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『Notes in Ukraine』写真集

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写真集『Notes in Ukraine』

2月24日から始まったロシアによるウクライナ侵攻
空襲警報の鳴る戦時下で
「それでもつづく日常」と「忘れたくない感情」の記録——

シャッターを切るたびに襲われる、恐怖に近い感情。それは、これまで自分自身が持ってきた、脆弱な思想や観念が丸裸にされるような感覚だ。それらがあまりにも無防備で、簡単に曝け出され、引きずり出されてしまう、そんな恐怖に囚われる。それでも、その感覚を少しでも残したいとも思う。(「まえがき」より)


すれ違う人々とそれぞれの記憶。フィクションのような、記録ノートのような写真集です。

撮影期間 2022年3月、5月、9月
キーウ、リビウ、チェルノフツィ、イバノ=フランコフスク、イルピン、ブチャ、ポロディアンカ、ハリコフ、フラコヴェ、イジューム、バラクリヤ、オデーサ、ドニプロ……

この写真集は、東京を拠点に活動する写真家・児玉浩宜が2022年、3月、5月、9月の計3回、約70日間にわたり、戦時下のウクライナで撮影した作品集です。釣りをする親子、スケボーやDJパーティーを楽しむ若者をはじめ、いわゆる「戦争写真」ではない、でもたしかに戦争真っ最中のポートレイトや風景が写っています。まだ終わりの見えない戦争が続くなかで刊行する、ある作家の私的なノートのような写真集です。(編集者より)

●著者プロフィール
児玉浩宜 Hironori KODAMA
1983年、兵庫県生まれ。写真家。NHK報道カメラマンとしてニュース番組やドキュメンタリーを制作。のちにフリーランスの写真家として活動。香港民主化デモ発生時から現地で撮影。2020年、香港デモ写真集『NEW CITY』、2021年、デモで使われたバリケードなどを撮影した『BLOCK CITY』を発表。

ブックデザイン・・・Koto Otawa
協力・・・髙橋健太郎
編集・・・圓尾公佑

一般発売・・・2022年12月17日 発売
サイズ・・・B5変形(246×182ミリ) 192ページ
定価・・・本体3,500円+税
出版・・・イースト・プレス

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Introduction

I was blankly staring at the slanting light coming through the window. It was already late afternoon. I was in Kharkov, a city in eastern Ukraine. It was the third time I had visited Ukraine since the Russian invasion. My fuzzy head tried to recall what had happened so far, but I couldn’t concentrate very well. The memories were hazy and indistinct. The wind was freezing cold and dry, and the ground was muddy with melted snow. The country is so vast. Suddenly, the windows shook and I heard an explosion. At the same time, the car alarm went off loudly as the explosion triggered a malfunction. A Russian missile must have landed.
I raised my heavy body and picked up my helmet and bulletproof vest, which I had taken off. Counting the films left in my bag, I went down the stairs. One of the employees at the canteen counter asked me if I wanted something to eat. I didn’t have much of an appetite for the past few days. When I said no, she laughed and said, “We were just talking about you, saying you must have seen God because you haven’t eaten anything for two days.”
I wondered where the missile had landed. I looked around at the sky and reflected on the path I had taken and the people I had met. I move from town to town, talking to people I meet. And, if they allow me, I take photos of them. I just keep doing that. When I tell people I’ve come from Tokyo, most of them say, “You've come a long way.”
A fire engine ran in front of me with sirens blaring. I caught a taxi that was waiting for a customer, and got in the passenger seat. “Take me to where the missile landed,” I told the driver, and he immediately drove off.
The city center seemed almost deserted. From the car window, I could see apartments and commercial buildings that had been destroyed a few days earlier. Here, the news, with its maps and numbers explaining the war situation, seemed incredibly distant. Now the painful and sad situation was right in front of me, and I was continually asked to be prepared to accept it. And every time I clicked the shutter, I was struck by an emotion close to fear. It was a feeling as if the vulnerable thought and ideas I have held until now were completely exposed. I was seized by the fear that these thought and ideas will be easily revealed and dragged out for what they were. Yet, I also wanted to preserve some of that feeling.
The taxi went a few blocks, turned a corner, and I immediately saw black smoke rising from an apartment building. The missile landed closer than I had expected. When I thanked the driver and got out of the car, I was surrounded by the unmistakable smell of burning buildings. But this was not the same fire scene I had covered so many times before in Japan. Suddenly, I tried to remember my days in Tokyo. I tried to pull up images from afar, but they didn’t come together. I gave up recalling them and walked over to where the firefighters were putting out the fire.
The other day I heard that a mass grave of more than 440 people, probably massacred, had been found in the forests of Izyum, a town far from Kharkov in the south-east of the country. The conditions must be unimaginable. How could I get there? This country is too big to tour alone. I gave up thinking about it and started to wade through the smoke.

Photograph and text_Hironori KODAMA
Book design_Koto Otawa
Editorial cooperation_Kentaro Takahashi
Editer_KosukeMaruo
Translater_Yuna Okawachi

Release_2022/12/17
Size_246×182mm 192 pages
Price_¥3,500+tax
Publishing house_EAST PRESS

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