志賀理江子《螺旋海岸》RASEN KAIGAN album
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《螺旋海岸》裡的照片和志賀過去的作品有許多不同之處，作品裡包括了當地民眾的參與，並拍攝了超過四年的時間。這段個人的關係連結頗為重要，甚至如果要說在這件作品中，志賀更像是「策劃者」而非「攝影者」也不為過。《螺旋海岸》無疑是志賀的精心之作，書中的影像同時勾起超越攝影之外的思索 : 超現實主義、地景藝術、偶發藝術、雕塑和在日本的「大地精神」等。北釜是2011年受海嘯衝擊的嚴重災區，志賀雖然關注著災害，但《螺旋海岸》所帶來影像思索遠超過一本海嘯災難攝影集。經年費時製作的《螺旋海岸》，確立了志賀理江子是現今日本最受注目的攝影藝術家之一。
In 2008, Lieko Shiga(1980-) announced herself on the Japanese photography scene. That year, she published two books ("CANARY and "LILLY") and received the prestigious Ihee Kimura Photography Award. This personal, dreamlike work was also recognized by an ICP Infinity Award. Surely, from that point on, Shiga could have gone on to work in the vein of "CANARY" to continued acclaim both in Japan and abroad. However, in 2009, she moved to Kitakama, a coastal town in Japan's Tohoku region, where she began working as the town's official photographer. This move marks a significant turning point for Shiga, and "Rasen Kaigan" collects this new body of work into a book.
Shiga's photographs from Kitakama are different from her previous work in that they were produced over more than four years, in concert with the local residents. This personal connection is noteworthy, and indeed it might not be far-fetched to say that Shiga is operating more as an "organizer" than as a "photographer." Yet it's clear that "Rasen Kaigan" is Shiga's tour de force. The images in this book call to mind many things outside the realm of photography: surrealism, land art, happenings, sculpture and the presence of Japanese "earth spirits," to name just a few. Kitakama was severely affected by Japan's March 2011 tsunami, and "Rasen Kaigan" acknowledges this disaster, but this is far from a book of "tsunami photos." Years in the making, "Rasen Kaigan" affirms Shiga's position as one of the most compelling young photographers in Japan today.
《螺旋海岸》 | 志賀理江子 | 25.7 × 36.4 cm | 280頁 | 2013 | 赤々舎 | 精裝
RASEN KAIGAN | by Lieko Shiga | 25.7 × 36.4 cm | 280 pages | 2013 | Akaakasha | hardcover