AWARE : Archives of Women Artists, Research and Exhibitions


AWARE : Archives of Women Artists, Research and Exhibitions

Yuki Onodera
Japanese photographer.

After graduating from the Fashion Design Department of the Kuwasawa Design School in Tokyo, Yuki Onodera began teaching herself photography, which went on to become her main medium of expression. When she won the 1st New Cosmos of Photography Award by Canon Inc. in 1991, her works were praised for their “value as enigma”. Although her photographs have often been considered unrealistic, enigmatic and obscure, what is even more important in her photographic explorations on multiple levels is a certain “physicality” that photography can transform and reconfigure, generating textures and impressions of objects, rather than the bizarre act of mixing up and inserting different contexts from a variety of original, varied objects, similar to the Surrealist method of dépaysement(disorientation).

When Y. Onodera moved to Paris in 1993, the solo exhibition of Christian Boltanski (1944–2021), Dispersion, was being held at Quai de la Gare, Paris. In the work from which the exhibition borrowed its title, Boltanski had piled up a large quantity of partially torn second-hand clothes as a monument to the Holocaust. When Y. Onodera went to see the work, she carried a bag to take away many of these clothes, thereby giving birth to her renowned work, Portrait of Second-hand Clothes (1994). This series of works is composed of second-hand clothes that seem to stand in front with the sky and floating clouds behind them. The grey tone covering the whole picture presents a sharp contrast between the front and back, evoking the presence of the person who is supposed to be wearing these clothes. In the front, the clear, tactile texture of the fabric evokes both the absence and presence of the person, while at the back, the blurred image and distant sky alludes to the majestic flow of time that extends beyond that person, or the immeasurable sense of time accumulated on that individual’s shoulders. As the artist remarked, the timing of the shooting for each piece required her to wait until she felt as if a figure had evaporated into the air. This process seeks to revitalise each person from these mass piles, as well as to use photography as an apparatus to evoke the textures of memory, even if unbeknownst to the viewer.

Combining different kinds of physicality into a picture is possible only if we know the image of the textures of things captured in photography: as Roland Barthes said, a photograph essentially points to and repeats something that “has been”, which comes across differently, as a “failure,” rather than depicting something as it seems. Y. Onodera continues to apply this methodology to many series. In How to Make a Pearl (2000–2001), a glass marble installed in a camera creates shadows in photography, making it seem as if a strange white object is floating above people gathering in the darkness, while in Liquid, TV and Insect (2002), an image of an insect collected from a TV broadcast is juxtaposed with another of some spilled, paint-like liquid that resembles the shadow of the insect. In Transvest (2002–on going), a photomontage of existing images taken from magazines and newspapers is turned into a silhouette through stage-like backlighting. Eleventh Finger (2006–on going) depicts a person’s face covered and hidden by papers perforated in a lace pattern that seems to have been attached through the photogram process, creating another photographic layer from the scene that was shot. In Study for “Image à la sauvette” (2015–on going), acrylic paint on a printed photo that seems to spill out from distorted plastic bottles is combined in a photograph whose transparent but existing bodies are only recognizable through reflections of lights.

In addition to these creative distortions of how photography usually operates, achieved by inserting different kinds of physicality into a picture, the size of the printed image in Y. Onodera’s work fulfils an important function, regardless of whether it is small or large a point demonstrated by Muybridge’s Twist (2014–on going). Alluding to the English photographer Eadweard Muybridge (1830–1904), who in the late 19th century captured the movements of running horses and walking people in serial photographs, Y. Onodera collaged various parts of human bodies and some of animals, creating an image in which a person seems to be dancing the twist. In a print on a larger scale than the human body, over 300 × 200 cm, the eerily blended parts create the impression of a twisted sculpture, rather than the sequential movements of a figure. When assembling images, she enlarges original images taken from fashion photos, and cuts and collages them in a similar size to the final product. The size of the outcome is significant in terms of how it imbues viewers with an overwhelming sense of power, as well as how another kind of physicality associated with photography affects the result in the process.

Y. Onodera continues to show new series in her recent solo shows, such as La clairvoyance du hasard in 2022 at Centre de la photographie de Mougins, France, and in the same year, Here, No Balloons at Ricoh Art Gallery, Tokyo. Her major solo exhibitions include Yuki Onodera, Décalages in 2015 at Maison Européenne de la photographie, Paris, Thousand Mirror in the Forest in 2014 at La Maison d’Art Bernard Anthonioz, Nogent-sur-Marne, Gravity-defying photography in 2011–2012 at Musée Nicéphore Niépce, Chalon-sur-Saône, Onodera Yuki: Into the Labyrinth of Photography in 2010 at the Tokyo Metropolitan Museum of Photography, and Onodera Yuki in 2010 at The Museum of Photography, Seoul.
She received the Award of the Ministry of Education and Culture, Japan, and the 27th Grand Prix of the Higashikawa Prize in 2011. Y. Onodera also won the Prix Niépce in 2006 and the 28th Ihei Kimura Award in 2003.

