記憶・不在・まなざしの構造を探る。
写真というメディアを通じて、空白と応答の条件を問う。
A photographer exploring the structures of memory, absence, and the gaze.
Through the medium of photography, Taisuke Sato questions the conditions of blankness and response.
Through the medium of photography, Taisuke Sato questions the conditions of blankness and response.
私の写真は、何かを伝えるためではなく、「伝わらなさの構造」に触れるための行為である。
たとえば、母の写真の中に立つ私の姿は、彼女のまなざしとともに過ぎ去った時間そのものである。
その過去の中で、私は静止しているようでいて、どこか別の時間へとずれていく。
その過去の中で、私は静止しているようでいて、どこか別の時間へとずれていく。
写真というメディアは、表現のいれものである以前に、「空白を構造化する記号装置」として機能する。
私はそこに、自身の不在や空虚を投影しているのかもしれないし、逆に、そこにしか“自己”を確認できないのかもしれない。
私はそこに、自身の不在や空虚を投影しているのかもしれないし、逆に、そこにしか“自己”を確認できないのかもしれない。
私のまなざしは、記録ではなく構造に向く。情動ではなく距離を写す。答えではなく、応答の発生条件を見貫く。
My work does not seek to convey something; rather, it engages with the structure of what resists being conveyed.
For instance, the figure of myself standing within a photograph taken by my mother is, in itself, a reflection of the time that has passed, as well as her gaze. In the past, I appeared to be still, yet I am drifting into another temporal dimension.
Photography, before being a vessel for expression, functions as a semiotic apparatus that structures absence. Perhaps I am projecting my void into it—or possibly, only within it can I recognize myself at all.
My gaze is directed not toward documentation, but toward structure; not toward emotion, but toward distance.
It seeks not answers, but the conditions under which a response arises.
It seeks not answers, but the conditions under which a response arises.
Mon travail ne cherche pas à transmettre un message ; il s’engage plutôt avec la structure de ce qui échappe à toute transmission.
Par exemple, ma silhouette dans une photographie prise par ma mère incarne le temps passé, inséparable de son regard. Dans ce passé, je semble immobile, mais en réalité je glisse vers une autre temporalité.
La photographie, avant d’être un support d’expression, fonctionne comme un dispositif sémiotique structurant l’absence. Peut-être que j’y projette mon propre vide — ou peut-être qu’il n’y a que là que je parviens à percevoir mon “moi”.
Ce qui m’intéresse, ce n’est pas l’enregistrement, mais la structure. Non pas l’émotion, mais la distance. Non pas la réponse, mais les conditions d’apparition de toute réponse.
Meine Arbeit versucht nicht, etwas zu vermitteln, sondern sie beschäftigt sich mit der Struktur dessen, was sich der Mitteilung entzieht.
Zum Beispiel ist meine Gestalt in einem Foto, das meine Mutter aufgenommen hat, selbst die vergangene Zeit, verbunden mit ihrem Blick. In dieser Vergangenheit scheine ich stillzustehen, und doch bewege ich mich in eine andere Zeitdimension.
Die Fotografie ist weniger ein Medium des Ausdrucks als vielmehr ein semiotisches Gerät, das Abwesenheit strukturiert. Vielleicht projiziere ich meine eigene Leere hinein – oder vielleicht kann ich mich nur darin überhaupt erkennen.
Mein Interesse gilt nicht der Dokumentation, sondern der Struktur. Nicht dem Gefühl, sondern der Distanz. Nicht der Antwort, sondern den Bedingungen, unter denen eine Antwort entstehen kann.
What was tormenting me? This is the story of my depression-escape, when I arrived at my view of impermanence by taking a step back and quietly reexamining the causes of my difficulty living in Japanese society. Japanese society has a high suicide rate, with many overworked and exhausted people and single-person households. In recent years, laws regarding mental health have finally been established, but many people are still screaming in pain. While some people desire their happiness and are in the midst of it, others only feel the emptiness of the word “happiness”. Others suffer from painful emotions like loneliness, lack of love, loss, alienation, depression, and jealousy. When people are trapped in endless, barren emotions, their vision becomes narrowed. Without realizing it, they choke on themselves, always lamenting about their unhappiness, pushing people away, and letting the feeling of wanting to die take over their minds. However, the world is a "representation" of what we see, and depending on what perspective and will we have, we can see the world differently. In order to make this possible, I take a social psychological approach to the events I see in my photographs, and find their relationship to society. The idea is to have a social point of view, rather than a first-person perspective. This means recognizing diversity, allowing people to be as they are, and feeling that everything in the world is fragile and beautiful. I believe that this “Acceptance of Impermanence” and a conscious shift in perspective to the Japanese aesthetic of “MONO-NO-AWARE” is the path to human happiness.
Taisuke Sato
KOUFUKURON - Eudaemonics
Taisuke Sato
€42.00
1. Edition 4/2023
Texts by Taisuke Sato
Edit by Mauro D'Agathi
Book design by 89books
56 pages
31,5 x 22,5 cm
36 color photographs
Soft cover
1 20x30 cm signed color print included
Digital print
ISBN 979-12-80423-34-4
Taisuke Sato
€42.00
1. Edition 4/2023
Texts by Taisuke Sato
Edit by Mauro D'Agathi
Book design by 89books
56 pages
31,5 x 22,5 cm
36 color photographs
Soft cover
1 20x30 cm signed color print included
Digital print
ISBN 979-12-80423-34-4
