Yokohama, the city in which I live, is home to a great many monuments. They are not particularly imposing, but they will tell you about an object or event that once occupied their space, claiming: “That-has-been”. These monuments tell a local history and are a source of municipal pride.

But should you read their inscriptions, you will find that Yokohama has been the birthplace of a multitude of similarly described newspapers and parks, the identities of which struggle to make themselves known. Read “Japan’s First” here and “First Japanese” there. With a slight change of phrase, Yokohama’s monuments claim various origins. 

It is at this point that editing becomes clear. It accompanies the visualization of invisible history as record. Nobody can directly perceive history, which perhaps explains why historical facts get displayed when they are convenient or why people can have different claims about a shared past. The relationship between editing and historical record that is found in monuments is analogous to that which is found in the medium of photography, and both seem to be correlated. Photographs tend to be thought of as recording apparatuses that directly visualize their objects as indexical signs. And yet without captions, it becomes difficult to determine their subject. And when photographs are manipulated or presented arbitrarily, the editing that comes with their recording becomes strikingly evident.

“Retouch” is a series that presents photographs of various monuments as objects of this visualized history and omits their retouched inscriptions. Through recording monuments and the editing process, I aim to take the history of humanity as recording and editing and fix it in images.




Posted in <a href="" rel="category tag">photography</a>, <a href="" rel="category tag">未分類</a>