Junya Utsumi

Translated from the Japanese by Darryl Jingwen Wee.

A biography produced as part of the “Women Artists in Japan: 19th – 21st century” programme.
© Archives of Women Artists, Research and Exhibitions, 2024


Sha Shin Magazine vol.3 SPELL

Sha Shin Magazine

For Yuki Onodera, whose style has been to create photographic works based on clear concepts, it must have been a challenge to leave things to chance in a sense. However, Twin Birds, which depicts the process of gluing sticks together one by one to create a sculpture that incorporates many accidental elements, reveals that the viewer's cultural background dominates the way he or she sees things. As Onodera himself has expressed similarly, for those who understand Chinese characters, the first photograph evokes the character for "body", which is an ideographic character. This is a thought process that is unique to the ideographic Kanji culture and perhaps not to the alphabetic culture.

On the other hand, Darkside of the Moon can be interpreted as an attempt to break the circuit of information that is almost automatically processed and understood by the eye-brain relationship when the viewer sees an image more universally, regardless of his or her cultural background. In each of the three photographs, the middle portion is cut into a square and replaced with another photograph. This series was also shown in the solo exhibition "TO Where" held at Yumiko Chiba Associates in Tokyo from September to October 2020. However, many other collage works, such as "Muybridge's Twist," were also exhibited at the same exhibition, and the composition of this exhibition makes us want to interpret it in that context.

On the other hand, the pairing of "Twin Birds" with "Muybridge's Twist" can be interpreted in a different way, as a problem of our thought process to understand the aforementioned images. From this point of view, it can be said that the relationship between imagination and language is inseparable from the issue of language and the appreciation of photography.

Spell: Words as Supporters of Images - A Cross Section of Photography and Words in Contemporary Photography
Excerpt from Uchibayashi Shun

Translated with www.DeepL.com/Translator


Sha Shin Magazine vol.3 SPELL

Kikuji Kawada
Naohiro Utagawa
Yuki Onodera
Yoko Kusano
Seiji Kumagai
Chieko Shiraishi
Gozo Yoshimasu
Publication: January 20, 2023
Specifications: A5 size, deformed
List price: 2,700 yen (excluding tax)
Publisher: Fugensha
Production: PCT, LLC

Photo Magazine "SHASHIN" vol.3 Spell Publication Commemorative Exhibition

Naohiro Udagawa / Yuki Onodera / Yoko Kusano / Seiji Kumagai / Chieko Shiraishi / Gozo Yoshimasu

Tuesday, January 24 - Sunday, February 19, 2023
Tue-Fri 12:00-19:00
Sat. and Sun. 12:00 - 18:00
Closed: Monday

Venue: Communication Gallery Fugensha
5-3-12 Shimo-Meguro, Meguro-ku, Tokyo 153-0064, Japan
TEL:03-6264-3665 MAIL:info@fugensha.jp


PHOTO ART 3 vol.407

韩国摄影杂志《PHOTO – ART VOL. 407 / 2023.3》发表了一篇关于在理光美术馆展出的作品《这里,没有气球》的文章。

韓国の写真雑誌 PHOTO • ART VOL. 407 / 2023.3 にリコーアートギャラリーで展示した作品『Here, No Balloon』についての記事が掲載されました。

PHOTO ART 3 vol.407
PDF Download

VOL. 407 / 2023.3
The Monthly Photo Art Magazine, Korea.

