Category Archives: exhibition

白を追う──菊地信義

白を追う
菊地信義

── 平出隆の装幀『伊良子清白全集』(岩波書店)への菊地信義による批評文。2016年秋、«TAKASHI HIRAIDE—-AIRPOST POETRY» 展(国際交流基金トロント日本文化センター)で展示。

白を基調とした装幀が書店に溢れているが、これほど大胆かつ繊細に白をあやなした装幀をついぞ見たことがない。

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白という色の印象におもねることなく、白という色の見え方を巧妙に巧んだ装幀。函から表紙、見返しから扉へ、その白を追う。

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函は麦藁の繊維の細片を漉き込んだラフな風合いの紙張り。全面明るい灰色でベタ刷り。

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タイトルは光の角度で金とも銀とも取れる(色を感じさせない)メタリックの箔押し。

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それにルビのように添えた欧文は白の箔。ラフな紙へ圧をきかせた押しで、文字から箔がはみ出し、滲んだ白。

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その下へカット風にあしらわれた船舶のスクリューとおぼしき写真。灰色の地へ黒の抜き合わせ。スクリューのハイライト部分が微妙な白みをかもし出す。

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背は平と同じタイトル、下に巻数と篇名が黒で記されているのだが、その間を仕切る細く短い横罫が白抜き。そこにだけ生かされた紙の白。それは同時に閉じ込められてある紙の白をイメージさせもする。

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函に付された帯は青黒い紙に文字がオペークインクのくぐもった白。

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そんな異なる白の間合いに逸(はぐ)れた心を函から覗く本の白い背が惹き付ける。

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継ぎ表紙の背が微細な革しぼ感の純白のクロス。

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タイトルと巻数字だけがメタリック箔、他のすべての文字は空押し。滲んだ白も、くぐもった白も失せ、クロスのあっけらかんとした白が強調される。

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表紙(平は紗のような布で1巻は青、2巻が茶)を開くと、見返しは縦に細かな毛布目の走るファンシーペーパー、

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色はクロスと同じ純白。

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函や帯の屈折した白の有り様を無化するような白の放逸。

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扉から口絵へ、上質紙や塗工紙と紙質や触感は変わっても変わらぬ白。

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追った白に追われるように目が留まったのは、詩歌篇とだけ記されたクリーム色の本文一頁目。

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八百頁の束を崖の際から大海を見る、そんな思いで見つめたものだ。

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船影は見えぬが近づく音がある。

 

『装幀思案』(角川学芸出版 2009年刊)より
©Nobuyoshi Kikuchi

Chasing the Tones of White ── Nobuyoshi Kikuchi

Chasing the Tones of White
by Nobuyoshi Kikuchi

—review by a prominent book designer of Japan for Takashi Hiraide’s book-design of Irako Seihaku Gesammelte Werke (Iwanami Shoten) 
as an exhibit at the exhibition «TAKASHI HIRAIDE—-AIRPOST POETRY» at The Japan Foundation Toronto in the autumn of 2016

Of all the book designs based on white colour tones seen at bookstores, I have never seen a book design where white tones are used as boldly and delicately as this.

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This design doesn’t pander to the general impressions of white – instead, it cleverly exploits the ways white tones are perceived by us. Opening this book is like chasing the different tones of white from the box to the cover to the flyleaf to the first title page.

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The box is covered with rough-textured paper, into which flecks of straw fibre are mixed. The entire surface is printed with a solid coat of bright gray ink.

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The title is foil stamping, which can look like gold or silver – you don’t feel the presence of colour – depending on the angle of the light.

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The German text is white foil stamping, placed to the side as if it indicated the reading of the Japanese title. The white foil, imprinted onto the rough-textured paper, bleeds off the edges of the letters, making for a slightly blurred white tone.

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Under that lies a clipart-like photo that looks like a ship propeller – a black knockout on a background of gray. The highlights on the propeller create a subtle white.

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On the spine, the same title, volume number, and title of the compilation from the front panel are printed in black, and between the volume number and the compilation title is a thin and short white line, which is the original colour of the paper used. It is the only place where the colour of the paper comes to life. This, at the same time, evokes an image of the colour of white paper that is confined.

