とても好き、尊重している長島有里枝 @ 「I’m So Happy You Are Here」 (follow up) NAGASHIMA Yurie — someone I deeply admire and respect @ "I’m So Happy You Are Here" (follow up)
This is part 2, the continuation of “とても好き、尊重している長島有里枝 @ 「I’m So Happy You Are Here」”
https://art-culture.world/reviews/happy-you-are-here-nagashima-yurie/
To enter the reading flow, I hereby re-post the last chapter of my text:
I will now continue with my thoughts on the essay by curator TAKEUCHI Mariko titled “Dissident Women.”
In addition to photographers such as MORI Mariko (who will have a major retrospective next month at the Mori Art Museum in Tokyo), NINAGAWA Mika, and KATAYAMA Mari, Takeuchi focused primarily on the following four photographers: YANAGI Miwa (who recently focussed on famous novelist, from a ‘Buraku’ background, NAKAGAMI Kenji), NAGASHIMA Yurie (my favorite artist), TAWADA Yuki, and SHIGA Lieko.
She noted that these women’s works understand, utilize, and have expanded the medium of photography as a method of expression and an evolutionary process, not only opening up new genres but also positively fostering an awareness of self-reflective analysis rooted in their own life experiences.
This form of artistic practice had not been presented to Japanese audiences in a way that they would have taken for granted. Which, of course, is a scandal.
Another representative quote from Takeuchi’s essay.
“However, hardly anyone in the male-dominated media and art worlds, long accustomed to the idea of women as mere photographic subjects, appreciated the novelty of their work. Critics, most of whom were men, dismissed their art under the rubric of onnanoko shashin 女の子写真 or “Girly Photo”, assuming that work produced by young women must inherently be immature – Nagashima’s included. In 2011, after this experience, Nagashima enrolled in graduate school at Musashi University in Tokyo, where she studied feminism. Her book “‘Bokura’ no ‘onnanoko shashin’ kara watashitachi no sari foto e” (From their ‘girl’s photography” to our Girly Photo, 2020), which was based on her master’s thesis, examines the dominant cultural discourse of that time and points out the fundamental flaw in entrenched ideas of gender that underpin much of her work.” (page 58)
Demonstrating exceptional curatorial insight — and fully aware of the risk that a critical analysis might appear too one-sided — Takeuchi has explored the central theme of the “condizione umana” through the work of Japanese female photographers. For this, she deserves all of our respect and admiration.
In closing, here is the final paragraph of her superb essay.
“Being a woman is not always foregrounded in these works. In some cases, such as Nagashima’s, it is deepened through an engagement with feminism. In others, such as Yanagi’s, womanhood overlaps with other societal and cultural contexts in complex ways. For Tawada and Shiga, womanhood seems to be internalised in the ritualistic nature of their production processes to commemorate other people. The second common thread among these artists is their preoccupation with themes concerning th roots of human life and community. Through a dialogue between photography and other art forms, they examine the conflicts and difficulties of being a woman and a human being, the importance of listening to memories of others, and repeated encounters with history. These two thematic and conceptual commonalities are always interrelated and present, forming a kind of loop. For these women, the practice of deviating from photography is precisely for the sake of this kind of complex, multivalent thinking.” (page 64)
Following the text by TAKEUCHI Mariko, the bulk of the book—spanning pages 68 to 282—is dedicated to “Artist Portfolios.” This can truly be hailed as a *capo di lavoro* (a major achievement). Hats off.
Naturally, one might question any given stance taken by these photographers: is this “art,” or is it merely “photography”? At what point can an expert determine whether a particular body of work qualifies as “artistic photography” or not?
This dilemma is multifaceted and must be understood within its temporal context. Furthermore—and I feel compelled to emphasize this—it also concerns the woman / female / gender-related photographer’s own attitude and, or, artistic practice.
Is it necessary, within the genre of photography, to draw a sharp line—to drive a wedge—between “artistic photography” and “socially engaged documentary photography”? Especially when talking about the very important, social movement, liberating Feminism. Which concerns, of course, men, too!
26 main portfolio artists should be featured in this Aperture photo book, however Hiromix had been left out. 26 photographers had been exhibited in Europe.
