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。（国際交流基金トロント日本文化センター）

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.

BOOK DESIGN FOR ONE FROM ONE

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

TH_AIRPOST
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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