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Lemagny:

I first heard of “ New Cosmos of Photography” one and a half years ago. I thought this could be a valuable project with the participation of French photographers, and I hope it will continue in the future. As for the 11th photography competition, I found there are about 30 applicants all of high caliber. It was difficult for me to select just one.

Araki:

Participants seem to have submitted their best work. I really appreciate the effort that everyone put into the entries, which seems to so free of constraints. It seems that it is the mood of Spring! I especially liked HIROMIX who, as high school student aged 17, was willing to try anything and everything. The younger generation has tremendous flexibility.

Nanjo:

The works of HIROMIX impressed me as well. This is the first time so many different works attracted and interested me.

Iizawa:

This is a good sign for the future of “New Cosmos of Photography.” The number of applicants has not decreased at all, and we are all convinced about the potential of this project. As Mr. ARAKI stated, the entries have become more diversified, and I feel that is a favorable sign. The power of these various works and styles will expand the photographic horizon in the future. It is interesting to note that there are many “ Daily Nude” works here that involve the private lives of boys and girls.

Lemagny:

This is a good time for me to comment on the beauty of the Japanese woman portrayed in these photographic works. I can understand that the photography of naked women is a blooming theme in the Japanese photographic scene at this moment. In Paris, two or three years ago, I was shown a lot of photographs of immigrant workers, and more recently involving AIDS.

Araki:

I am glad Mr. LEMAGNY has joined us this time. He picked “Light and Shadow” and “Graduation and Contrast,” which are the absolute foundations of photography. Therefore, the screening committee has a good balance. I, myself, have ignored “Light and Shadow.”

Lemagny:

I have always appreciated how light functions on a print. In this case, Ms Patricia Gabas presented an excellent work, for she captured the light in an empty sky marvelously.

Araki:

Mr. LEMAGNY, I think your have never wavered in your criteria for judging. I try not to insist on a single criterion every time. I simply try to encourage the participants in various ways. For example, I try not to only admire talented people, but also those who present their works uniquely. We need to constantly keep an open mind and the flexibility to accept new works.

Iizawa:

I have noticed that very many women are actively participating and even after winning prizes they continue photographing.

Araki:

Photography itself has to have masculinity, but women appear to have more masculinity than men these days.

Nanjo:

Men tend to think about how their work will be regarded, and care about what people think of them.

Araki:

That is the reason why men are not able to make excellent works decisively. The final impression seems to be weaker with something missing.

Iizawa:

Women have become more direct and powerful. I wish men would make a greater effort to express themselves. How is the situation in France, Mr. LEMAGNY?

Lemagny:

I always feel a lot of respect for women in general, but I thought there were extremely few who were truly gifted as artists. Now I have to change my opinion. The creativity of men and women appear to be equal. Last year I organized an exhibition at the Bibliotheque Nationale de France which covered 107 photographers, and a good deal of them were women.

Iizawa:

This appears to be a trend on an international level.

Lemagny:

A women who has a sensitive, warm, and gentle heart can make a dynamic and powerful work equal to any man’s, and vice versa. I find it very interesting.

Araki:

This time the entries lack enthusiasm. Somehow they appear to be too serious. Their feelings are kept neat and tidy.

Asaba:

Really? This is relatively a large-scale photo contest, isn’t it? I am impressed that so many entries are spread all over this large hall.

Nanjo:

As a whole, the scale of the works became smaller, and challenging or adventurous works decreased. Also, the contents are mainly about the personal world. Moreover, there are many back-views and dark prints. Probably, it is a reflection of the present state of the Japanese society. They may be useful in that they indicate “the realities of Japan after the economy bubble burst,” but even in that case, I would expect to see something more positive and powerful. In other words, I appreciate works that impress us with strength, powerful personalities, and spirit.

Araki:

Nozawa’s “Mother’s Drawer” is good, because they are photographed perfectly from above. What is good in itself should be photographed properly as it is.

