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川田喜久治「Vortex」

横田大輔、滝沢広、ネルホル、迫鉄平、牧野貴「New Photographic Objects 写真と映像の物質性」

鈴木萌「Sokohi」

As her father gradually loses his sight due to glaucoma, artist Moe Suzuki begins to document their shared daily life. The resulting images are mixed with photographs from the family archive and photographs taken by her father. Through these images, Moe Suzuki attempts to show what is visible to sighted people but invisible to her father, and to imagine what her father can see that others may not.

鈴木理策「冬と春」

Composed of new and previously published photographs from three different series (“White,” “Sakura,” and “Water Mirror”), Risaku Suzuki’s photobook “Winter to Spring” concerns itself with the crucial period of the year when the quiet and monotony of winter makes way for the life of spring.

杉浦正和「迷幻街」

In “Psychedelic Street,” Japanese photographer Masakazu Sugiura captures the vibrant, colorful, dazzling and electrifying visual chaos of Vietnam’s roads and streets in equally vibrant and stimulating pictures.

中里和人「Urashima」

Even after repeated viewings, it remains difficult to believe that the otherworldly landscapes in Katsuhito Nakazato’s photobook “Urashima” were all photographed on earth, on beaches and along coasts all over Japan. As he demonstrated in earlier series, Nakazato has an unrivaled intuition for views and situations that look absolutely otherworldly and alien, for photographs that offer entirely new perspectives.

有元伸也「Tokyo Strut」

In his work, Tokyo-based Shinya Arimoto has continued to photograph people and the environments in which they live, whether through portraits or street snaps. His latest series “Tokyo Strut”, mainly shot in Shinjuku, the urban subcenter that is home to Japan’s most frequented train station, the Tokyo Metropolitan Government, countless bars and nightlife joints, expensive brand shops, cheap eateries, and Tokyo’s most vibrant gay quarter.

染谷學「ほうたれ」

Manabu Someya’s photobook “Hotare” forms a quiet journey through Japan’s seaside towns and rural areas that is remarkable for its unremarkableness. Traveling to and wandering through these towns, Someya (who quit working as a freelance photographer in 2015 to focus on his own photography) pays attention only to his own sensations and feelings to choose and frame his images, rather than choosing a cerebral approach...

溝口良夫「くるおしい都 Tokyo」

Japanese photographer Yoshio Mizoguchi’s photobook “Tokyo on the Brink of Sanity” captures the Japanese megalopolis at a time of disreality, between the late 1980s and early 2000s, when the sudden disappearance of the great fantasy of the bubble gradually began to permeate life in Tokyo. In portraits and snapshots that wander between eroticism and ordinariness, Mizoguchi’s photographs depict a wild atmosphere of undirected lust, verve and anxiety.

石内都「Club & Courts Yokosuka Yokohama」

Miyako Ishiuchi’s “Club & Courts Yokosuka Yokohama” consists of grainy, moody photographs taken in decaying amusement bars, entertainment clubs and other seedy places in Yokosuka and Yokohama. Shot in the 1970s and 1980s, Ishiuchi captures the lost glamour, the alluring air of the forbidden, the smell of sex but also the exploitation, horror and desperation of the post-war period that kept lingering somewhere within these ruins. Over time, Ishiuchi felt her hate turn into love and affection.

笠井爾示「Stuttgart」

The book “Stuttgart” chronicles Kasai’s trip back to Germany, together with his mother, in 2021. The journey, filled with difficult emotional situations and old scars that would be torn open, is captured in photographs of meaningful places, quick roadside rests, and, most poignantly, straight and unadorned photographs of Kasai’s mother in the nude, shot in Kasai’s characteristic style.

桑迫伽奈「不自然な自然」

“Unnatural Nature” is Japanese photographer Kana Kuwasako’s debut publication. Shot in forests and mountains in her home of Hokkaido, Kuwasako’s images present a recreation of her own sensations of the photographed locations rather than strictly visual captures of their appearance. Her approach renders natural landscapes as bright, complex images that reflect on the origin of their creation as much as on the artificial concept of nature.

Haroshi「Haroshi 2003 - 2021」

Haroshi’s artworks – from sculptures to installations and images – are created by reusing parts from used skateboard decks. His unique artistic voice, incorporating contemporary street culture, social commentary, humor and genre-bending creativity, has earned him international acclaim and recognition.

下岡蓮杖「A carte album attributed to Shimooka Renjo, album dated 1865-1868」

This publication consists of 144 previously unpublished works by Japanese photography pioneer Shimooka Renjo (1823–1924), bringing back the Japan of the late Edo and early Meiji period in astounding clarity and color.

As a bonus, the first 100 pre-orders of the book will include a limited-edition booklet with commentary by photography historian Sebastian Dobson.

百々武「生々流転」

“Life Eternal” – through photographs of the people living in Kawakami village, Dodo Takeshi creates a portrait of an unyielding spirit that connects past and present.

KUMI OGURO "HESTER"

One could easily establish quite a precise typology by looking at the images collected and placed in HESTER by Kumi Oguro (the word ‘image’ is used on purpose here, instead of photography or photographic work).

石内都「Moving Away」

In “Moving Away”, Japanese photographer Miyako Ishiuchi herself becomes the subject of her photography. In the three years between suddenly deciding to move out of the house in which she had lived for 43 years and her actually moving, she took a series of landscapes, streetsnaps, detail shots and still lives around her house and neighborhood that all – either directly as a mirror image or indirectly – feature her in some way. Ishiuchi documents the end of another chapter in her life with attention, sentimentality but also decidedly positively.

ローニン・デ・フーデ「ASAKUSA」

ASAKUSAはオランダ出身のローニン・デ・フーデが浅草の彫師の師匠、彫和氏の元で過ごした貴重な日々を視覚化した日記である。

本山周平「日本 2010-2020」

Japanese photographer Shuhei Motoyama’s photobook “Nippon 2010–2020” is neither diary nor historical record of Japan’s past ten years. Similar to previous works like “Nippon 2003-2013,” Motoyama continued photographing as life kept going on, time continued passing, and the transient world spread further and further around him. His photographs – intricately framed, always keeping a careful distance to his subjects – appear as if taken along the way, as if in passing, yet over the course of the book’s pages a larger significance begins to make itself known.

冴木一馬「花火景」

Fireworks are an indispensable part of Japanese culture. The fireworks follow Japanese aesthetics, and the delicate colors of the fireworks are intertwined with the colors of the seasons. Kazuma Saeki, photographer and licensed pyrotechnicist, has been taking photographs of fireworks since 1987. He insists on using analog film cameras to capture the intrinsic fascination of the fireworks, focusing on single moments of fleeting beauty rather than employing multiple exposures or other techniques. For this book, Saeki has selected 70 images from his many years of work throughout Japan.

リタ・アッカーマン、アンドロ・ウェクア「Chapter 4」

2021年5月1日〜7月3日までファーガス・マカフリー東京で開催される同名展覧会に併せて刊行。
ダン・ソルバッハの秀逸なデザインが印象的な、美しいアーティストブックに仕上がっている。
ジャンニ・ジェッツァー（キュレーター）がテキストを執筆。

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