検索結果

Knowledge Spots｜Chibanosuke Guide 35A Sweet Connection with Sweet Potatoes!? Chibanosuke Guide Starch production from sweet potatoes flourished after the Meiji period. In the late Taishō era, a factory that processed starch into food products moved into the city, making it an important local industry. They say the starch was used to make things like mizuame (sweet syrup). Chiba City really has a close connection with sweet potatoes! I love roasted sweet potatoes and mizuame! We should be grateful to the people of the past who valued sweet potatoes so much.

jichi shūkai? According to records, it was a student-run assembly where children planned and carried out all sorts of activities—writing essays and poems, singing, dancing, reading, studying on their own, holding discussions and meetings… you name it, they did it! Wow, to think they were doing that back in the Taishō period! Education in Chiba City was really ahead of its time.

注目を集める新進気鋭の若手アーティスト14組の作品を 茶の湯のプロセスになぞらえて展示します。 METACITY is a research team that looks into possibilities for a city through thought experiments and prototyping. This is their first exhibition. Work by 14 groups of up-and-coming young artists gaining recognition in contemporary art and media art will be introduced utilizing the process of cha-no-yu (tea ceremony) within the setting

, we have a tendency to want to start something new. Chiba City should no longer be, “Nothing special” but a place to create “Something new.” Opportunities to learn and change, should exist outside the school, in lots of places. Obviously, you cannot create something from nothing. From the tradition that already exists as part of our lives, we can find brilliant things that can bring on the future. And we can polish these and reshape them into new forms. This is an advantage for us Japanese, who live in a country with a long history. It’s also our

ARE NOT ONLY PRECIOUS VINTAGE PRINTS PRODUCED DURING THE PHOTOGRAPHER’S MORE-THAN-HALF-A-CENTURY CAREER, BUT ALSO PRINTED MATTER SUCH AS CAMERA MAGAZINES, POSTERS, AND CALENDARS. ADDITIONAL PHOTOGRAPHS IN VARIOUS FORMATS ARE EXHIBITED, INCLUDING NEARLY 50 PHOTOBOOKS, BLOCK COPIES, AND PRINTED MANUSCRIPTS. ANOTHER HIGHLIGHT OF THIS EXHIBITION IS THAT ONE CAN GET A BEHIND-THE-SCENES GLIMPSE OF PRINT CULTURE. 街路樹, 千葉市, 2020 ©Kazuo Kitai 街路樹, 千葉市, 2020 ©Kazuo Kitai KAZUO KITAI 北井 一夫 1944年中国鞍山市生まれ、日本大

される。 THIS IS AN EXHIBITION FEATURING WORKS BY KUMI YOKOYU, WHO HAS ARRIVED AT PHOTOGRAPHIC EXPRESSION WITH A PROFOUND KNOWLEDGE OF PAINTING AND SCULPTURE. SHE HAS CREATED A GROUP OF WORKS WHILE FACING THE LOSS OF THE PERSON CLOSEST TO HER, HER GRANDMOTHER, AND THE DEEP SORROW THAT ENSUED, UNTIL HER ACCEPTANCE OF THIS IN A VERY PERSONAL WAY. THESE WORKS ARE EXHIBITED ON THE SECOND FLOOR OF THE FORMER KAMIYA DENBEI INAGE VILLA, ORIGINALLY BUILT FOR PRIVATE USE. からっぽを着る There Once Was 2013 Direct print ©Kumi Yokoyu 真冬のお

IN VISUAL COMMUNICATION DESIGN). THE "MANDA-LA" PROJECT IS SOMETHING USAMI BEGAN AT ART SCHOOL AND WHICH HAS EVOLVED FOR OVER 20 YEARS. EACH INDIVIDUAL PHOTOGRAPH FEATURES A CENTRAL FIGURE, ALL OF WHOM COME FROM DIFFERENT REGIONS AND STANDPOINTS, AND THEN DISTRIBUTED IN THEIR ENVIRONS ARE THE PEOPLE AND THINGS THAT EXPRESS THE WORLD OF THAT PARTICULARLY FIGURE, JUST LIKE THE FORM OF A BUDDHIST MANDALA PAINTING. MASAHIRO USAMI 宇佐美 雅浩 会場施工協力：株式会社東京スタデオ そごう千葉店の9階

捉えた作品群が展示される。 RINKO KAWAUCHI DOCUMENTS FRAGMENTS OF A NEW LIFE IN CHIBA, ALONG WITH THE GROWTH OF HER CHILD, FROM GIVING BIRTH IN 2016 AND RAISING THE CHILD SINCE. AMONG THESE FRAGMENTS ARE THE BEAUTY OF NATURE AND LIGHT THAT HER CHILD MEETS THROUGH THE CHANGING OF THE FOUR SEASONS, SMALL CREATURES THAT HER CHILD FINDS IN EVERYDAY LIFE, AND THE CHILD’S FIRST ENCOUNTER WITH DEATH—THE BEAUTY OF LIFE THAT DWELLS IN THOSE SMALL THINGS, AND THE DAYS THAT ACCUMULATE WITH THAT AWARENESS. THESE PHOTOGRAPHS AND VIDEO WORKS

TOKYO BAY COAST, TAKEN IN THE WINTER OF 1992 WITH A LARGE FORMAT CAMERA; BOUNDARIES IS A SERIES EXPLORING “BOUNDARIES” AS ITS THEME, THE EXHIBITED PHOTOGRAPHS SHOT IN AND AROUND CHIBA CITY, INCLUDING INAGE. SATO’S WORK IS OF A MYSTERIOUS DEPTH, ACHIEVED BY COMBINING MULTIPLE SPACES, EMERGING FROM CLIFFS THAT ONCE FACED THE SEA, AND AT VARIOUS TIMES WITH THE CHANGING SEASONS. EXHIBITED IN THE HISTORIC SPACE OF SAYADO HALL, THESE SERIES PROVIDE A UNIQUE VIEW OF THE WORLD. Boundaries ©Shintaro Sato Geography ©Shintaro Sato SHINTARO SATO 佐藤 信太郎 1969年、東京に生

HUNDREDS OF DAGUERREOTYPES AND RESEMBLING A FOLDING SCREEN, STRETCHING HORIZONTALLY. EACH DAGUERREOTYPE RECORDS A FRAGMENT OF LANDSCAPE, RANDOMLY SELECTED FROM PHOTOGRAPHS TAKEN BY THE ARTIST ALONG THE EASTERN COAST OF JAPAN BETWEEN 2010 AND 2021. TOGETHER, THESE ARE ABSTRACTLY COMPOSED TO FORM A LANDSCAPE IN SERIES. IT IS AN EXPRESSION THAT REMINDS THE VIEWER OF A PICTURE SCROLL IN WHICH COEXIST DIFFERENT TIMES AND SPACES. THE DAGUERREOTYPE PROCESS, PREDATING THE REPRODUCTION TECHNOLOGY OF MODERN PHOTOGRAPHY, FIXES THE IMAGES TO MIRROR-LIKE SURFACES. THE VIEWER IS REFLECTED IN EACH OF THESE, GIVING THE IMPRESSION THAT HE OR SHE HAS ENTERED