• HARA Mikiko (原 美樹子)
• ISHIKAWA Mao (石川 真生)
• ISHIUCHI Miyako (石内 都)
• KATAYAMA Mari (片山 真理)
• KAWAUCHI Rinko (川内 倫子)
• KOMATSU Hiroko (小松 浩子)
• KON Michiko (今 道子)
• NAGASHIMA Yurie (長島 有里枝)
• NARAHASHI Asako (楢橋 朝子)
• NINAGAWA Mika (蜷川 実花)
• NISHIMURA Tamiko (西村 多美子)
• NOGUCHI Rika (野口 里佳)
• NOMURA Sakiko (野村 佐紀子)
• OKABE Momo (岡部 桃)
• OKANOUE Toshiko (岡上 淑子)
• ONODERA Yuki (オノデラ ユキ)
• SAWADA Tomoko (澤田 知子)
• SHIGA Lieko (志賀 理江子)
• SUGIURA Kunié (杉浦 邦恵)
• TAWADA Yuki (多和田 有希)
• TOKIWA Toyoko (常盤 とよ子)
• USHIODA Tokuko (潮田 登久子)
• WATANABE Hitomi (渡辺 眸)
• YAMAZAWA Eiko (山沢 栄子)
• YANAGI Miwa (やなぎ みわ)
Not included in the “Artist Portfolios”
• Hiromix (ヒロミックス)
……
In Tokyo, these 4 photographers had been added:
IMAI Hisae (今井 寿恵)
IWANE Ai (岩根 愛)
FUJIOKA Aya (藤岡 亜弥)
YONEDA Tomoko (米田 知子)
Following the “Artist Portfolios,” the “Illustrated Bibliography” section begins on page 285. It is a truly fascinating compendium of gems! The seven-page text by Marc Feustel and Russet Ledermann offers a broad overview, peppered with a few anecdotes that really catch one’s attention. While the sources for this text leave some questions unanswered, it serves its purpose well enough as an introduction.
Since I will be discussing MATSUMOTO Michiko shortly, I need to archive the following quote here—as I find it an affront, speaking as a feminist (coming from West-Berlin in the 80s). I hope that translation errors are what led to this “misunderstanding.”
Page 290: “Nomura Sakiko, who became Araki’s assistant in 1991, published her first book during this time, a collection of male portraits and nudes titled ‘Hadaka no heya’ (Naked room, 1994). While some interpreted her work as a deliberate feminist reversal of the male gaze, Nomura is reluctant to accept this reading or attribute any specific sociopolitical meaning to her work, a stance shared by many other women photographers who do not identify with Western notions of feminism.”
As previously emphasized, the “Illustrated Bibliography” section constitutes an exceptionally valuable archival resource—not least with regard to the emancipation of Japanese women. On pages 306 and 307, my friend, late YOSHIDA Ruiko had been featured. To be honest, I was very disappointed not to find her among the 30 selected female photographers.
Following quotes from my text on YOSHIDA Ruiko.
“Writing a pleasant posthumous memoir about someone who was very close to you presents many difficulties because of its complexity.
Ruiko was perhaps the idiot in her bourgeois family because she moved away, traveled alone to New York and fought, also as an activist, against discrimination. If the world is hell, we are damned from birth, she said. Damned, ergo condemned and lost to happiness.
For Ruiko, it was about asserting freedom in the face of objective lack of freedom.
Fighting, educating, documenting the movements for total emancipation, instead of retreating into insincerity/sarcastic attitudes towards the own people.
Ainu, Okinawa, Black People, Women’s Lib, Jane Fonda.
Ruiko maintained her socially committed, humanistic loyalty until the end of her life; her motto was always an expression of emancipated freedom and sincerity.
I stayed for a short time in her wonderful, spacious house in Setagaya. It was nice and cozy, naturally smoking a joint and having sex.
Her very special, intelligent way of communicating was an educational experience for me. She exuded an immensely attractive personality aura that I greatly admired about her.”
from:
マイ フォース ガールフレンド 吉田ルイ子 My Fourth Girlfriend YOSHIDA Ruiko
https://art-culture.world/cultural-essays/my-fourth-girlfriend-1988/
As KUSAMA Yayoi died 2 months ago, let me archive the quote by Dexter Thomas, from 17th of September 2026, IG.
