HARIBAN AWARD 2019 – Shortlist

We’re thrilled to announce the shortlist for the HARIBAN AWARD 2019!

This year will be the sixth year of the Hariban Award and we are extremely happy to have had a wide range of submissions from applicants around the world.  This year we are incredibly honoured to have received 433 submissions. From these submissions, this year’s Shortlist of 100 submissions was selected by main Jurors Annemarie Zethof and Martijn van Pieterson of IBASHO Gallery.  Before sharing this year’s shortlist we would first like to thank each of the applicants this year for submitting their work to the Hariban Award!

We are excited to share and congratulate this year’s Shortlist of 100 submissions.

ハリバンアワード 2019の一次審査を通過したショートリストの発表をいたします。



HARIBAN AWARD 2019 Shortlist

* (Names presented in alphabetical order)

Scheltens Abbenes, Ryuji  Araki, Robert  Ashton, Simon Becker, Mathieu Bernard – Reymond, Regis Bodinier, Barbara Bosworth, Lambie Brothers, Jennifer Cabral, Max Cardelli, Sophie Caretta, Matias Corral, Jack Dabaghian, Giandra De Castro, Alexandre de Mortemart, Marcus DeSieno, David Diaz, Peter Eleveld, Tsutomu Endo, Kristyna Erbenova, Veronique Evrard, Tsar Fedorskky, Cristina Rerraiuolo, Joe Freeman, Frederic Froument, Guy Geva, Salvatore Gullifa, Paul Hart, Risk Hazekamp, Mark Hewitt Johnson, Erik Hijweege, Rens Horn, Md. Iqbal Hossain, Dan Hsu, Yi-Chen Huang, Marie, José Jongerius, Anna Kadykova, Nadav Kander, Steffi Klenz, Jesse Koechling, Carla Kogelman, Shu Koumura, Juul Kraijer, Kent Krugh, Calin Kruse, Mona Kuhn, Mårten Lange, Margaret Lansink, Dongwook Lee, Jesse Lenz, Meng-San Lin, Rhonda Lashley Lopez, Susan Madsen, Atsushi Maeda, Michael Magers, Marie-Luce Martin, Lesia Maruschak, Yasuaki Matsumoto, Karen Miranda-Rivadeneira, Fumio Misaki, Max Moldau, Cécile Monnier, Ella Morton, Naghmegh Navabi, Birgit Neiser, Marko Novosel, Clio Obergfell, Naoyuki Ogino, Yoshiyuki Oki, Ayaka Okuma, Fleur Olby, Lauren Orchowski, Milan Radisics, Florian Ruiz, Marco Sanges, Marc Santos, Hitomi Sato, Annedore Schubert, Uli Schuster, Klavdij Sluban, Steven Smith, Alnis Stakle, Jan Stel, Motohiro Takeda, Paul Jimenez Thulin, Alys Tomlinson, Vaune Trachtman, Wanda Tuerlinckx, Carla van de Puttelaar, Alice van Kempen, Hanneke van Leeuwen, Enrique Verdugo, Antti Viitala, Corinne Vionnet, Masato Wakabayashi, Toshiya Watanabe, Bryan Whitney, Rosalie Winard, Marta Zgierska & HanShun Zhou


The final award winners consisting of the Juror’s Choice Awards, Honourable Mentions, and lastly the Grand Prize Winner will be selected from this group of 100 submissions.

The winning names will be announced in August!

This year’s panel of jurors is made up of Annemarie Zethof & Martijn van Pieterson of IBASHO Gallery, Takayuki Ishii of Taka Ishii Gallery, Kimi Himeno of AKAAKA  & Mirjam Kooiman of FOAM Museum Amsterdam all highly esteemed members of the global photography community.



今年のハリバンアワードの審査は、写真分野で国際的に広く活動し高く評価されている アンマリー・ゼゾフ & マルテイン・ヴァン・ピーターソンギャラリスト IBASHO, 石井 孝之 ギャラリスト, 姫野希美 出版社, ミリアム・ コイマン キュレーター FOAM 写真美術館アムステルダムに依頼しています。


Selected Photographers’ Work

View the 100 Shortlisted submissions for this year’s Hariban Award on the slideshow below. The submitted works within the slideshow have been presented in no particular order. 



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The Final Winners will be announced late August! Wishing all the very best of luck! 





