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Rinko Kawauchi
Cui Cui
2005
22’34”
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Rinko Kawauchi
Untitled, from the series “as it is”
2020
Lambda print
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Rinko Kawauchi
as it is
2020
21’59”
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Tokuko Ushioda
My Husband
1978 - 1986
Inkjet print and gelatin silver print
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Tokuko Ushioda
My Husband
1978 - 1986
Inkjet print and gelatin silver print
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I collected the toys that were no longer of interest to the children in the neighborhood and kept them in five or six empty cans.
I show these relics to them who, now as adults, miss their childhoods and wish they could have them again.
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I collected the toys that were no longer of interest to the children in the neighborhood and kept them in five or six empty cans.
I show these relics to them who, now as adults, miss their childhoods and wish they could have them again.
htmlText_4E2C70D4_3842_36C5_41B9_0F8067665714.html =
Surrounded by the children and Shimao, I took care of the household chores quickly so I could take photographs.
htmlText_5EC567FF_740F_F33C_41D6_CC2DF16AF625.html =
Surrounded by the children and Shimao, I took care of the household chores quickly so I could take photographs.
htmlText_5ECBA07E_743C_2D3C_41CF_C347E18FA794.html =
beckoned by the little one carrying the lantern
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out of nowhere came to love it,
I turned toward life
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that summer day, not so long ago, slips further away
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the signs came four days before I was due
shockwaves from within, my entire being tolled, like I was a bell
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this little life, floating in a tiny boat on the river,
moving past the changing scenery
and all of those who watch it, changing too
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Tokuko Ushioda
ICE BOX
1981 - 2010
Inkjet Print
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About KYOTOGRAPHIE
The first international photography festival in Japan, KYOTOGRAPHIE was established in 2013 in Kyoto, Japan, with the aim of creating a new platform for dialogue in the aftermath of the Great East Japan Earthquake, which deeply affected life across the archipelago.At that time, photography was not widely recognized as a significant form of artistic expression, yet co-founders Lucille Reyboz and Yusuke Nakanishi saw it as a crucial medium to reflect and navigate the upheavals of the period. The Franco-Japanese duo chose Kyoto as the annual setting to present a curated selection of Japanese and international photographers through exhibitions that blend historical collections with contemporary works.
Kyoto, with its rich blend of traditions and cultural innovations, serves as the perfect stage to share the past and present, inspiring new ways of thinking.
Every spring, KYOTOGRAPHIE unfolds across key locations in the city, from historical buildings to modern spaces, offering an immersive experience. The festival is well known for its original space design, creating a dialogue between the venue and the artworks, often involving local artisans and cutting-edge technologies. These refined and innovative settings have become a hallmark of the festival, offering an immersive experience of Kyoto while exploring various themes that resonate with Japan and its history.
Thanks to its unique approach and the support of numerous private and governmental entities, KYOTOGRAPHIE has established itself as a meeting point for the international photography community, building an essential bridge between Japan’s photography scene and the global art world.
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Cui Cui + as it is
“Cui Cui” is a French word that evokes the twitter of sparrows.
I was to present this work for the first time at a museum in Paris, and this word happened to catch my eye when flipping through a French dictionary on the flight on my way there to prepare for the exhibition.
Having been thinking about what to title my new work, the sound of this word had struck a chord with me. I thought that the chirping of small birds, which can be heard all over the world, was like a metaphor for the everyday minute events that accompany the life of a family.
As I was a grandpa’s girl, so when I first started taking photographs, I designated my grandfather as my practice subject, and photographed him when ever I had the chance to see him. Among my family, my grandfather was the closest to death in terms of age, so I would take each shot, all the while wondering how long I would be able to continue photographing him.
The thought that one day we would have to say goodbye had instilled me with much fear and dread, yet on the other hand, it also gave me a strong sense of life.
This made me think that it would be best to document not only my grandfather, but also my entire family that will one day be gone, so I spent my days simply taking photographs of my family, with no particular intention of showing them to anyone.
During this time, the family cycle had come full circle, with my brother’s marriage, my grandfather’s death, and the birth of my nephew the following year. Naturally, it was then, in witnessing how life goes on, that I truly came to understand the workings of this world for the first time.
Sometime later, my pregnancy and the birth of my child presented a significant impact on my life, and brought about a shift in the path I had been on until then. Living with a young child carries a great deal of responsibility, yet there is also much joy and discovery that lightly brushes away this stress, encouraging me, who had not necessarily been proactive about living, channel my attention towards life.
