Kenji Ishiguro: HIROSHIMA 1965

In 1965, Hiroshima marked 20 years since the atomic bombing.
Rather than using motifs that directly depict the disaster, Ishiguro Kenji has turned his camera to the indescribable sense of unease that permeates a city that has recovered and "returned to everyday life" - a feeling he himself calls "burnt air."

There are no melted remains or symbols that exaggerate the tragedy. What is shown is the Atomic Bomb Dome, which has become a tourist attraction, a landscape that has blended into everyday life, and the invisible shadow of the atomic bomb.
This work, which captures the city from a personal perspective rather than a social record, has been reevaluated as an important work that anticipated later compact photography.

Arles Book Award 2019 Shortlisted
Limited to 900 copies

[Title] HIROSHIMA 1965
[Publisher] Akio Nagasawa Publishing
[Publication date] August 15, 2018 Limited to 900 copies
[Number of pages] 160 pages
[Size] Approx. 217*210*18mm, 699g
[Format] Hardcover
[Language] Japanese
[Title reading] Hiroshima 1965
[Authors/Editors] Kenji Ishiguro/Author,
[Printing] Tokyo Inshokan/Printing (Noboru Takayanagi/Printing Director)
[ISBN] None
[Condition] Used [5] Above average to average (box slightly damaged, slight stains on top
[Accessories] Slip case
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Kenji Ishiguro (1935-)

Born in Fukui Prefecture in 1935. Graduated from Kuwasawa Design School in 1959. In the same year, he received the Photographic Association's Newcomer Encouragement Award.
He began his career as a photographer in the 1960s, and has produced works that capture the discomfort and unrest lurking within everyday life through his own unique perspective.

His major photo exhibitions include "Unfortunate Young People," "Natural," "Theater," "Portrait of a Couple," and "Excerpts from the Tale of the Ryukyu Arc."
His photo books include "Ken-san," "Hiroshima HIROSHIMA NOW," and "Natural," as well as the Ishiguro Kenji Works Collection (Volume 3), "Wonderland" (2015), and "Youth 1968" (Sairyusha, 2018).

He has expanded his field of activities beyond photography, serving as cinematographer for Shohei Imamura's film "A Man Vanishes," and as director for the film "The Powerless King" (Toei Central), developing his expression across photography, film, and publishing.

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