This is Ivan Vartanian of GoLiga and I am the producer of Compilation Tokyo.
Compilation Tokyo is a two-day project that we are executing in a public space here in
Harajuku, Tokyo.
The project has been planned between GoLiga and self-published Be Happy.
My name is Bruno Chescan, I'm a lecturer in photography at the University of the Arts London
and I'm the founder of Self-Publish Be Happy.
Self-Publish Be Happy is a project that started in 2010, it's based in London and fundamentally
is a project that promotes self-published books.
One of the reasons why we decided to do this project was that despite the very interesting
photography coming out of Japan, or being produced in Japan I should say, only a fraction
of it really arrived to Europe and North America, therefore the idea of Self-Publish
Be Happy working with GoLiga was to take this talent and this new photographer to Europe,
London and North America in a form of an exciting publication.
In a two-day period we are having the photographers work within the space to not only generate
new images but also execute the finished printing of the product.
So it's taking a photo book rather than using offset printing, we're doing everything by
hand using silkscreen.
The limitations of using silkscreen means and the time that we are allotted means that
we can only print in one color.
That may seem like a limitation but it also is an invitation to be much more creative,
being creative through restriction.
We have this kind of factory of chaos, managed chaos happening where photographers are coming
in and watching how other photographers are working and we're creating images in an overlapping
kind of way.
Photographers bring in their data or they're shooting new data and on the spot we're outputting
silkscreen film.
All of the work that each of the photographers make will be part of a publication that is
a compilation of several pages of each of the photographers.
Extremely hands-on, it shows the presence of the photographer's hand in the actual finished
product and I think that to use silkscreening in this manner is extremely exciting and
innovative.
Even if it is a throwback to the 60s and 70s printing techniques.
I love Koyama.
For me, it's very open-minded to publish photos in various media, so I like to do
projection, inkjet, and lambda print, so all of the different types of print are different,
but the possibility of photos being taken in various formats is very strong, so I think
that the digital publication system is very interesting because it has a completely different
sense of presence.
I was thinking about the work that was published in Shodoshima, and I used some kind of
hand-pulling technique, but by publishing it in the material stage, I wanted to
test the experience of how much power the image has, and that's how it was.
After all, the difference between the close-up when it comes to the close-up and the
close-up when it comes to the close-up when it comes to the close-up when it comes to the
close-up, it is very interesting because it has a very different expression of printing.
I love Yokota.
For me, I have been looking back at the pictures taken 5 or 6 years ago and re-recording them,
so I have been working on changing the final form of the image every time.
In the end, the impression of the picture I saw when I saw it, I don't want to see it at the time,
but the possibility of seeing it is the work of pulling it out.
In the sense of pulling out something like the potential that the picture itself has,
I think there is a possibility that you can change the form.
It is very interesting to change the appearance of the image every time on the silk screen,
and it is a work that makes you excited.
I am Komata from the ideal science industry.
I have been working on selling it in various fields from the planning stage of this product,
and now I am working on selling it in various fields.
When it comes to silk, it is about the same as the battle of the school,
but it takes a lot of time.
You can do that in front of you,
but the image of the work and the final impression of it,
which can be done in a very close time,
are the characteristics of digital sales.
First of all, I was very surprised when I connected the USB and sent the data.
If you send the data up to that point, you immediately get the hangar,
and you can immediately do the hangar.
I think it is necessary to fill in the difference between what you are controlling and what you are doing,
but I think that is interesting.
I think that if you think about it normally,
it is not a normal thing, but it is a revolutionary thing,
so I think it is convenient.
If you can make it big, I would definitely want to try it.
This event is also like that, but it is fun,
and I have always thought that there is a debate in such a world,
and I think it is very interesting to re-create it into paper again
and make it a different work of photography.
Of course, I haven't thought about it at all so far,
so I would like you to do this together.
I am very happy to have this kind of debate.
Photobooks usually take months to several years to be manufactured,
but in this day and age of Facebook and Tumblr and Twitter,
where images just shoot across internationally,
the idea of putting something on paper is kind of a very long, laborious process,
and in this workshop of two days, this event,
we are trying to trick the system and figure out some way
of getting an image that is in the photographer's hands
onto a media that is disseminated to the public.
We can't get to the instantaneous speed of what the internet does,
but in two days we can have a number of different photographers come together
and make a creation that is a portrait, a snapshot of the moment
of what is happening in Tokyo right now in photography,
and that is extremely exciting.