Juror Interview: A Conversation with FOAM Curator Mirjam Kooiman

We are more than thrilled to have Mirjam Kooiman Curator at Foam Museum Amsterdam and Art Historian as part of this year’s Hariban Award Juror panel! We got the chance to discuss her most recent curatorial projects at Foam as well as what she is looking forward to with this year’s submissions

Amsterdam 27-07-2018 De Kunstmeisjes In beeld: Mirjam Kooiman Foto: Tammy van Nerum

Mirjam Kooiman is an art historian and curator at Foam Photography Museum Amsterdam, where she was responsible for shows including Ai Weiwei – #SafePassage, Paul Mpagi Sepuya – Double Enclosure, Daisuke Yokota – Matter, Awoiska van der Molen – Blanco, and the travelling Foam Talent exhibitions of 2015 and 2016. In 2017 she also initiated a series of collaborations with photography platforms in Mexico, Nigeria and Indonesia in Foam’s project space Foam 3h, in order to create an exchange of cultural knowledge on photography discourses worldwide. She is currently researching how photography can relate to virtual realities, gaming and online experiences. Mirjam holds a BA in Art History and an MA in Museum Curating from the University of Amsterdam. She previously served as a curator-in-training at Amsterdam’s Stedelijk Museum. She is also a regular contributor to Foam Magazine.

Can you explain the work that you do at Foam Photography Museum? 

I’m a curator at Foam. Our team consists out of three curators and an assistant-curator and is led by our artistic director Marcel Feil. As a team, we give shape to Foam’s artistic program. I initiate and curate exhibitions and side programs, scout for emerging talent in photography, do many portfolio reviews and I’m a regular contributor to Foam Magazine. 

I always consider it my most important task to get into the mind of an artist. To really understand what the artist wants to express, what the main motivation behind the creation of the work is and what an artist finds most important to communicate. 

Only once I’ve considered these aspects am I able to translate this into a narrative that is accessible to a larger audience and be that mediator. Foam also requires me to work with all genres in photography, and from the historical to the contemporary, artistic to vernacular, in order to make historical and interdisciplinary connections and to constantly reevaluate the medium of photography with all the different shapes it can take up.

What would you say initially drew you to photography?

I picked up the camera as an adolescent, but it didn’t take long for me to find out I’m better at studying and thinking about images more than making them. I subsequently studied art history, but something that always drew me to photography specifically is that it’s so much more than an art form. I’ve always been fascinated by how photography is employed as a socio-political tool, as well as it defines most of the fabric of our daily lives. Photography is everywhere. Images shape our perception of reality in profound ways and it is ever evolving by new technological advances.

How is judging a competition like this different from selecting artists to exhibit at Foam Photography Museum?

Every competition has its own specific objectives and I think the Hariban Award is especially unique. As this award focuses on the production of the winner’s work as collotype prints, I’m curious to see how submitters think their work connects with this ancient and complex printing process. Within this specific competition, I’ll pay a lot of attention to the relation between the image content and the physical creative process. I think this is always important, also when I select artists to exhibit at Foam, but in this case, I will focus more specifically on the material qualities of the work, in order to understand why expressing the artist’s concepts in collotype would be of added value.

What do you think makes a great photo stand out? 

Good question! I’m always intrigued when an artwork expresses something of which I can sense its meaning or relevance, but which I can’t put into words just yet. It means it speaks about something that is very relevant today, but it hasn’t been ‘historicized’ yet – it reflects urgent topics of our times that we’re only just beginning to grasp. But this is only one possible answer to this question, that can be approached in many ways, and might have different parameters from genre to genre. From Foam’s point of view, I would say that we always look for strong artistic visions. Everyone can take photographs, very beautiful ones even, but what we seek is that layer of reflection – upon the artist’s position, relation to the subject or what it says about the medium and about the act of image-making. This doesn’t need to be the very subject of the work, but it should be there somewhere to say more than the image might show at first sight.

What sort of work are you hoping to see from this year’s Hariban Award submissions?

I’ve always been fascinated by how our understanding of photography is constantly renegotiated by its ongoing technological developments. I notice that a lot of artists employing new forms and uses of photography such as photogrammetry, 3D-rendering, CGI and in-game photography are often still very consciously referring to the history of photography to reflect upon how the medium has evolved. I’m very curious to see if there will be submissions that really push what photography can be today, and yet connect with a technique such as collotype that is over 160 years old. In that sense, I hope to see work that connects our digital, immaterial reality with our physical reality, also when this means that the new conscious of the digital makes us see and picture our physical reality anew. But most of all I want to keep an open mind and not ‘search’ too much, but be surprised.

