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秦 裕典


-New Matter-





1981年 鳥取県生まれ




I have a slight feeling of unease when looking at Hiromichi Hata’s series New Matter. Context is devoid as he shifts between detailed images of natural and synthetic textures; a constructed paper cup pyramid; a pool of red, smoky water; we as viewers are left to piece together the story, a story that entices me to want to see more.

Patricia Karallis (Paper Journal Chief Editor )賞

此谷内 遙介

-There is no place, just like this place.-





1985 石川県生まれ

2007 神戸芸術工科大学卒業

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太田 睦子 (IMA エディトリアルディレクター)賞 ​









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It was not an easy choice, but in the end, my preference fell on Kohxi's work. The image of a human body that faces the nature of Alaska introduces the theme of the following pictures as well as creating a reference, not excessively veiled, to portraits the romantic era artistic production referring to the Kantian, imponderable formulation of the "sublime" and enlightening the author's relationship with nature. The parallels between natural landscapes and human interiors, the repetitions, the doubled portraits produce an oblique narration unveiling the discovery and the relationship with new places, in a way which is more intimate than simply illustrative: one has the impression of witnessing the quiet modulation of an impenetrable subjective emotional register through substitution and allegory mechanisms. The formal intelligence, the surprise in the combinations, the recognizability in supporting a range of lights and intriguing chromatic give the series an ulterior motive of interest.


Francesco Tenaglia (Mousse Chief Editor )賞

川谷 光平



これまでに作品集"Figure Ⅰ"、雑誌「広告」や「STUDIO VOICE」など。



1992 島根県生まれ



2019 Tofu-Knife at sinrin301(Tokyo)

2018 Mizaj~within you without you~ at TAP gallery(Tokyo)

2017 Between sea to mountain at sinrin301(Tokyo)

2016 TOKYO FRONTLINE PHOTO AWARD NEW VISIONS #03 at G/P gallery Shinonome (Tokyo)

STUDY TEN at WDI. Gallery (Tokyo)

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During the judging process, I kept going back to Kohei Kawatani's work and the way that he presents his images as non-linear juxtapositions and sequences in his books and installations, to create a very dynamic process of signification for the viewer.  I like the way that images are like a language or code in Kawatani's hands - a lexicon of photographic beauty and visual pleasure, bordering  on the fetishistic, and with a hint of wry irony. I think Kawatani's use of photographs is an expression of possibilities: to be able to knowingly shape the subjects that intrigue him, conscious of the heritage of the imagery into which he enters, and calling for us to see through the pictures that we already know.


Charlotte Cotton (Curator,Editor) 賞

船渡川 一郎





1975年 千葉県生まれ 

1999年 日本大学農獣医学部食品経済学科卒. 


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These images manage to transcend everyday life in mysterious and subtle ways. The mystery begins with the scenes that are pictured, where it is not at all clear if they are staged or simply found that way. For example, in one photograph there are two cats lying parallel to one another on a street and both are looking in the exact same direction. In another, we see four pairs of shoes arranged behind a parked police car. What makes the works even more interesting is that it remains ultimately unclear what these images ultimately “want,” what kind of alienation they aim for. Usually, alienation is about the creation of distance, but here the inverse happens, where instead affinities arise, a new kind of humanity. On a formal level, they are very well composed and some of them beautifully cropped. Compared to the other entries, these stand out because they manage to achieve their very own visuality.


Rita Vitorelli (Spike Chief Editor)賞

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