I was born into a family that I did not choose, and now I am living with a family that I created by my own will.
The days spent with each were and are accompanied by trivial disputes and shared little moments of joy. Such moments will indeed pass and come and go like the seasons, and one day perhaps, my daughter will also find a family of her own.
Rinko Kawauchi
htmlText_4581CCE6_38C2_6EC2_419F_33FDAAF3A8BC.html =
Cui Cui + as it is
“Cui Cui” is a French word that evokes the twitter of sparrows.
I was to present this work for the first time at a museum in Paris, and this word happened to catch my eye when flipping through a French dictionary on the flight on my way there to prepare for the exhibition.
Having been thinking about what to title my new work, the sound of this word had struck a chord with me. I thought that the chirping of small birds, which can be heard all over the world, was like a metaphor for the everyday minute events that accompany the life of a family.
As I was a grandpa’s girl, so when I first started taking photographs, I designated my grandfather as my practice subject, and photographed him when ever I had the chance to see him. Among my family, my grandfather was the closest to death in terms of age, so I would take each shot, all the while wondering how long I would be able to continue photographing him.
The thought that one day we would have to say goodbye had instilled me with much fear and dread, yet on the other hand, it also gave me a strong sense of life.
This made me think that it would be best to document not only my grandfather, but also my entire family that will one day be gone, so I spent my days simply taking photographs of my family, with no particular intention of showing them to anyone.
During this time, the family cycle had come full circle, with my brother’s marriage, my grandfather’s death, and the birth of my nephew the following year. Naturally, it was then, in witnessing how life goes on, that I truly came to understand the workings of this world for the first time.
Sometime later, my pregnancy and the birth of my child presented a significant impact on my life, and brought about a shift in the path I had been on until then. Living with a young child carries a great deal of responsibility, yet there is also much joy and discovery that lightly brushes away this stress, encouraging me, who had not necessarily been proactive about living, channel my attention towards life.
I was born into a family that I did not choose, and now I am living with a family that I created by my own will.
The days spent with each were and are accompanied by trivial disputes and shared little moments of joy. Such moments will indeed pass and come and go like the seasons, and one day perhaps, my daughter will also find a family of her own.
Rinko Kawauchi
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ICE BOX + My Husband
In March 2019, I was cleaning out a room on the second floor of an old western-style house that I had rented for forty years. In doing so, I came across a cardboard box that had been left lying there for many years in the back of a wardrobe in the corner of the room. It turned out to be a box containing photographs taken with my SLR camera, which I had developed and printed. Preserved within this box whose existence I had completely forgotten was my life from around 1978 to 1985, when I had lived in this room with my husband Shinzo Shimao and my newborn daughter Maho, as well as my various works from before then. I found myself drawn to the feelings I had experienced at that time, in way that extended beyond mere nostalgia.
The room was on the second floor, donned a large window that opened directly to the south, a floor space of around 25-square meters, and a ceiling height of 3.5 meters, giving the overall impression of a square dice. Next door to the right lived a gardener and his family, his wife and three boys of elementary and middle school age. The room next door to the left and across the hallway were both occupied by young men. The landlord’s family lived on the first floor.
The only household items that we had were a large Swedish refrigerator that my husband had brought in from somewhere, which was almost the size of a polar bear, and a sofa that instantly became a bed whenever we had guests. The kitchen was nothing more than a table in the corner of the room made of square pieces of timber covered with a blue galvanized iron sheet, with a single small gas stove on top of it. The toilets and the sink, which we shared with other residents, were located on the first floor. I would chop vegetables with a fruit knife, using the wooden lid of a confectionary box as a cutting board.
When leaving the room filled with light from the window, what comes into view is a large, dimly lit hallway and set of stairs. Twice a month, it was my turn to clean the hallway, stairs, and toilets. I wrungout a dust cloth soaked in a bucket of water and worked up a sweat, all the while remembering how I used to wipe the hallways at school in my student days. I would walk up and down the stairs, glancing at the children’s scribbles on the dirty plaster walls, cool to the touch, in the hallways and around the stairs.
I decided to turn my attention to the refrigerator, an unexpected companion in my life, and take photographs of it as I opened and closed it.
Tokuko Ushioda
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Is mom a refrigerator?
“Is Apu-chan’s mother a refrigerator?” my husband asked our daughter.
She was two years old at the time. Her name is Maho, but she couldn’t say it and called herself Apu instead.
