{"id":1035,"date":"2023-02-28T22:10:11","date_gmt":"2023-02-28T13:10:11","guid":{"rendered":"https:\/\/joji-hashiguchi.com\/?page_id=1035"},"modified":"2026-05-28T21:59:47","modified_gmt":"2026-05-28T12:59:47","slug":"work-1991-1995-%e3%80%8e%e8%81%b7-1991-1995%e3%80%8f","status":"publish","type":"page","link":"https:\/\/joji-hashiguchi.com\/?page_id=1035","title":{"rendered":"“WORK 1991-1995” :\u300e\u8077 1991-1995\u300f"},"content":{"rendered":"\n\n\n

“WORK” is composed of photographs of people taken in the setting of their everyday places of work and presented with several common interview questions. It differs from the previous volumes, however, in the sense that I have used the common setting as a frame to capture on film two people of widely differing ages\u30fc one who has worked at the job only one or two years and is just now beginning to understand its appeal, and the other a career veteran who may have worked decades, and who is actively still on the job.<\/p>\n\n\n\n

By means of this device, I wanted to learn how persons of differing generations could, by working at the same job, encounter society, archive communication, and build mutual relationality. And I hoped that through the relationship of the individual and his work, I might be able to understand the nature of Japan’s “modern” period, from prewar through the postwar period until now. <\/p>\n\n\n\n\n\n

\u3053\u306e\u4f5c\u54c1\u300c\u8077\u300d\u306f\u3044\u304f\u3064\u304b\u306e\u5171\u901a\u8cea\u554f\u3068\u3001\u305d\u306e\u4eba\u306e\u751f\u6d3b\u306e\u5834\u3092\u80cc\u666f\u306b\u3057\u305f\u30dd\u30fc\u30c8\u30ec\u30fc\u30c8\u306e\u5199\u771f\u3067\u69cb\u6210\u3055\u308c\u3066\u3044\u308b\u3002\u305f\u3060\u3001\u3053\u308c\u307e\u3067\u767a\u8868\u3057\u3066\u304d\u305f\u4f5c\u54c1\u3068\u7570\u306a\u308b\u70b9\u306f\u3001\u5171\u901a\u306e\u80cc\u666f\u306e\u3082\u3068\u3067\u4e16\u4ee3\u306e\u7570\u306a\u308b\u4eba\u9593\u30fc\u307e\u3060\u4ed5\u4e8b\u3092\u59cb\u3081\u30661\u301c2\u5e74\u3067\u3001\u4ed5\u4e8b\u306e\u304a\u3082\u3057\u308d\u3055\u3092\u308f\u304b\u308a\u59cb\u3081\u305f\u9803\u306e\u82e5\u3044\u65b9\u3068\u3001\u4f55\u5341\u5e74\u3082\u306e\u30ad\u30e3\u30ea\u30a2\u3092\u6301\u3061\u3001\u4eca\u306a\u304a\u73fe\u5f79\u3067\u50cd\u304f\u5148\u8f29\u306e\u4e8c\u4eba\u3092\u540c\u6642\u306b\u30d5\u30a3\u30eb\u30e0\u306b\u53ce\u3081\u305f\u3053\u3068\u3067\u3042\u308b\u3002<\/p>\n\n\n\n

\u6642\u4ee3\u80cc\u666f\u306e\u7570\u306a\u308b\u4eba\u9593\u304c\u3001\u540c\u4e00\u306e\u4ed5\u4e8b\u3092\u901a\u3058\u3066\u3069\u3046\u793e\u4f1a\u3068\u51fa\u4f1a\u3044\u3001\u30b3\u30df\u30e5\u30cb\u30b1\u30fc\u30b7\u30e7\u30f3\u3092\u53d6\u308a\u3001\u95a2\u4fc2\u6027\u3092\u7bc9\u304d\u4e0a\u3052\u3066\u304d\u3066\u3044\u308b\u306e\u304b\u3092\u50d5\u306f\u77e5\u308a\u305f\u3044\u3068\u601d\u3063\u305f\u3002\u305d\u3057\u3066\u3001\u6226\u524d\u30fb\u6226\u5f8c\u304b\u3089\u3053\u308c\u307e\u3067\u306e\u65e5\u672c\u304c\u6b69\u3044\u3066\u304d\u305f\u8fd1\u4ee3\u304c\u3069\u3046\u3044\u3046\u3082\u306e\u3060\u3063\u305f\u306e\u304b\u3001\u500b\u4eba\u3068\u4ed5\u4e8b\u306e\u3042\u308a\u3088\u3046\u3092\u901a\u3057\u3066\u898b\u3048\u3066\u304f\u308b\u306e\u3067\u306f\u306a\u3044\u304b\u3068\u601d\u3063\u305f\u3002<\/p>\n\n\n\n\n\n\n\n