Enter Competition ➔

キュレーター FOAM 写真美術館アムステルダム

プロフィール:ミリアム・クーイマンは、アムステルダムのFoam写真美術館にて美術史家兼キュレーターを務めています。これまで手がけた展示として、Air Weiwei 『#SafePassage』、Paul Mpagi Sepuya『Double Enclosure』、横田大輔『Matter』、Awoiska van der Molen『Blanco』などがあり、巡回展ともなった2015年と2016年の『Foam Talent』展、そして2017年には写真にまつわる意見交換をするために、FoamのプロジェクトスペースであるFoam 3hにて、メキシコ、ナイジェリア、インドネシアの写真プラットフォームとのコラボレーションも開始しました。 加えて、現在は、写真がヴァーチャルリアリティやゲームやオンライン体験がどのように関わりを持っているのかといったテーマも研究しています。 クーイマンはアムステルダム大学で美術史の学士号と博物館キュレーションの修士号を取得、以前はアムステルダムのStedelijk Museum(アムステルダム市立美術館)で学芸員の育成プログラムに参加し、Foam Magazineの定期的な寄稿者でもあります。














今現在の写真の限界にチャレンジしながら、160年以上の歴史あるコロタイプ技法と繋がれるような応募作品があるかどうかが気になります。私たちのでデジタル化された非物質的な現実と、物理的な現実と両方反映されるような作品を私は見てみたいのです。 というのも、デジタル世界での意識によって、私たちの物理的な現実に対する見方が変わるからです。しかしなによりもオープンでありたいし、何かを探し求めるよりも、私は単純に驚かされたいのです。

応募フォーム ➔


Juror Interview: A Conversation with IBASHO Martijn & Annemarie

This year’s Hariban Award applications are now open!, We spoke to this year’s Jurors IBASHO gallery founders and directors Annemarie Zethof & Martijn van Pieterson about what they are looking forward to with this year’s submissions

Annemarie Zethof and Martijn van Pieterson are the founders and directors of IBASHO, a business revolving around Japanese photography in Antwerp, Belgium. IBASHO opened its gallery in March 2015 specialising in fine art Japanese photography, presenting well-known and master photographers from Japan and emerging Japanese talent, as well as non-Japanese photographers who have worked in Japan. IBASHO regularly organises group and solo exhibitions at the gallery and participates in art fairs such as Paris Photo, AIPAD, Photo London and Unseen. In August 2017, IBASHO opened a bookshop specialising in new and antiquarian Japanese photo books as an extension of the gallery. Martijn and Annemarie also operate as guest curators, recently curating the Japanese Nude exhibition for Japan Museum Sieboldhuis, Leiden, The Netherlands.

Can you explain the work that you do and what drew you to establishing your own gallery?

We started collecting art in the early 90s and have been building up our collection ever since. At one point in t,ime we decided we should do something more with art than just collecting and the idea grew to open up a gallery. We have spent a few years considering this and finding out what we should do exactly. As Annemarie was studying Photography at the Fotoakademie Amsterdam at the time and we started to get very interested in collecting photography, this seemed like the medium to focus on.

Why do you focus your collection on Japanese photography?

The exhibition Moriyama-Klein in Tate Modern was the trigger for us to start really looking into Japanese photography. We were overwhelmed by Moriyama’s photography and wanted to know more about him, his influences and followers.

What do you think makes a great photo stand out?

A great photo should give you the urge to look at it over and over again.

What sort of work are you hoping to see from this year’s Hariban Award submissions?

We are hoping to see a great variety of work using different techniques and mediums.

Do you have any tips for artists looking to apply for this year’s Award? 

Collotypes are very special prints and especially the great prints made by Benrido on Japanese paper with great contrast and beautiful texture. We encourage any photographer submitting to think about this special technique and paper when selecting their work.


Enter Competition ➔

IBASHO ギャラリー アンマリー・ゼゾフ &マルテイン・ヴ ァン・ピーターソン

プロフィール:アンマリー・ゼゾフとマーティン・ファン・ピーターソン夫妻は、ベルギーのアントワープで日本の写真を中心に展開しているIBASHOギャラリーの創設者兼ディレクターです。 日本の有名写真家や新進の日本写真家、そして日本で制作したことのある外国人写真家を紹介する日本のアート写真を専門とするギャラリーとして2015年3月にオープンしました。 IBASHOはグループ展や個展を定期的に開催し、Paris Photo、AIPAD、Photo London、Unseenなどのアートフェアに参加しています。 そして、2017年8月にはギャラリーの延長として、新旧の日本の写真集を専門とするブックショップもオープンし、また、最近ではオランダのライデンにある日本博物館シーボルトハウスにおいて、二人は『日本ヌード展』をキュレーションを担当しました。