월간 「사진예술」 2023년 3월호

일본 리코 그룹에서 운영하는 도쿄 긴자 소재의 리코 아트갤러리에서 자사가 개발한 2.5D 프린팅 기술과 사진예술을 접목한 흥미로운 전시를 최근 선보였다. 프랑스를 거점으로 활동하는 일본작가 오노데라 유키가 그의 은염프린트 작업에 리코의 StareReap 2.5D 프린팅 기술을 접목시킨 사진 전시 (2022.3.19.~4.9)를 연 것이다. 전시장에는 높이 2m 남짓한 등신대의 흑백 은염 사진이 7장 연작으로 전시되었다, 자세히 보면 은염 입자가 선명히 보이는 대형 흑백 포토 콜라주 위에 StareReap 2.5D 프린터로 출력한 수십장의 컬러 이미지가 마치 물감을 두텁게 칠한 듯 덩어리째로 포진되었다. 1900년 초 파리 광장을 찍은 한 장의 사진에 착안한 작가는 사진 속에는 있지만 더 이상 현존하지 않는 풍선 모양의 브론즈 모뉴먼트를 주제화하여 동일한 화면에 현존하는 것과 한때 존재했지만 부재한 것의 공존을 은염 프린트와 2.5D 프린트로 재현하고자 한 것이다. 파리광장의 현재 모습은 흑백 사진으로, 과거에는 광장의 중앙을 점했지만 이제는 사라진 풍선 모뉴먼트는 2.5D 프린터가 출력한 이미지 덩어리로 재현되었다. 오노데라에게 사진이 여전히 손으로 조작할 수 있는 물질적인 것, 현존하는 것을 기반으로 한 무엇, 그리고 현재의 시간을 의미한다면, 그 위에 도포된 StareReap 프린트는 현존하지 않는 것을 소환시킨 기호이자 부재와 다양한 시간성이 혼재한 무엇을 의미했다. 이 두 매체 간의 차이를 인지하고 둘 간의 충돌과 융합을 한 프레임 안에서 의미화시킨 그의 신작은 결국 동일한 기계매체임에도 상이한 기원을 품은 사진의 속성과 그 구분된 용례를 되짚은 사례다.

이처럼 최근에 기업이 개발한 기술력과 사진예술을 접목시킨 일련의 시도는 이미지 패러다임의 변화를 도모하자는 원 목적과는 달리, 기존에 사진을 둘러싼 다양한 층위의 정의와 접근법, 시각의 차이와 그 진폭을 다시금 실감케 한다. 끊임없이 지각 변동하는 사진에 어떻게 접근하고, 사진의 어느 속성에 주목하느냐에 따라 상이한 기술과의 접목을 활용하는 태도나 시각이 매우 다르게 표출된다는 점이다. 사진을 둘러싼 웅성거림이 기술매체인 사진과 또 다른 기술이 만나 전례 없는 예술의 창작을 도모하는 일 가운데 더 다채롭고 소란하게 그 진동을 키운다.

일본 리코 그룹이 예술 창작자들의 작업 구현에 실질적으로 필요한 기술을 개발하고 지원하기 위해 조성한 아트 플랫폼 브랜드다. 현재까지 2.5D 프린팅 기술을 비롯해 2D, 3D 프린팅, 스캐닝 기술을 개발하고, 예술 창작에 지원하고 있다. https://starereap.ricoh.com/
웹사이트의 ‘ART WORKS’ - ‘Photo Creation’ 페이지에는 StareReap의 혁신적인 기술들이 사진가들로 하여금 사진의 평면성을 벗어나게 해준다는 비전을 제시하고 있다.


日本のリコーグループが運営する東京銀座所在のリコーアートギャラリーで、自社が開発した2.5Dプリンティング技術と写真芸術を融合させた興味深い展覧会が最近披露された。 フランスを拠点に活動する日本の作家オノデラユキが、彼女の銀塩プリント作品にリコーのStareReap 2.5Dプリンティング技術を融合させた作品展(2022年3月19日~4月9日)を開いたのだ。 展覧会場には高さ2m余りの等身大の白黒銀塩写真が7枚連作で展示された。よく見ると銀塩粒子が鮮明に見える大型白黒フォトコラージュの上にStareReap2.5Dプリンターで出力した数十枚のカラーイメージがまるで絵の具を厚く塗ったようにレリーフ状に描画されている。 1900年初め、パリの広場を撮った一枚の写真に着目した作家は、写真の中にはあるが、もはや現存しない熱気球のブロンズモニュメントをテーマに、同じ画面に現存するものと一時期存在したが、不在のものの共存を銀塩プリントと2.5Dプリントで再現しようとしたのだ。 現在のパリの広場の姿は白黒写真で捉えられ、過去には広場の中央に据えられていたが、今は消えてしまった熱気球モニュメントは2.5Dプリンターが出力したカラー・イメージの塊で再現された。 オノデラにとって写真は依然として手で操作できる物質的なものであり、現存するものを基盤とした存在、そしてそれが現在の時間を指し示しているならば、その上に塗布されたStareReapプリントは現存しないものを召喚させた記号であり部材と多様な時間性が混在した世界を意味している。 この二つの媒体間の違いを認知し、二つの間の衝突と融合を一つのフレームの中で意味化させた彼女の新作は、結局同じ機械媒体であるにもかかわらず、異なる起源を抱いた写真の属性とその区分された用例を振り返った事例だろう。

このように企業が開発した新しい技術力と写真芸術を融合させた一連の試みは、単なるイメージパラダイムの変化を図ろうという本来的な目的を越え、既存の写真を巡る多様な解釈と定義、そのアプローチ、視覚のギャップによる幅広い可能性を再び実感させた。 つまり絶えず地殻変動する写真にどのように接近し、写真のどの属性に注目するかによって、異なる技術との融合を活用する態度や視覚が強いコントラストを持ってここに表出されるという点なのだ。 写真を巡るざわめきが、技術メディアである写真が更に別の技術に出会うことにより前例のない芸術が創作され、さらに多彩で騒々しくその振動を大きくしていた。