The Image of the Supporting “Other” \u30fc Yamada Taichi<\/strong> (Scriptwriter, Novelist)<\/p>\n\n\n\n\n\n

Just as we are sensitive to the fragile luxury of the forest, so we should be more conscious of the fragile luxury of the modern life which we hold in our hands right now. The fact that we return home, flip a switch, and are provided with light is not a natural occurrence. And Hashiguchi has reminded us how it is that such things are possibly by placing these images before our eyes, almost as though saying, “Here, he’s the one who does it.”<\/p>\n\n\n\n

When one looks at the images presented so, one realizes to what an extent we fail to direct our gaze at those elements that support and influence the great proportion of our lives, and how much we are ruled by a perspective that pays attention only to what is “amusing.” Moreover, one realizes to what degree that kind of “amusement” has become an inflexible, narrow, restrictive perspective.<\/p>\n\n\n\n

Hashiguchi’s straightforward stance toward his subjects is unique, and unrelated to the kind of brusqueness that would claim to depict reality by approaching the subject so closely as to expose the details of the skin. His work also displays no hint of taunting. He places distance between himself and his subject, but not a criticizing kind of distance. Nor is it sentimentality. But then again, neither is it cold. At times, one feels a sense of esteem for the subject. One might almost call that kind of vision anachronistic, but even so, it marvelously succeeds in fixing a currency that cannot be captured through any other way of seeing.<\/p>\n\n\n\n

Likewise, one must not overlook the indispensable nature of the text that accompanies each photograph. Here, too, Hashiguchi has spontaneously escaped the kind of purist orientation that would insist the subject speak only through the photograph. It is the attitude that says, something easily said in words should be left to words to say. The text itself betrays no hint of attempts at self-expression, but is merely the subject’s natural words recorded, as is, during interviews. But what one senses most strongly as these words merge with the photographs is something occasionally so deep and diverse, that it at times brings an unexpected start. Together with the character and flavor wafting from these photographs is the sense of how extremely “adult” the work is. <\/p>\n\n\n\n\n\n\n\n

\u79c1\u305f\u3061\u3092\u652f\u3048\u3066\u304f\u308c\u3066\u3044\u308b\u4ed6\u8005\u306e\u59ff\u3000\u30fc\u3000\u5c71\u7530\u592a\u4e00<\/strong> (\u811a\u672c\u5bb6\u3001\u5c0f\u8aac\u5bb6)<\/p>\n\n\n\n\n\n

\u79c1\u305f\u3061\u306f\u3001\u68ee\u306e\u8c4a\u304b\u3055\u8106\u3055\u306b\u654f\u611f\u3067\u3042\u308b\u3079\u304d\u306a\u306e\u3068\u540c\u3058\u7a0b\u5ea6\u306b\u3001\u3044\u307e\u624b\u306b\u3057\u3066\u3044\u308b\u8fd1\u4ee3\u306e\u8c4a\u304b\u3055\u8106\u3055\u306b\u610f\u8b58\u7684\u3067\u3042\u308b\u3079\u304d\u306a\u306e\u3067\u3042\u308b\u3002\u5bb6\u306b\u5e30\u308a\u30b9\u30a4\u30c3\u30c1\u3092\u5165\u308c\u308b\u3068\u96fb\u706f\u304c\u70b9\u304f\u3053\u3068\u306f\u3001\u81ea\u7136\u306a\u3053\u3068\u3067\u306f\u306a\u3044\u3002\u305d\u308c\u3092\u7dad\u6301\u3057\u3066\u3044\u308b\u306e\u306f\u3001\u307b\u3089\u307b\u3089\u3053\u306e\u4eba\u306a\u306e\u3060\u3001\u3068\u6a4b\u53e3\u3055\u3093\u306f\u3001\u305d\u306e\u59ff\u3092\u76ee\u306e\u524d\u306b\u3055\u3057\u51fa\u3057\u3066\u304f\u308c\u305f\u3002<\/p>\n\n\n\n