私たちは90年代初めからアート作品の収集をしており、 徐々にそのコレクションは大きくなっていきました。あ る時期を境に、作品を集めるだけでなく、ギャラリーを 持って美術にもっと深く関わっていきたいと考えたので す。それから数年の間は、どのような形態がよいか模索す ることに費やしました。当時、アンマリーはフォトアカ デミー・アムステルダムの写真専攻に在籍しており、二人 とも写真作品のコレクションに強い興味持ち始めた結 果、写真に特化したギャラリーを作ることに決めたので す。

日本の写真作品のコレクションを始めたきっかけは何 でしょうか。

(ロンドンの)テート・モダンで開催された森山大道と ウィリアム・クラインとの二人展が日本の写真に興味を持 つきっかけとなりました。森山の作品に圧倒され、彼の ことや彼が影響受けた写真家、そして森山から影響を受 けた写真家について詳しく知りたいと思いました。

お二人にとって、優れた写真とはどういった要素が必 要だと思いますか。

良い写真は、何度も繰り返し見たくなる衝動に駆られる ような物であるべきです。

今年のハリバンアワードの応募において、どのような 作品を見てみたいと思いますか。

さまざまな技法や表現を用いて制作された、あらゆる種 類の作品を見たいと期待しています。

今年応募することを考えている作家たちに、何かヒン トなどはありますか?

コロタイプはとても特殊なプリントですし、特に便利堂 では和紙に素晴らしい濃淡と美しい質感もつ上質のプリ ントが制作できます。応募する作品を選ぶ上で、この特 別な技法やプリントに使用される紙のことを念頭におく といいと考えます。

応募フォーム ➔


Benrido at Paris Photo 2018


We are pleased to announce we will exhibit at Paris Photo 2018 within the Book Sector.

Booth: SE 23


Along with a selection of our collotype portfolios, we will present limited edition prints by Masahisa Fukase from the series Raven Scenes including the new portfolio of Masahisa Fukase co-produced with Editions Xavier Barral. We will also launch a new series of works by Dutch photographer Awoiska van der Molen.

Exhibiting Works: 

Awoiska van der Molen, Masahisa Fukase Raven Scenes, Saul Leiter: 1950s New York Portfolio, Masahisa Fukase Private Scenes Portfolio, Stephen Gill Night Procession Portfolio, Yamamoto Masao Collotype Portfolio, Hariban Award Catalogues, Hiroshi Masaki: Kyoto a Landscape Meditation, Shoji Ueda SAND DUNE, Kenro Izu Blu in Collotype, J.H. Lartigue / Colour

Special Launch Event: Awoiska van der Molen New works in collotype. Thursday 8th November 4pm5pm at Benrido booth. All welcome!

Exhibition Dates: 9th – 12th November 2017
Entry: Ticketed
Location: 3 Avenue du Général Eisenhower, 75008 Paris, France
Paris Photo


Hariban Award ’18 Grand Prize Winner Interview: Esther Teichmann

We are delighted to welcome Esther Teichmann as this year’s Hariban Award Grand Prize Winner. Before welcoming Esther to the studio for her residency, we had the chance to speak and talk about her winning body of work and what she is most looking forward to for her visit to Kyoto in December

Could tell us a little bit about yourself and what first drew you to photography?

I grew up in a small village in southern Germany in the Rhine valley near the Black Forest surrounded by swamps, lakes and rivers. The summers are incredibly humid with the most exquisite dramatic thunderstorms at night. As a child I would sit in silence with my father on the balcony in the dark, watching the storm unfold, bats flitting across the dusk sky, lightning momentarily exposing the blue back forest hills. This feeling of excitement and pure swelling joy at watching what cannot be put into words, is probably what first made me want to be an artist.

Could you explain your approach to making work and the central themes that you explore within it?

My work explores ideas of inherited home-sickness and the relationship between loss, desire and the imaginary. Within staged fantastical images, the subjects are turned-away figures of loss, always already beyond reach. Here, the photographic is loosened from its referent, slipping in and out of darkness, sometimes further removed by painting into the image in dripping inks, evoking a liquid space of night. The photographs, films and writing transform one thing into another, moving between between autobiography, fiction and myth. My approach might be best described as an unfolding, adding images, film, stories to a continually expanding body of work that is reconfigured as the fragments are pieced together in new ways.

