top of page


Uma Kinoshita × Ryuichi Yahagi


KG+ Kyoto 2019.04.30tue → 05.12sun

ギャラリーマロニエ5F Open 12:00-19:00 sun-18:00 Closed mondays

〒604-8027 京都市中京区河原町通四条上る塩屋町332 TEL:075-221-0117

GALLERY MARONIE 5F 332 Shioya-cho, Shijo-agaru, Kawara-machi Dori, Chuo-ku Kyoto Prefecture TEL:075-221-0117

EMON Tokyo 2019.03.01fri → 03.30sat

​東京都港区南麻布5-11-12 B1F Open 11:00-19:00 sat-18:00 Closed sun,holidays

Togo Bldg. B1,  5-11-12 Minami-azabu, Minato-ku, Tokyo JAPAN



この春EMONでは、写真家・Uma Kinoshitaと、美術家・矢作隆一による二人展を開催する運びとなりました。それぞれ異なる分野で活動する二人のアーティストは、時間を経たその痕跡に触れるように、2011年に起こった東日本大震災とそれに伴う福島第一原発を題材に作品を制作しています。本展『pairing FUKUSHIMA』はこの二人の創作活動に着目し、アーティストの視点から見えてくる福島の過去、現在、そして未来への想いを写真と彫刻を通じて交差させるものです。





                                                                                                                                                                                                                                                                                                           EMONディレクター 小松整司


This spring, EMON will hold an exhibition with photographer, Uma Kinoshita and artist Ryuichi Yahagi. Although the two are based in different art genres, the two work on projects which focuses on the remain effects of the Great East Japan Earthquake and the Fukushima Daiichi Nuclear Power Plant incident. This collaboration exhibition entitled “pairing FUKUSHIMA” will present their body of work which shows documentary photography and stone sculptures. Through this collaboration, thoughts towards the past, present and future on Fukushima will cross over.

Uma visits Fukushima three years after the disaster, and she photographs landscapes within a strict composition through monochrome film. In this exhibition, 14 pairs of photographs and texts will be printed in gelatin silver technique on hand-screened paper which has a history of over 1000 years made in Fukushima prefecture. In comparison Yahagi’s “Moseki” which are stone sculptures actually curved by hand to copy a stone which was originally made by nature will be presented in the center of the gallery. The original stone was picked in Namie-cho and Tomioka-cho in Fukushima and the copy was curved with a stone picked up close to the only nuclear plant in Mexico.

Several ‘pairs’ could be seen within the exhibition. Texts by Uma are a dialogue and sculptures by Yahagi are curved as if to warm up the stone in his palms. Prays and thoughts of the two artists living beyond the sea shall interact. The exhibition is not a message for standing against nuclear power energy, but is aimed to re-think the responsibilities of our generation for the future, whether time has passed after the disaster. The exhibition will be first shown in Tokyo Hiroo and then will travel to Kyoto as a participating program of KG+, Kyotographie International Photo Festival 2019.


EMON Director, Seiji Komatsu 


Uma Kinoshita






Uma Kinoshita


Self-taught photographer.

Born in Hyogo prefecture. Based in Tokyo. From 2015, she has been producing hand bind classic Japan style photo books.

Original prints on traditional hand screen paper will be available in an limited edition of 5 for "In Silence and In Sorrow series" and an limited edition of 3 for "Homeland series".






Ryuichi Yahagi

Based in Mexico. Artist. Born in 1967, Kawasaki prefecture Graduated from the Kanazawa College of Art, department of sculpture in 1995. After graduation, moves to Mexico. Holds several solo, group shows and workshops.

In Silence and In Sorrow 制作について







Regarding “In Silence and In Sorrow”

After the Great East Japan Earthquake, I constantly visited Fukushima. In that location where time just passed by, people were busy working around to handle the massive disaster. Besides that, the remains of the land stood quiet and calm. To stand in that place, I felt a breaking through sorrow within the wind which was a voice from somebody and from some were. The only thing I could do is to press the shutter of my camera thus to nod towards this sorrow. These photographs were printed at first on general paper, but I realized that the landscapes appeared too smoothly in the prints. After a couple of examinations, I decided to print the photographs on Japanese traditional hand-screened paper produced in Fukushima, I thought this special paper might hold on and express those thoughts I couldn’t  bear by myself. As a conveyor, I wanted to be invisible, I just had to deliver those feelings falling on and piled on each land.

Later I found out this hand-screened paper, "Kamikawasaki-washi" which had a history of over 1000 years in Fukushima Prefecture. The print results were more than I had expected. Every time I printed, I got different results with a kind of improvisational nature. It seems as if the atmosphere of the land revealed through the prints.

I hope there is something beyond the surface that reaches the viewer. I hope this heart breaking sorrow will gently reach your heart.

「模石」 いしから学ぶこと



I Learn from the Stones, “Moseki”.


Imagine a rough stone torn away from the earth. Through a long period, the stone is washed in the river and heads towards the sea. Some stones crash away and disappear, and some stay stuck in a particular place. Countless numbers of stones interact and clash with each other and they go further within the flow. When the stone reaches the sea, the rough texture is smoothened through this long journey, it is wet with a numb glow. When I see a stone on the shores, I even feel it quietly breathing with their eyes closed. Image what a stone might think in front of the huge ocean.

We notice that stones are always close to our lives、some are used as tools from ancient times and some are believed in a ritual reason. Some are admired by their unique color or shape. I guess a stone has a power that attracts people. I walk by the shore or river and pick up pieces of stone. Whether at first, they appear quite similar, I recognize each stone has its own expression, and you can’t find exactly the same stone. Depending on the location, form, color, pattern, weight, and texture are all different.

After the Fukushima Daiichi Nuclear Power Plant incident, I visited places close to nuclear power stations that restarted in Japan. I chose some stones which I picked up at the seasides of Namie –Cho and Tomioka- Cho in Fukushima and I copied and curved out its form with another stone.

To copy a stone is to observe and think of a huge amount of time, it is to imagine the stone’s experience with the earth and several things which is much longer than human’s life. As a result, it is about to face me standing here on the same ground. I guess I am learning through the experience of curving a stone.


Uma Kinoshita


Ryuichi Yahagi

bottom of page