Nanjo:

It is interesting to see how her mother’s role is expressed in each article. There is consistency; some photos are taken on tatami mats with close attention to details. She is well matched with Peter Beard or Anselm Kiefer. I’m curious about what is under the photos, and in spite of myself I can’t help feeling like reading the letter, for example.

Araki:

A collection of such photos should be interesting. I would spend a whole day looking at them. What is most important is her love of her mother. It is obviously shown without knowing.

Nanjo:

Right. Besides, it is not nostalgic and yet is very powerful. The current state of Japan is depicted well, and the historical aspects, time frames, and Japanese common life as well. They provide the verification of an age. As they contain a lot of information, they give us pleasure from reading the photos.

Asaba:

Fifty years have passed since the end of the war, and this year marks a turning point. I think that all the records of fifty years are packed into this work. Although they are copies of facts photographed in a matter-of-fact way, they contain many different matters such as time and space, so they are worth photographing. It is a little surprising that there are few photos of this kind. Very interesting. That’s what only photography can deal with. Different people have different drawers. Scary and interesting. Next time I would like to see her father’s drawers. What about making them a series?

Araki:

The work makes me think intensely. At a glance, the composition is careless and without intention, but rather that way makes them look more attractive than a carefully prepared composition. Therefore, we need no designer. I think that installations have decreased recently. Photography has come back to paper after all. When they try to arrange their works neatly or in an installation, their energy level goes down. It is what we should be careful about. Design and editing make works appear average, and so uninteresting. In photography, a jam session with the photographed subject will result in the most interesting work, I think. At the time of presentation, it might be a good idea, as A·R·T Puff does, to try to forget about the photographic paper. At the time of looking at it, too, there is a pause for playfulness, and it makes some difference.

Asaba:

When we look at a photo, we usually see only its flat surface. A tree bearing photos so that we can see all around it is delightful. Each photo is very good, too.

Nanjo:

But I think it is too comprehensible. There should be some mysterious part to make viewers say, “Let me see—what is it?”

Iizawa:

Sanai’s work, which Mr. Asaba selected, shows taut, clear photos. They lead us to think again about what photography is. They are restrained but powerful.

Araki:

There is a beginning and ending, and it’s complete. Quiet and tasteful. Typical happiness and typical unhappiness. The artist is searching for something deep in the inner part. I am searched for by the viewer.

Asaba:

His viewpoint to photograph ordinary Japanese scenes with his camera set on a tripod is good, I think.

Iizawa:

The scene looks similar to those we see everywhere, yet it is mysterious. I wonder what instincts he has to find such a place.

Araki:

You don’t walk, do you? You have to. Shibahara’s India shows the right approach to photography.

Nanjo:

I have visited India several times to take pictures. I think I can take pictures like some of hers. I feel like competing with her.

Asaba:

It is difficult to take photos of India. We can even smell this work. Is it because of curry?

Araki:

The photos are good, and the curry looks good too.

Iizawa:

Her work informs us that she gets to different places spontaneously and takes photos freely. Colors, too, are subtly controlled and beautiful. This time, partly because the number of entries has decreased, there are few powerful photos, but the works have become unassuming or rather steady and sound. Those who try to respond to the judges’ preferences and watch for a chance have been chosen. That’s desirable. As this photo contest has continued for four years so far, it has become mature to some extent. At the same time, younger entrants are joining, and I’m pleased to see the contest is well balanced.

Araki:

The young people take pictures of a particular air in a sense of rock or rap music. In recent years, youth has become a specific pattern. Don’t misunderstand. I don’t mean to say that blurred or out-of-focus photos prove youth. In my case, I’m actually skillful, but take photos unskillfully. Young people have such needs in their bodies. In fact, there is a clear boundary between those who want to be successful and those who assume a “so what! I don’t need to be good,” attitude. Whichever the attitude may be, photographing requires a lot of energy. It is interesting that each of the four works chosen this time show different energies and ideas about photography.

Asaba:

I enjoyed selecting those fine works. I’m working as a contest judge nearly every week, and whenever good works are chosen, I feel happy. From now on, I’m sure the winners of the contest will be taking an active part in this field.