“Yoshida Ruiko, a Japanese photojournalist who was living in New York around the same time as Kusama, later published ‘Hot Days in Harlem’ 1972, which shows, through images and words, Black Harlem in all its complications. We see Harlem’s joys and sorrows, and notably, we see Black women. Kusama generally does not speak of or depict Black women, and instead focuses on Black men, their lips and genitals, slyly bragging about the orgies she says she saw in Harlem. Anyway, there is a difference, and it’s important. So, please – if you see someone using Kusama’s written work to make blanket statements about Japanese racism, ask them to stop, for their sake. They’re closing themselves off to a world of really cool stuff.”
On pages 312 and 313, MATSUMOTO Michiko is featured; like YOSHIDA Ruiko, she also chose New York as her photographic subject. I bought her excellent book, *Portraits of New York Women*, in Japan around the same time—see the attached photo. (To be fair, I have to mention also the body of work by male photographer ENARI Tsuneo 江成常夫, who published in 1975 “100 American Families In New York” / “Black family living in slums”.) With her sensitive, confidence-inspiring portraits, Matsumoto captured the spirit of the times in New York from the 80s. For this, she deserves my highest praise! The fact that she plays a pioneering role in Japanese feminism with her series “Women Come Alive” must be strongly emphasized once again in 2026! The white censorship bar should not be present in the original book.
The final chapter of the book is devoted to “Selected Readings.” It is a well-organized compendium with historical and photographic value regarding the emancipatory development of Japanese women. SHIMA Ryu is worth mentioning here as an excellent example. Given the focus on the role of women in Japan’s Confucian and feudal-oriented society, this chapter consistently features the analytical perspectives of Japanese women. I would have liked to see one or two contributions from male photo-historians as well.
Furthermore, important and influential aspects such as women’s literature (YAMADA Eimi, TAWADA Yoko, ITO Hiromi, KAWAKAMI Mieko, KANEHARA Hitomi), Feminists like UENO Chizuko, feminist curators like KASAHARA Michiko (plus KATAOKA Mami, HASEGAWA Yuko), women’s music, women’s contemporary artistic practice, women’s manga (including ero-grotesque エログロ), women’s anime/game creators (including female Otaku), women’s fashion designers, women entrepreneurs, women politicians (especially from the Communist Party), women military and police officers, female TALENTOs, women’s films and video works, women producers of documentaries, women (photo-)journalists, women’s architects, women’s dance and women’s plays are missing. (If the term “女流” (joryu / female) in the Japanese literature genre 女流文学 (Joryu Bungaku / Women’s Literature) carries ― or implies ― a discriminatory or harassing connotation, as suggested in this book, I would like to respectfully disagree.) The word 可愛い “kawaii,” which has long been used daily, especially by Japanese women, and is deeply rooted in their thinking and mentality, is also absent from these photographic and analytical essays. A disastrous component for the writing practice, analysis, social commentaries in this book, as the word “kawaii” is globally accepted and well known.
I doubt that “all male” Japanese photographers are chauvinists (or misogynists). Social sensitivity and an empathetic attitude are the foundation of good photography. Of course, if you don’t understand the technical aspect, you won’t be respected. If you are holding the camera wrongly, you will be ignored.
Then there’s the problem of self-censorship when it comes to sensitive, provocative, politically relevant topics. Here — and I’m happy to accept criticism for this — there is a gender issue.
I also press the shutter button without asking when it’s necessary in the context of contemporary socio-political history! Being close, with a 28 mm lens. That has to happen in the blink of an eye.
Whether my camera is then snatched out of my hand (North Korea), or my hair is yanked from behind (South Korea), or I’m asked to delete the photo (Japan) — it’s all of secondary importance. In the world of photography, there’s no such thing as a second time or a second chance. Now or never. This is the crucial, wild, animalistic, irreverent, anti-social impulse that I often — to put it “clichéd” — miss in female photographers. (So, here comes the shitstorm, which leaves me cold.) I’ll say it again: I hate self-censorship in photography! Your empathetic nature shines through, as you are able to analyze, decode, and look ahead at a situation. This is where art is created! That magic moment, when history is being made!