At that age she was either hanging onto my skirts, or, with one hand our large refrigerator, she was begging me for ices or candy.
Maho, my husband Shimao Shinzo, and I, started out as a family in a one-room apartment on the second floor of an old western style building in Gohtokuji in Setagaya-ku. The room was about 15 mats large and looked like a cube because the ceiling was nearly three meters high. At the south end of our box there was a large window. Across the room we kept the gas ring on a simple table whose top was a sheet of iron coated with blue tin. In another corner of the room we had built a simple closet. There was no television, no video, no vacuum cleaner, no washing machine nor anything that looked like furniture. So our over-sized white refrigerator appeared to have taken root at the center of the large wall.
My husband had bought the refrigerator from a scrap-dealer who was selling goods that the Occupation Forces were getting rid of. He had chosen a simple Swedish design and paid 40,000 yen for it. It had a freezer built-in, but otherwise was a Spartan affair with no extra functions or ornaments. When the engine started up, the large white box shook and purred like an animal. Ice was always forming in the freezer compartment, turning it into an ice cave.
The thermostat didn’t work, so the vegetables and fruit we put in the refrigerator compartment would freeze solid. Even so, my husband, my daughter, and I were delighted with the refrigerator, which was the only piece of furniture we had in the room. We used it in every way we could.
On the top shelf, we kept our tableware. Toothbrushes and toothpaste had their own compartment. Once a dried lemon and a deeply wrinkled apple that I couldn’t bring myself to throw away were ratting and rolling on that shelf until all hours in the morning. Sometimes, even our daughter’s toys were chilled in that refrigerator.
Through the window with the southern exposure, the moon, the stars and the sun always shone on us when we had our meals, napped or went to sleep.
My husband thoroughly enjoyed this poor existence. He would bring his camera out (he is a photographer), and snap pictures of my and our daughter’s hands and feet, or the cups and dishes that were glittering in the sunlight on the table.
We were poor, but there is nothing remarkable about my recall of those peaceful days. I started keeping a record of our life so I wouldn’t forget. I photographed the ragged curtains in front of the closet, and downstairs in the common kitchen I captured the dull glitter of the faucet in the weak light of a winter day. I also took pictures of the refrigerator, and I became much more fascinated with the existence of this refrigerator than with other things in the house. For the three of us, that refrigerator was proof of peace; our confusion was confined inside that frozen box as in a glacier.
I began to use the refrigerator for fixed point observation, arranging shots with the door closed or open, and photographing from the front with as little posing and distortion as possible. I didn’t allow any emotions, but tried to record everything objectively. As I was recording my own modest life, I began to take pictures of my mother’s refrigerator, and those of my friends and relatives.
Time passed, and Maho entered junior high school.
I have exhibited my photos of refrigerators several times. After these photos left my hands and became works of art, they provoked many reactions. They have been called concept photos, photo essays, small reportage, new documentaries, and probably all of these descriptions are true.
Women enjoy the photos because they are so familiar.
I’ve heard comments like, “Aah, there is turtle extract in this fridge,” or “This household is a member of the Co-op.”
Tokuko Ushioda
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Life that unfolds - Rinko Kawauchi and Tokuko Ushioda
Collaboration
KYOTOGRAPHIE Kyoto International Photography Festival
Direction
Lucille Reyboz e Yusuke Nakanishi
Project manager
Keiko Mine
Exhibition design
Miho Odaka
Project coordination
Gabriela Bacelar
Executive production
Erika Litsumi Uehara
Karen Garcia
Production assistant
Natália Longhi
Executive project
Maira Takiy
Scenography
Madeiras Yervant
José Aldo Dell’ore
Painting
Manos Cogrossi
Lighting design
Caco Tomazzoli
Lighting
Santa Luz
Audio and video
Images Projetores
Conservation
Marilia Fernandes
Lívia Lira
Assembly setup
Montando Coisas
Assembly coordination
Cícero Bibiano
Assembly team
Daniela Oliveira Guimarães
Diego Marques Santos Coelho
Visual communication
Thiago Minoru
Printing of visual communication
Omamulti Stickers
Logistics
TS Logistica | Tiago Souza
International transportation
Waiver Logística
National transportation
ATM Janus Logística
Translation
Komorebi Translations
Matthew Rinaldi
Flávia Couto
Alcance Consultoria de Idiomas | Eduardo Lasota
Text revision
Armando Olivetti
Fire security team
Jk Fire Freitas
Institutional photography
Gabriela Portilho
Institutional video
Fuerza Films
Accessibility
Hiromi Saito
Felipe Lima
Vinicius Garcia
Leonardo Stephens Domingues
Accessibility consulting
Daina Leyton
Tactile and visual communication
ArtSim
Pandoala Estúdio
Seal Acessibilidade
Brazilian sign language (LIBRAS) and audiodescription
Iguale Comunicação de Acessibilidade
WebApp
Umpratodos
[logo Kyotographie]
Acknowledgements
We thank the support of Sayaka Takahashi (PGI) and Shinzo Shimao for the realization of this exhibition.
