• Home

“The actual process of taking the photographs was rather spontaneous and instinctive, with openness, curiosity and incessant, acute observation being a decisive part of it. I tried to avoid over-thinking, or over-staging the photographs, prioritising the spontaneous, visceral response. Working outside the firm constraints and following the impulse instead of religiously chasing one theme or taking the beaten aesthetic path – those are the prevalent motifs in my work ethics. The phase of selecting and editing the imagery, as well as making the design-related decisions was far more structured, though even then, I was guided by the gut feeling and the emotional taking over the rational.”

The Persimmon’s Fruit by Nat Urazmetova (2/4)

“Exhibitions are important to me, because everything that will be turned into a book, should also be possible to be experienced in a physical way. I want to use this book to record the wonderful stories, which the people I’ve visited and interviewed told me, so that they won’t get lost. Everything will be documented and archived.

The hardest part in the creation of a book is to melt together the collected material and the photos’ casting so that it becomes a story. I work with Sybren Kuiper, a book designer. It is always an exciting process. An artist’s book is more for me than the ability sheer ability to turn pages. The kind of paper is highly important. The whole examination is supposed to be a sensible act. For this, I admire the books from artists like Yoshihiko Ueda, Rinko Kawauchi and Duane Michals (with his witty handwritten texts alongside his pictures).”

Charkow by Ellen Korth (4/4)

“I know almost nothing about my mother. She was always very quiet and never told me anything about her origin. She destroyed her past. When I was a little girl, I found a suitcase in a cupboard in our hall full of half-torn off photos. As soon as I asked my mother about the suitcase it was gone. She let everything from her past disappear. My mom came from Charkow, that’s basically all I know. Two years ago, when I was occupied with this book, I tried to gather information about her, sadly I wasn’t able to find anything. Maybe she even changed her name? Even that is still not clear for me.”

Charkow by Ellen Korth (2/4)

Rie Hijikata 34, an office lady at a company in Hiroshima. 42m from the epicenter of the a-bomb explosion.

“We can feel free about anything in life. We don’t have to think about the A-bomb either. But I tend to do. Maybe because I feel something in my DNA. I don’t know.”

HIROSHIMA 2015 by Kentaro Takahashi (5/5)

Kentaro Yamaguchi 19. 4km from the epicenter of the a-bomb explosion.

A university student part time working at a gasoline stand. “Hiroshima is comfortable. Even though I would like to see other cities, there would probably not be any reason to go out from Hiroshima.”

HIROSHIMA 2015 by Kentaro Takahashi (3/5)

“‘The Persimmon’s Fruit’ is a photographic travelogue about Japan, there’re also some words included in the book. My intention was to tell a visual, somewhat poetic, story about traveling to Japan without showing any recognizable tourist hot spots, exposing clichés, making the statements or objectifying anything. From the very beginning, I wanted the images to communicate the opposite of the sensual overload which is present in Japan, especially in the metropolitan areas, – something quieter, perhaps, more introspective, yet nevertheless diverse and engaging.”

The Persimmon’s Fruit by Nat Urazmetova (1/4)

“I wanted to ask people what homeland means to them? Their house, their garden, their lives, their partnership? I talked to people in my neighborhood and visited these people for a long time during their regular days. I took part in their lives. I wanted to show the joy in people’s way of living. How happy they are with the place where they live. And why this place is their homeland.”

Charkow by Ellen Korth (2/4)

“Charkow is about the search for a sense of belonging with in its center my mother and her secrets. My mother fled during the Second World War from the Ukraine through Germany to Holland.

Everyone has roots. Everyone is nurtured by the ground from which they grow and in which they flourish. The town, the region, the country. The scent in the air, the taste of the earth. The color of the trees. And maybe, more importantly, the family you grow up in. Even if you move houses every year, you bring the soil that nurtures your family with you. Soil into which your roots can grow deeper and deeper as you grow older. Except…while everyone may have roots, not everyone has soil. Some people’s roots aren’t in soil but on the ground, in a thin layer of earth to camouflage the hard ground underneath. That’s the kind of person I am.”

Charkow by Ellen Korth (1/4)

Fumiya 82 and Miyoko Ikeda 80. 2.3km from the epicenter of the a-bomb explosion.

Fumiya’s father used to work at the a-bomb dome, which used to be called the Hiroshima Prefectural Industrial Promotion Hall back in August 6,1945.

“My father was working on that day. When we experienced the explosion, our house(about 2km from the epicenter) was almost gone in a split second, the window glass cutting our skins. Once things got settled, we evacuated in a temporary shelter. After a few days my mother went back to the hall to find our father but he couldn’t be identified. What remained was a SWISS made watch that my father used to wear, found at the dome. Now it is being exibited at the memorial museum.”

HIROSHIMA 2015 by Kentaro Takahashi (4/5)

At the Hiroshima Central Park. 664m from the epicenter of the a-bomb explosion.

It was said 70 years ago when the bomb was dropped that there will be no nature that will grow in Hiroshima for over 70 years.

“This work HIROSHIMA 2015 was held in the 70th year after the atomic bomb was dropped in 1945. The whole project was initially given to me as an assignment from Marie Lelievre, a photo editor from Le Monde. I also had the interest in Hiroshima since I had been doing some personal work called the ‘The Imagining’ from 2014, which is about what Japan experienced during the WW2. The title ‘HIROSHIMA 2015’ was a reference from a photo book called ‘HIROSHIMA 1958’, Photographs taken by Emmanuelle Riva, a French actress who came to Hiroshima in 1958 for a film shoot named the ‘Hiroshima mon amour’. During her stay with her medium format film camera, she walked around Hiroshima for about a week before her film shoot. Her photographs are all in black and white but it’s very clear and you can observe the reconstruction process in the summer of Hiroshima in it’s 13th year after the crisis. She was able to communicate through the lens with the pedestrians, and the portraits along with the landscape images of the Hiroshima in that time brings a somewhat nostalgic feeling. I have kind of walked on the path of her steps by taking photographs in the summer of Hiroshima in 2015 with color photographs taken by medium format films. Also, my stay in Hiroshima was a week as well which brings something close to Emmanuelle Riva’s vision.”

HIROSHIMA 2015 by Kentaro Takahashi (2/5)