery\" features dramatic photographs of traditional Japanese festivals in which crowds of naked men compete.\u003c\/p\u003e\n\n\u003cp\u003e Taken at four different festivals, Kai's photographs capture the ordeal, frenzy, and wild chaos of these events from the inside. His photographs—immediate, raw compositions of flesh and skin—bring us closer to the participants. The goal of these festivals is to compete, individually or as a team, for tokens of good fortune. In Kai's photographs, these festivals become battles against fate and nature itself. And despite the competitive setting, there is a sense of community and unity amidst the naked exhaustion and roaring chaos. \u003cbr\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003e“Clothed in Sunny Finery” includes essays by Akiyoshi Taniguchi and Chihiro Minato, as well as an afterword by the artist (all texts are in Japanese and English).\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e “If you think about it, there is nothing more terrifying than finding yourself naked in the dark. This is even more true in the middle of winter. You get goosebumps and you can't help but shiver. The only way to free yourself from this anxiety and fear is to gather with people who are experiencing the same circumstances and become one with them. Is there also a reversal of the fear of being touched at the heart of a group of naked people? ...\u003cbr\u003e What the photographer encounters in the depths of darkness is the image of an ancient desire within us, long awaiting the moment of liberation. It is the desire of the skin—waiting deep within us—and the purest form of prayer in human beings. \u003cbr\u003e– from Akiyoshi Taniguchi’s essay “Intoxication in the Act of Photography.”\u003c\/p\u003e","brand":"Galerie Écho 119","offers":[{"title":"Default Title","offer_id":52551952826700,"sku":"","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0258\/7433\/3748\/files\/KAI-Keijiro_Sunny_finery.jpg?v=1747482739"},{"product_id":"hiroshi-ikeda-ainu","title":"Hiroshi Ikeda - Ainu","description":"\u003cp\u003e \u003cstrong\u003eHiroshi Ikeda\u003c\/strong\u003e\u003cbr\u003e \u003cstrong\u003eAinu\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e Published by Little More, 2019\u003cbr\u003e 30.2 x 23.5 cm\u003cbr\u003e 128 pages\u003cbr\u003e Hardcover\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003e A magnificent series of portraits of the Ainu, an indigenous people of northern Japan: “Ainu” by Hiroshi Ikeda.\u003c\/p\u003e\n\n\u003cp\u003e Ikeda has been photographing members of the Ainu community for over a decade. 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