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Life that unfolds
For over 10 years now, Kyoto, this fascinating and historic city, has served as venue for an active, unique and vibrant festival which occupies spaces of all sorts with a variety of contemporary photography exhibitions each Spring. Today we have a unique opportunity to show our audience, here in São Paulo, something that only those who were in Japan in April and May of 2024 were able to see.
When we invited the festival KYOTOGRAPHIE to partner with us, our initial conversations centered on an exhibition dedicated to the work of five women photographers which would also be shown in other parts of the world beyond Kyoto, demonstrating the relevance of Japanese photography, with a special emphasis on female photographers. But when I came across Rinko Kawauchi and Tokuko Ushioda's project, I was immediately swept away by its poetics and delicateness.
The premise itself is quite interesting: an artist is invited to participate in the festival and tasked with inviting another artist, from another generation, to establish a dialogue.
Rinko Kawauchi, age 52 and with a well-established career, including on an international level – having exhibited some of her work in Brazil, at MAM-SP in 2007 –, suggested inviting Tokuko Ushioda, 84 years-old and with a 49-year career, whose work had yet to be shown in Latin America.
Both women use photography as a portal to their pasts and an attempt to immortalize their memories. The images serve as catalysts for sensations and an endless prolonging of moments, often small moments, in their daily family life.
They are photographers from different generations, who follow distinct aesthetics, but their bodies of work are close in theme: the main focus of their attention falling upon family members, domestic scenes and the objects that encapsulate their everyday lives.
Their perspectives, selections, what they experienced – this is unique and non-transferable. Yet, their works connect with us from the moment we're able to identify ourselves in many of the situations portrayed. After all, lives have their symmetries.
The title of the exhibition in Brazil, Life that unfolds, comes from Rinko's words about Tokuko, but it applies to both of them: this delicate, sensitive and intimate way of looking at one's own life, within everyday records and the simple perception of the magnitude of existence, ordinary as it may be. And it reinforces the unique role of these two women, who are protagonists and active participants in this life, while simultaneously positioning themselves as spectators of its cycles.
Natasha Barzaghi Geenen
Cultural Director at Japan House São Paulo
#FotografiaNaJHSP
#OlharesDoJapão
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Rinko Kawauchi
Rinko Kawauchi (b. 1972 in Shiga, Japan) is an internationally acclaimed photographer.
In 2002, she received the 27th Kimura Ihei Award for her series Utatane and Hanabi. In 2023, she was honoured with the Sony World Photography Award for Outstanding Contributions to Photography. Her most notable series include Illuminance (2011), Ametsuchi (2013), and Halo (2017). Recent publications include the photobooks Yamanami (2022) and Making Daidai Shoten (2022; in collaboration with Hisako Tajiri).
Kawauchi’s work is frequently shown in exhibitions around the world and her native Japan, such as the major solo exhibition Rinko Kawauchi: M/E − On this sphere Endlessly interlinking at Tokyo Opera City Gallery (2022) and Shiga Museum of Art (2023).
htmlText_67F1FFA4_740C_73CC_41C3_35CF233BFB97.html =
Rinko Kawauchi
Rinko Kawauchi (b. 1972 in Shiga, Japan) is an internationally acclaimed photographer.
In 2002, she received the 27th Kimura Ihei Award for her series Utatane and Hanabi. In 2023, she was honoured with the Sony World Photography Award for Outstanding Contributions to Photography. Her most notable series include Illuminance (2011), Ametsuchi (2013), and Halo (2017). Recent publications include the photobooks Yamanami (2022) and Making Daidai Shoten (2022; in collaboration with Hisako Tajiri).