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The obi, or the strip of paper wrapped around the box, is of bluish black paper on which letters are printed in a muted white tone, using opaque ink.

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And when your mind is at a loss among all the different whites, the white spine of the book within the box catches your attention.

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The overrun spine is of pure white cloth, which has a feel of wrinkled delicate leather.

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Metallic foil is used only for the title and the volume number and all other letters are blind-embossed. The bleeding white and the muted white fade away, and the blunt white of the cloth is emphasized.

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When you open the book cover (of cloth-like gauze; the first volume is blue and the second volume is brown), you find the end sheet, which uses special paper with thin vertical felt marks.

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The colour is also pure white like the cloth.

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This self-assertion of white seems to nullify the previous distorted whites of the box and the strip.

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From the first title page to the frontispiece, the same white continues unchanged while the quality and texture of the paper changes with the type of paper, such as wood-free paper and pigment-coated paper.

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I’ve been chasing whites – but I now feel chased by them as I lay my eyes on the creamy white of the first page, which only says Poems.

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I gaze at the bulk of the next 800 pages as if I were seeing the ocean from the edge of a cliff.

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Although I have yet to see the ship, I hear the sound of it approaching.

from Sotei-Shian, Kadokawa-gakugei Shuppan, 2009
©Nobuyoshi Kikuchi

展示解説《菊地信義と平出隆》

展示解説《菊地信義と平出隆》
«TAKASHI HIRAIDE—-AIRPOST POETRY» 展のうち  2016 at the Japan Foundation Toronto

菊地信義(1942-)は1970年代半ばに登場して、それまでの文芸書の装幀のあり方を一新した現代日本の代表的な装幀家。その手法は、作家の意識に即してそのテクストを深く読み込み、多彩な図像構成や、実験的タイポグラフィーを駆使して、かつては出版社が担っていたプロデュースの部分をさえ、デザインの中に取り込もうとする。積極的に作家の意識に関わるという意味で、彼はときに編集者以上に編集的となり、批評家以上に批評的となった。ブックデザインの後続世代に大きな影響を与えて今日に至る。
1976年、装幀家デビューを果す直前の菊地信義は編集者でもあり、第一詩集を刊行する直前の、学生詩人であった平出隆(1950-)を見出した。菊地はこの第一詩集刊行の後から、つづく平出の一連の詩書に対して「批評としてのデザイン」による強力な励ましを与えてきた。こうして、菊地の果敢な装幀は、平出隆の作品展開に寄り添い、方向づけるものとさえなりえた。
1976年以降11年間、出版社に勤務した平出隆は、敬愛する他の作家の著書の装幀をも菊地信義に依頼し、自然にその方法意識を修得する。一方、菊地は小雑誌「書紀=紀」「stylus」から『伊良子清白全集』などに至る平出のデザインの質を高く評価。このような関係が、2010年の «via wwalnuts» に達すると、しかし新しい次元に入る。作家は自身の作品を真には装幀できないはずだ、とする装幀家と、その原理的な意味を知りながら、一線を越えてみずからの作品をみずから造本しようとする作家とは、もう一度、異なる次元に別れるからだ。
これは、平出隆の造本の活動が、第一級の装幀家との幸福な共同作業や相互の影響関係から、さらに踏み出そうとする大胆さに裏打ちされていることを証すものだろう。

comment on «Nobuyoshi Kikuchi & Takashi Hiraide»

comment on «Nobuyoshi Kikuchi & Takashi Hiraide»,
an exhibit in the exhibition «TAKASHI HIRAIDE—-AIRPOST POETRY» 2016 at the Japan Foundation Toronto