1 日本のリコーグループが芸術クリエイターの創作実現化に必要な技術を開発、提供し支援するために作られたアート・プラットフォーム・ブランドだ。 現在まで2.5Dプリンティング技術をはじめ、2D、3Dプリンティング、スキャニング技術を開発し、芸術作品の創作を支援している。 https://starereap.ricoh.com/
ウェブサイトの「ART WORKS」-「Photo Creation」ページではStare Reapの革新的な技術が、写真家たちに写真の平面性という枠を外させてくれるというビジョンが確認できる。


EXIT #89 – Motion

EXIT #89 - Motion

"Birds"_Yuki Onodera


EXIT #89 - Motion

Yuki Onodera-The choreography of flight
Marta Sesé
“Fly, my pretties! Fly! Fly!” In the final battle of the 1996 animated version of The Hunchback of Notre Dame, the gargoyle Laverne – the wisest gargoyle of them all – assembles an army of doves and launches them at the soldiers. One of the film’s recurring gags is Laverne constantly trying to shoo away birds who see her as a perfect roosting spot. Staying in Paris and very close to Notre Dame, but going back to 1225, there lived a sculptor who worked on the cathedral’s construction and had two pet doves. Legend has it that the sculptor was outside one day when the house fell to the ground, trapping one of the birds in the rubble. The other managed to escape but never flew away, bringing seeds and water from the Seine every day. In response to the trapped bird’s plight, the local residents cleared the rubble and freed it, with the two doves quickly reunited. The legend lives on today. The street upon which the sculptor’s house stood is called Rue de la Colombe (the French word for “dove”) and bears a commemorative plaque upon which can be seen a mid-relief image of a dove in flight. Who has not thought of what doves might achieve if they actually organised themselves one day?
A series by the France-based Japanese photographer Yuki Onodera, Birds also has Paris as its backdrop. Taken in 1994, his photographs portray flocks of doves suddenly taking flight close to the window of his apartment in Montmartre. The superimposed extended wings of the birds take up a large part of the frame, creating a dramatic and almost violent sense of movement that is accentuated by the choice of black and white. In some of the images, the bodies of the birds merge with a grey, cloudy sky. In others, there exists a strong contrast between figure and background.
The position and posture adopted by the birds reveal that they have no intention of flying at a great height or travelling a great distance. The idea is to move quickly, to get up and back down again at speed so they can find somewhere else to loiter, amid a crowd.
As we can see in the various works shown in this issue, birds are a perfect means for experimenting with photographic techniques for capturing movement and the possibilities of composition. In Onodera’s case, we can detect the enjoyment the photographer took in creating the series: the playful framings – some full, others empty – the varying degrees of sharpness that create a wealth of textures; bodies that are well-defined because they are so still and wings that are blurred because they are moving at high speed. Birds is, in short, an early work by Onodera that explores the choreographic and dramatic possibilities of the act of flying and which, together with other projects of the same period, such as White and Sphere, allow her to develop his technique and define a series of motifs, movement among them, that continue to feature very prominently in the artist’s later works.

Editorial: Rosa Olivares. Nobody move!

Texts: Carlos Gollonet. Photography and movement

Central theme artists: Greg Anthon, Harold Edgerton, Sanna Kannisto, Jacques Henri Lartigue, Helen Levitt, Etienne-Jules Marey, Duane Michals, Eadweard J. Muybridge, Nicholas Nixon, Yuki Onodera, Thomas Ruff, Ricardo Sánchez, Hans-Christian Schink, Jonathan Shaw, Corinne Vionnet and Michael Wesely

Portfolio artists: Miia Autio, Mark Duffy, Maria Jou Sol, Douglas Mandry and Simone Sapienza

EXIT #89 - Motion

Editorial: Producciones de Arte y Pensamiento, S.L.

Year: January / 2023

Language: Spanish / English

Pages: 144

Format: Rustic with cover

ISSN: 1577-2721

Reference:  771577272008-89


立面 | Yuki Onodera 有机·奥诺黛拉 – Part I~IV

立面 | Yuki Onodera 有机·诺黛拉 Part I:缺席的表象,或对元图像的志向


立面 | Yuki Onodera 有机·诺黛拉 Part II对话艺术家


立面 | Yuki Onodera 有机·诺黛拉 Part III对话策展人


立面 | Yuki Onodera 有机·诺黛拉 Part IV:将身体融入我们的世界体验中



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