Kawauchi’s work is frequently shown in exhibitions around the world and her native Japan, such as the major solo exhibition Rinko Kawauchi: M/E − On this sphere Endlessly interlinking at Tokyo Opera City Gallery (2022) and Shiga Museum of Art (2023).
htmlText_6D85004D_743B_ED5C_41DC_EF2B842DB6CF.html =
Tokuko Ushioda
Born in 1940 in Tokyo, Japan. Tokuko Ushioda studied under Kiyoji Otsuji at Kuwasawa Design School and graduated in 1963. She taught at Kuwasawa Design School and Tokyo Zokei University from 1966 to 1978.
She has worked as a freelance photographer since 1975. In 2018 her Bibliotheca series won the Domon Ken Award, the Photographic Society of Japan’s Lifetime Achievement Award and the Higashikawa International Photo Festival’s Domestic Photographer Award. Other representative works include ICE BOX, in which she photographed the contents of various families’ refrigerators. In 2019 she won the Kuwasawa Special Award, and in 2022, was awarded the Special Jury Prize at Paris Photo – Aperture PhotoBook for her series My Husband.
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I grew up surrounded by people who used these objects.
My deaf aunt had a hobby, crafting with chiyogami, a hand-printed Japanese paper with colorful illustrations and patterns. She created hina dolls (which represent the Japanese imperial court), anesama dolls (made of paper and representing the older sisters) and gift boxes to give to us.
My job was to buy chiyogami and origami paper of vibrant colors. Without realizing it, over time, I accumulated a large amount of these papers and today I keep them with affection, as memories of my aunt.
My mother played the harmonica with dexterity. She would skillfully improvise any song the children asked her to play.
One of my grandmother's favorite kiseru (a Japanese pipe).
A small pipe that my father handled with care.
htmlText_4E2F20D5_3842_36C7_41B2_498F1209D178.html =
I grew up surrounded by people who used these objects.
My deaf aunt had a hobby, crafting with chiyogami, a hand-printed Japanese paper with colorful illustrations and patterns. She created hina dolls (which represent the Japanese imperial court), anesama dolls (made of paper and representing the older sisters) and gift boxes to give to us.
My job was to buy chiyogami and origami paper of vibrant colors. Without realizing it, over time, I accumulated a large amount of these papers and today I keep them with affection, as memories of my aunt.
My mother played the harmonica with dexterity. She would skillfully improvise any song the children asked her to play.
One of my grandmother's favorite kiseru (a Japanese pipe).
A small pipe that my father handled with care.
htmlText_501B76B9_7003_0DA7_41CC_C62F2A6E3F70.html =
This exhibition celebrates the partnership between the KYOTOGRAPHIE International Photography Festival and Japan House São Paulo, bringing one of the main shows to Brazil for the first time, a few months after its initial presentation in early 2024 in Kyoto. It is an honor to offer the São Paulo audience an opportunity to connect with such rich and unique Japanese photographic narratives.
Rinko Kawauchi is a photographer who is highly acclaimed both in Japan and overseas for her delicate sensitivity that reveals the fragility and fundamental vitality that reside within the subjects of her works. For this exhibition, which takes the form of a dialogue between two photographers, Kawauchi has chosen to exhibit with Tokuko Ushioda. Kawauchi says of Ushioda, “I respect the fact that she has been active as a photographer since a time when it was difficult for women to advance in society, and that she is sincerely committed to engaging with the life that unfolds in front of her.” This exhibition brings together photographs taken by each of them of their families. Kawauchi will present two series. Cui Cui, on the theme of the family cycle, is a collection of photos taken over a 13-year period that covers the death of her grandfather, with whom she had lived with since she was born and whom she photographed as a practice subject during her days as a student, and the birth of her nephew. as it is captures children and familiar scenes she encountered during the three years after she gave birth herself.
Ushioda began her career as a freelance photographer in 1975. Soon after the birth of their daughter Maho in 1978, she and her husband, photographer Shinzo Shimao, moved to a Western-style house (formerly the Theodora Ozaki residence) built in 1888 in Tokyo’s Gotokuji district. This exhibition includes My Husband, a series of photographs she took of her husband, daughter, and their lives in this Western-style home over the seven years following Maho’s birth, and ICE BOX, a series of photographs of refrigerators belonging to relatives, acquaintances, and friends, taken over a twenty-year period, that originated from fixed-point observation of her own refrigerator as a means of documenting her life. Family, home, daily life, death and birth—the gaze of these two photographers, who carefully capture presences and activities that are familiar yet ever-changing, find their own light in small moments that lie hidden within our daily lives, transcending the ages.
“Life that unfolds” blends Japanese culture and immersive design, reflecting KYOTOGRAPHIE’s signature approach to creating transformative experiences in contemporary photography.
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