\u3055\u3057\u51fa\u3055\u308c\u3066\u307f\u308b\u3068\u3001\u79c1\u305f\u3061\u306e\u793e\u4f1a\u304c\u3001\u3044\u304b\u306b\u81ea\u5206\u306e\u751f\u6d3b\u306e\u5927\u534a\u3092\u7dad\u6301\u3057\u5de6\u53f3\u3057\u3066\u3044\u308b\u8981\u7d20\u306b\u76ee\u3092\u5411\u3051\u3066\u3044\u306a\u3044\u304b\u306b\u6c17\u304c\u3064\u304f\u3002\u3044\u304b\u306b\u300c\u9762\u767d\u3065\u304f\u300d\u306e\u8996\u70b9\u306b\u652f\u914d\u3055\u308c\u3066\u3044\u308b\u304b\u306b\u6c17\u304c\u3064\u304f\u3002\u3057\u304b\u3082\u305d\u306e\u300c\u9762\u767d\u3055\u300d\u304c\u3001\u3044\u304b\u306b\u786c\u76f4\u3057\u3066\u72ed\u304f\u4e0d\u81ea\u7531\u306a\u3082\u306e\u306b\u306a\u3063\u3066\u3044\u308b\u304b\u306b\u6c17\u304c\u3064\u304f\u3002<\/p>\n\n\n\n

\u6a4b\u53e3\u3055\u3093\u306e\u5bfe\u8c61\u3068\u5411\u304d\u5408\u3046\u59ff\u52e2\u306f\u72ec\u7279\u306a\u3082\u306e\u3060\u3002\u305d\u308c\u306f\u3001\u5bfe\u8c61\u306b\u8fd1\u3065\u304d\u3001\u76ae\u819a\u306e\u30c7\u30a3\u30c6\u30fc\u30eb\u307e\u3067\u3080\u304d\u51fa\u3057\u306b\u3059\u308c\u3070\u5b9f\u76f8\u304c\u898b\u3048\u308b\u3068\u3044\u3046\u3088\u3046\u306a\u5ba2\u6c17\u3068\u306f\u7121\u7e01\u3067\u3042\u308b\u3002\u63f6\u63c4\u3059\u308b\u3088\u3046\u306a\u3068\u3053\u308d\u3082\u5c11\u3057\u3082\u306a\u3044\u3002\u5bfe\u8c61\u304b\u3089\u8ddd\u96e2\u3092\u7f6e\u304f\u304c\u3001\u6279\u8a55\u7684\u3067\u306f\u306a\u3044\u3002\u611f\u50b7\u3082\u306a\u3044\u3002\u305d\u308c\u3067\u3044\u3066\u51b7\u305f\u304f\u306a\u3044\u3002\u6642\u306b\u306f\u3001\u5bfe\u8c61\u3078\u306e\u656c\u610f\u3092\u611f\u3058\u308b\u3002\u305d\u306e\u59ff\u52e2\u306f\u3001\u307b\u3068\u3093\u3069\u53cd\u6642\u4ee3\u7684\u3068\u3044\u3063\u3066\u3082\u3044\u3044\u3060\u308d\u3046\u304c\u3001\u305d\u306e\u3088\u3046\u306a\u76ee\u3067\u3057\u304b\u6349\u3048\u308b\u3053\u3068\u306e\u51fa\u6765\u306a\u3044\u73fe\u4ee3\u304c\u898b\u4e8b\u306b\u5b9a\u7740\u3055\u308c\u3066\u3044\u308b\u3002<\/p>\n\n\n\n