Nobuyoshi Kikuchi (1942- ) is a prominent book designer who, since making his debut in mid-1970s, has been bringing new meaning to book design for literary works. His method involves aligning himself with the author’s consciousness by deeply reading the literary text, exploiting diverse image combinations and experimental typographical techniques, even incorporating producing, which used be the job of a publisher, into the design cycle. In the sense that he actively endeavours to identify with the author’s thought process, he sometimes exercises more of an editorial and critical eye than actual editors and critics, and continues to exert a powerful influence on succeeding generations of book designers.
In 1974, Kikuchi, who had worked as an editor shortly before making his debut as a book designer, encountered the student poet Takashi Hiraide (1950- ), who was about to publish his first book of poems. After the publication of that first book, Kikuchi designed Hiraide’s subsequent poetry books and provided him with powerful encouragement through his “Design as Critique.” Thus, Kikuchi’s courageous design theory stood alongside the development of Hiraide’s writing as well as his own work as a designer, and even played a part in establishing its direction.
Hiraide, who worked at a publisher from 1976-1987, commissioned Kikuchi to design the book covers of works of authors Hiraide admired, a process through which he naturally learnt Kikuchi’s methodology. Meanwhile, Kikuchi lauded Hiraide’s book design for works such as the mini magazine Shoki=ki, stylus and Collected Works of Seihaku Irako.
Their relationship entered a new phase when Hiraide handled the book design for his own work, via wwalnuts, in 2010. The two separated into different dimensions: Kikuchi, a book designer who insisted that authors could not achieve the perspective necessary to create a true design for their own text; and Hiraide, an author who understood the meaning of that assertion in principle, but nevertheless embarked on designing his own books.
This demonstrates that Hiraide’s innovations in book production are driven by his willingness to boldly step outside of his relationship with the first-class book designer – one of happy collaborations and reciprocal influence – into new territory.

TH_AIRPOST POETRY Director’s Foreword

The Japan Foundation, Toronto is proud to present TAKASHI HIRAIDE—-AIRPOST POETRY Book Design for One from One. Takashi Hiraide is an official invitee of the 2016 International Festival of Authors at Harbourfront Centre (October 20-30).
One of the foremost poets of the Japanese post-WWII generation, Hiraide has written many important works including For the Fighting Spirit of the Walnut, which received the 1982 Emerging Talent Award in the Ministry of Culture Awards for the Promotion of Arts. Kenzaburo Oe commended his works as “an experiment that gives birth to a new kind of prose from within poetry,” and truly, Hiraide’s activities go beyond the realm of poetry and extend into the fields of novels, travel writing and essays. His first novel, The Guest Cat, was a 2014 New York Times bestseller, and has been translated into more than 10 languages.
Hiraide also has a long and distinguished career in book design and binding. Seihaku Irako, a book authored and designed by Hiraide, won awards in Japan and was shortlisted for The World’s Most Beautiful Book Award at the Leipzig Book Fair.
This exhibit offers an overview of Hiraide’s activities, including early works from the 1970s-1980s; books written by other authors but designed by Hiraide; books written by Hiraide but designed by another famous book designer, Nobuyoshi Kikuchi; translated editions of The Guest Cat; and four series of works tied to the theme of post-mail:

«via wwalnuts»                  Books crafted by Hiraide and mailed directly to readers. Launched in 2010, 23 issues have been published to date.
«only-box»                         Boxes printed with poetry and decorated with stamps, designed for storing the via wwalnuts series.
«private print postcard»   Limited edition photo postcard and poetry series.
«crystal parcel»                 Literary works written and designed by the author, then personally wrapped in a transparent material and sent to the reader.

The «only-box» and «private print postcard» items on display were created in Japan and mailed to Toronto especially for this exhibit. New works will continue to arrive and be added to the collection during the exhibition period. The Japanese stamps, postmarks and even damage incurred during shipping are all part of the artwork.
Hiraide’s book design is not only about appearance; it suggests new ways for books to exist. Please enjoy Hiraide’s experimentation with books that transcend existing genres and systems.

