Masaki Kiuchi at Aesop Kawaramachi
In partnership with KYOTOGRAPHIE

When
  • Monday to Sunday 12:00 – 20:00
Where
  • 327 Shioya-cyo, Nakagyo-ku, 604-8027
075-708-7605

‘A haunting evocation of a time in which human existence was bound intrinsically to cycles of the moon, tide and seasons.’

We are honoured this year to partner once more with KYOTOGRAPHIE, an exceptional event that gathers gifted photographers and their admirers from around the world for exhibitions held across Kyoto, in notable historic buildings and contemporary spaces alike.


The theme for the sixth edition, ‘UP’ underpins an aim to ‘trigger new personal and collective impetus towards ourselves and each other, to change our world through awareness, action and creation.’ Among the many established and emerging photographers to participate are Masahisa Fukase, Izumi Miyakazi, Tomomi Morita, Yukio Nakagawa and Tadashi Ono from Japan, Alberto García-Alix from Spain, Frank Horvat from France, Gideon Mendel from South Africa, and Lauren Greenfield and Stephen Shames from the USA.


In celebration of the 2018 event, we are delighted to host an exhibition of photographs by another participating Japanese artist, Masaki Kiuchi, at Aesop Kawaramachi between 14 April and 13 May inclusive. We warmly invite your visit for a leisurely viewing.


The works represent scenes of Mount Fuji during the Jōmon era (13,000 to 300 BC); they were inspired by remains excavated from beneath Kiuchi’s home in an archaeological dig. They are influenced by the observation that while human existence has changed dramatically over time, neither the sea level nor local rivers have changed markedly for more than 2000 years.


Kiuchi studied fine art and photography at Tokyo Zokei University and later worked as a photographer and cameraman for magazines and advertising before returning to the city of his birth, Fujinomiya, to establish an art practice He has an abiding fascination with the boundary between civilisation and nature, often foregrounding the natural landscape and subtly relegating the built landscape to the background of his work—not to diminish its importance but to emphasise that the two realms don’t always sit in opposition, and that the boundary is not always distinct.