\u305d\u3057\u3066\u3001\u6dfb\u3048\u3089\u308c\u305f\u4e00\u679a\u4e00\u679a\u306b\u3064\u3044\u3066\u306e\u6587\u7ae0\u3082\u6b20\u304b\u305b\u306a\u3044\u3002\u3053\u3053\u3067\u3082\u6a4b\u53e3\u3055\u3093\u306f\u3001\u5199\u771f\u3060\u3051\u306b\u8a9e\u3089\u305b\u308b\u3068\u3044\u3046\u3088\u3046\u306a\u7d14\u7c8b\u5fd7\u5411\u3092\u4f55\u6c17\u306a\u3044\u59ff\u52e2\u3067\u8131\u3057\u3066\u3044\u308b\u3002\u6587\u5b57\u3067\u7c21\u5358\u306b\u4f1d\u308f\u308b\u3082\u306e\u306f\u3001\u6587\u5b57\u306b\u8a17\u305b\u3070\u3044\u3044\u3068\u3044\u3046\u59ff\u52e2\u3067\u3042\u308b\u3002\u305d\u306e\u6587\u7ae0\u3082\u3001\u81ea\u5df1\u8868\u73fe\u306e\u6c17\u914d\u306f\u307e\u3063\u305f\u304f\u306a\u304f\u3001\u805e\u304d\u66f8\u304d\u306e\u30e1\u30e2\u3068\u3044\u3063\u305f\u8da3\u3067\u3042\u308b\u3002\u3057\u304b\u3057\u3001\u5199\u771f\u3068\u5171\u306b\u8a34\u3048\u3066\u6765\u308b\u3082\u306e\u306f\u3001\u865a\u3092\u7a81\u304b\u308c\u308b\u601d\u3044\u304c\u3059\u308b\u307b\u3069\u6642\u306b\u6df1\u304f\u3001\u591a\u69d8\u3067\u3042\u308b\u3002\u5199\u771f\u304b\u3089\u5302\u3046\u98a8\u683c\u3001\u5473\u308f\u3044\u3068\u5171\u306b\u3001\u3044\u304b\u306b\u3082\u5927\u4eba\u306e\u4ed5\u4e8b\u3067\u3042\u308b\u3002<\/p>\n\n\n\n\n\n\n\n