Emi Iwanaga
Executive Director
Japan Foundation, Toronto

TAKASHI HIRAIDE —- AIRPOST POETRY survey of the exhibition

BOOK DESIGN FOR ONE FROM ONE
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Oct.4-Nov.5, 2016
THE JAPAN FOUNDATION, TORONTO, 2 BLOOR STREET EAST, 3RD FLOOR OF HUDSON’S BAY CENTRE

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1 «via wwalnuts»
2 «only-box»
3 «private print postcards»
4 «crystal parcel»

TH_BOOK-MAKING
A «Nobuyoshi Kikuchi & Takashi Hiraide»
B «The Guest Cat»
C TH_DESIGN

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only-box fruits & vegetables
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Figure Skating & Others I
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crystal parcel
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Nobuyoshi Kikuchi & Takashi Hiraide
A

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A

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B

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C

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C

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« TAKASHI HIRAIDE — AIRPOST POETRY »

EXHIBITION
October 4 – November 5, 2016

POSTAL BOOK ART EXHIBITION

only-box, POSTAL BOOK ART EXHIBITION

BOOK DESIGN
FOR ONE FROM ONE
via wwalnuts, only-box, private print postcard, crystal parcel

The Japan Foundation, Toronto
2 Bloor Street East, 3rd floor of Hudson’s Bay Centre

 

«FOOTNOTE PHOTOS» 2nd-exh : Optics on myself

トゥルーリング・森岡書店企画
平出隆 «FOOTNOTE PHOTOS» 展 2 ──Optics on myself
2012年7月2日(月)-7月7日(土)
東京日本橋茅場町・森岡書店

FNP展2フライヤー(表)

FNP展2フライヤー(裏)

 

 

 

 

 

 

 

《写真と文章で構成された作品を見る機会はしばしばありますが、(略)
平出さんは反対のベクトルで写真を見せていました。
まず抑制のきいた文章を読み、つぎに写真を見る──
と、写真には写っていないものが見えてきます。
脚注/写真は、金色に輝くコンソメスープの底味を支えるストックのように、
読むことと見ることの双方に滋味をもたらし、
味わった者の目を開かせる。》中山真理(カワイイファクトリー/トゥルーリング)

eye-catch photo by TH

«FOOTNOTE PHOTOS» 1st-exh:Postcards to Donald Evans

SPIRAL RECORDS presents
Goro Ito «GLASHAUS» 発売記念
平出隆 «FOOTNOTE PHOTOS» 展 ──葉書でドナルド・エヴァンズに
写真と郵便による「もうひとつの世界」への旅
2012年5月2日(水)-5月6日(日)
東京青山・スパイラルガーデン

FOOTNOTE PHOTOS 1st
«FOOTNOTE PHOTOS» という呈示方法は、
埋没してきた執筆時の写真を自著のテクストの
「脚注」として示すもので、いわば
作者みずから書物を解体し、解放する試み。

平出隆写真展 青山スパイラルガーデン
ゆるやかな回廊に沿いつつ、
著書『葉書でドナルド・エヴァンズに』から抄出された
「葉書」のテクストを手に高みへのぼりゆく人々。
槇文彦設計の、スパイラルのひろやかな吹き抜け空間を
計算しとらえた展示は、観ること=読むことを
旅そのものに変える新鮮で画期的な写真展として反響を呼んだ。

eye-catch photo by Katsuhiro Ichikawa,
photo by TH

詩画集《雷滴 その研究》加納光於+平出隆

hiraideworks_sigashu25
限定13部 《雷滴 その研究》 書紀書林
430,000円 在庫なし
hiraideworks_sigashu26
平出隆 † 詩篇 13
加納光於 † インタリオ 13   33.0×25.2cm

高松聰 † 版画圧刷
函 † 布クロス貼函
用紙 † ベランアルシュ250g   50.2×67.2cm
2007年9月10日
書紀書林 † 発行
精興社 † 印刷
大久保製函 † 製函
hiraideworks_sigashu27
Limited Edition 13
《Thunderdrops, and the Study Thereof》
¥430,000

13 Poems † HIRAIDE takashi
13 Intaglio prints † KANO mitsuo

Press printing † TAKAMATSU satoshi
Case † Cloth-covered case
Paper † 250g Verin Arches
September 10, 2007
Publisher † Shoki-Shorin Press
Printer † Seikosha Printing Co.
Case † Okubo Seikan Co.

加納光於展《止まれ、フィボナッチの兎》(2007年9月10日ー29日 京橋・ギャルリー東京ユマニテ=中央区京橋2-8-18 昭和ビルB1F tel=03-3562-1305)にて展示