Said that, photographing in a studio, in your room, can be obviously regarded as a different (artistic) context.
Today is 21st of October 2026.
In the meantime, here on ART＋CULTURE I published the following:
洗練されていてユーモアがあり、穏やかな声の持ち主でありながら、鋭い知性も備えていた黒井千次。R.I.P.
KUROI Senji — sophisticated, humorous, and possessing a gentle voice, yet also endowed with a sharp intellect. R.I.P.
https://art-culture.world/cultural-essays/kuroi-senji/
한국 보이밴드 방탄소년단 (BTS) 의 리더 RM x SFMOMA: ‘Between You and Me’ @ 샌프란시스코 미술관
한국 보이밴드 방탄소년단(BTS)의 리더 RM은 샌프란시스코에서 펼친 큐레이터 활동에서 성공을 거두었을까?
https://art-culture.world/art-world/rm-sfmoma-between-you-and-me/
建畠晢、大田秀則、高倉功 (養子) 。草間彌生の為の「お別れの会」を、そろそろ開いてもいい頃ではないでしょうか。待っているぞっ。
TATEHATA Akira, OTA Hidenori, TAKAKURA Isao (Kusama’s adopted son) —isn’t it about time to hold a “farewell gathering / memorial service” for KUSAMA Yayoi? We are waiting!
https://art-culture.world/art-world/yayoi-kusama-owakare-no-kai-memorial-service/
安田侃 傑作個展ー心がかたちにふれるとき @ ShugoArts 東京
Outstanding KAN YASUDA Solo Exhibition ― When the Mind Meets Forms @ ShugoArts Tokyo
https://art-culture.world/reviews/kan-yasuda-shugo-arts/
Today is 24th of October 2026.
Yesterday the death of novelist MURAKAMI Ryu had been officially put on news.
In the context of feminism: Can Murakami be called a Japanese chauvinist? He did not write to comfort his readers or uphold traditional values. If he is called a chauvinist, it is typically by critics who believe his graphic depictions of sexual violence reproduce the very harms they aim to critique. However, for many feminist theorists, his work remains a vital, unblinking expose of Japanese patriarchy’s underbelly—proving that the monsters in his books are a direct product of a chauvinistic society, rather than an endorsement of it.
「クリトリスにバターを 」。村上龍さん、あなたが書くスケールの大きい人騒がせな小説が大好きでした。あなたのような世紀の遊び人は当分現れないでしょう。あの世でも色々やらかしてくれると思いますが、ひとまず中上さんによろしく。 (島田雅彦)
“Butter on the Clitoris”. Ryu Murakami, I absolutely loved those large-scale, scandalous novels you wrote. A playboy of the century like you won’t come along again for a while. I’m sure you’ll stir up all sorts of trouble in the afterlife too, but for now, please give my regards to Nakagami. (SHIMADA Masahiko)
https://art-culture.world/cultural-essays/murakami-ryu-shimada-masahiko/
Today is 27th of October 2026.
A very risky, without fear and being free and independent, writing from my side today. Active as an artist, based in Tokyo, you may imagine the echo, feed-back in the Japanese art scene.
日本のギャラリーはものすごいストレスを抱えている。日本の現代アートギャラリー・トップ 29 (2026年)
Japanese galleries are under extreme stress. Contemporary Art Galleries from Japan, Top 29 (2026)
https://art-culture.world/art-world/japanese-galleries-extreme-stress-top-10-2026/
And I reposted this, around the same age, fuckin’ Sensei (Maestro), who became as painter a Person of Cultural Merit.
SENJU Hiroshi is the trope of fucked-up Japanese society.
右翼っぽい千住博が我が国の現代アート史を駄目にしているファッキンセンセイ
Right-wing-ish SENJU Hiroshi is ruining the history of contemporary art in our country, fuckin’ “Sensei”
https://art-culture.world/art-world/hiroshi-senju-japan-art-千住博/