<\/figure>\n\n\n\n
\"\"
Demolition worker (Osaka) : \u5efa\u9020\u7269\u89e3\u4f53\u4f5c\u696d\u54e1 (\u5927\u962a)<\/figcaption><\/figure>\n\n\n\n
\"\"
Mail carrier (Tokyo) : \u90f5\u4fbf\u914d\u9054\u54e1 (\u6771\u4eac)<\/figcaption><\/figure>\n\n\n\n
\"\"
Bus guide (Okinawa) : \u30d0\u30b9\u30ac\u30a4\u30c9 (\u6c96\u7e04)<\/figcaption><\/figure>\n\n\n\n
\"\"
Horsehoer (Iwate) : \u88c5\u8e44\u5e2b (\u5ca9\u624b)<\/figcaption><\/figure>\n\n\n\n
\"\"
Meat wholesaler (Nara) : \u7cbe\u8089\u5378\u696d\u8005 (\u5948\u826f)<\/figcaption><\/figure>\n\n\n\n
\"\"
Streetcar operator (Osaka) : \u8ecc\u9053\u96fb\u8eca\u904b\u8ee2\u58eb (\u5927\u962a)<\/figcaption><\/figure>\n\n\n\n
\"\"
Miso [fermented bean paste] brewer (Aichi) : \u516b\u4e01\u5473\u564c\u8077\u4eba (\u611b\u77e5)<\/figcaption><\/figure>\n\n\n\n
\"\"
High-voltage lineman (Yamanashi) : \u9001\u96fb\u7dda\u4f5c\u696d\u54e1 (\u5c71\u68a8)<\/figcaption><\/figure>\n\n\n\n
\"\"
Japanese Udon noodle maker (Akita) : \u3046\u3069\u3093\u8077\u4eba (\u79cb\u7530)<\/figcaption><\/figure>\n\n\n\n
\"\"
Nurse for seriously handicapped patients (Shimane) : \u770b\u8b77\u5e2b(\u91cd\u5ea6\u8eab\u4f53\u969c\u5bb3\u8005\u75c5\u68df) (\u5cf6\u6839)<\/figcaption><\/figure>\n\n\n\n
\"\"
Subtitle calligrapher (Tokyo) : \u30bf\u30a4\u30c8\u30eb\u30e9\u30a4\u30bf\u30fc (\u6771\u4eac)<\/figcaption><\/figure>\n\n\n\n
\"\"
Japanese-style drum craftsman (Ishikawa) : \u592a\u9f13\u8077\u4eba (\u77f3\u5ddd)<\/figcaption><\/figure>\n\n\n\n
\"\"
Lily breeder (Saitama) : \u30e6\u30ea\u683d\u57f9\u8005 (\u57fc\u7389)<\/figcaption><\/figure>\n\n\n\n
\"\"
Stick incense maker (Osaka) : \u7dda\u9999\u8077\u4eba (\u5927\u962a)<\/figcaption><\/figure>\n\n\n\n
\"\"
Lingerie seamstress (Nagasaki) : \u4e0b\u7740\u7e2b\u88fd\u5de5 (\u9577\u5d0e)<\/figcaption><\/figure>\n\n\n\n
\"\"
Tatami [grass mat flooring] maker (Tokyo) : \u7573\u5de5 (\u6771\u4eac)<\/figcaption><\/figure>\n\n\n\n
\"\"
Prosthetist\/Orthotist (Tokyo) : \u7fa9\u80a2\u88c5\u5177\u58eb (\u6771\u4eac)<\/figcaption><\/figure>\n\n\n\n
\"\"
Carpenter (Ehime) : \u5927\u5de5 (\u611b\u5a9b)<\/figcaption><\/figure>\n\n\n\n
\"\"
Ornamental china painter (Aichi) : \u91d1\u5f69\u8077\u4eba (\u611b\u77e5)<\/figcaption><\/figure>\n\n\n\n
\"\"
Lacquerware artisan (Nagano) : \u6f06\u5857\u5e2b (\u9577\u91ce)<\/figcaption><\/figure>\n\n\n\n
\"\"
Barber (Tokyo) : \u7406\u5bb9\u5e2b (\u6771\u4eac)<\/figcaption><\/figure>\n\n\n\n
\"\"
Deep sea diver (Miyagi) : \u6f5c\u6c34\u58eb (\u5bae\u57ce)<\/figcaption><\/figure>\n\n\n\n
\"\"
Roofer (Okinawa): \u74e6\u847a\u304d\u8077\u4eba (\u6c96\u7e04)<\/figcaption><\/figure>\n\n\n\n

Shooting date: 1991-1995, 154 people in total<\/p>\n","protected":false},"excerpt":{"rendered":"

“WORK” is composed of photographs of people taken in the setting of their everyday places of work … <\/p>\n

\u7d9a\u304d\u3092\u8aad\u3080 ““WORK 1991-1995” :\u300e\u8077 1991-1995\u300f”<\/span><\/a><\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"inspiro_hide_title":false,"footnotes":""},"class_list":["post-1035","page","type-page","status-publish","hentry"],"aioseo_notices":[],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/joji-hashiguchi.com\/index.php?rest_route=\/wp\/v2\/pages\/1035","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/joji-hashiguchi.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/joji-hashiguchi.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/joji-hashiguchi.com\/index.php?rest_route=\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/joji-hashiguchi.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1035"}],"version-history":[{"count":22,"href":"https:\/\/joji-hashiguchi.com\/index.php?rest_route=\/wp\/v2\/pages\/1035\/revisions"}],"predecessor-version":[{"id":1171,"href":"https:\/\/joji-hashiguchi.com\/index.php?rest_route=\/wp\/v2\/pages\/1035\/revisions\/1171"}],"wp:attachment":[{"href":"https:\/\/joji-hashiguchi.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1035"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}