As you will be travelling to Kyoto to collaborate with the artisans at Benrido, do you have any thoughts or hopes of how your work will be translated as collotype prints?– Is there an aspect of the award which you are most looking forward to?

I am very interested in looking back at the history of photography and photographic processes and setting these in dialogue with the present and imagined future, to create work that visually and materially moves across registers of time and place. I am incredibly excited and honoured to be offered this unique opportunity of working intensely with your studio and master artisan printers, and am really looking forward to having the time to work in such a focused way. I am also looking forward to going for long aimless walks through the city alone, having time away from the familiar to think about new work and write.

What do you hope to gain as an artist through this residency?

Often it is learning a new process, working with and learning from people so passionate and expert at their craft, that most inspires me, giving me ideas for new works. I am really excited about creating this body of work as Collotype prints, seeing them in a new form.





あなたは便利堂の職人とコラボレートするために京都にいらっしゃるわけですが、自身自身の作品がどのようにコロタイププリントとして表現されることを望んでしますか? また、今回のハリバンアワード受賞によってあなたが最も楽しみにしていることはなんでしょうか?







Hariban Award 2018 – Winners

It is with great pleasure that we announce the results of this year’s Hariban Award

2018 Award Recipients


Grand Prize Winner

Esther Teichmann

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Esther Teichmann Artist Statement

My photographic practice works with staged images set in relationship to one another to form an imaginary, alternate orphic world. We move from beds to swamps and caves, from mothers to lover, in search of a primordial return. Working with experimental print process and painting into images, the photographic is loosened from its referent. Narratives emerging from fragments as one thing is transformed into another, sliding between autobiography, fiction and myth. The photographs, films and writings picture mothers like caves, sisters like seashells, lovers like moons, tears like waterfalls. Entering the octopus darkness of swamps and caves we find ingestion and emission, mother and daughter, sister and sister, black and white, lover and lover, surrealism’s erotic jolt: the irritant that makes the pearl. Seashells with apertures like cameras. The womb as oceanic. Lovers as moons. Holding as withholding. Day as night.


  私の写真は空想上、または神話的な世界を構築するために、複数のイメージの関係性をセットアップして撮ったものです。私たちは原始的な回帰を探るため、ベッドから沼地、そして洞窟へ、または母から恋人へと移り変わります。実験的なプリントをしたり画像へ直接ペイントすることで、もともとの被写体の持つ印象を緩める効果を出そうとしました。一つイメージからまた別のものに生まれ変わるような断片から生まれるストーリーは、自伝やフィクションや神話の間を行き来し、さらに他のものへとに姿を変えていきます。私の作品は、写真と映像と文章により、洞窟のような母、貝のような姉妹、月のような恋人たち、滝のような涙などを描いています。沼や洞窟といった真っ暗な暗闇に入ることで、摂取と排出、母と娘、妹と妹、黒と白、恋人と恋人、シュールレアリズムのエロティックな衝動(真珠を作るといった刺激的なもの)などが私の作品から感じられるはずです。カメラのような開口を持つ貝殻。 大洋のような子宮。 月のような恋人たち。 自制しながらの保有、夜としての昼間。


Juror’s Choice Awards


John Edmonds – selected by David Campany

Matthew Genitempo – selected by Lesley A. Martin

Daren You – selected by Masako Sato

Vanessa Winship – selected by Shoair Mavlian


Master Printer’s Choice Award

Veronique Evrard


Honourable Mentions

Raymond Meeks

Feiyi Wen

George Georgiou

Bert Teunissen

Joseph Ball

Maja Daniels


2018 Winning Photographers Work

Please enjoy a few photos selected from the Juror’s Choice Awards, Master Printer’s Choice Award, and Honorable Mentions. Their work will be printed and published in collotype in the annual Hariban Award Catalogue to be released in April 2019.

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Statement by Takumi Suzuki, CEO Benrido

It is with great pleasure to extend our congratulations to this year’s Hariban Award Winners. The level of enthusiasm for the award continues to grow each year, and out of 371 submissions, this year’s Jurors faced the difficult task of selecting the award recipients from a truly incredible pool of submissions. This year marked an exceptionally high standard of work submitted from photographers around the world and amongst them, Esther Teichmann’s submission stood out with her symbolic and intimate imagery. We greatly look forward to welcoming  Esther Teichmann at the studio and her resulting collaboration with the artisans of Benrido.

代表取締役CEO 鈴木巧からのステートメント


What’s next?

Esther Teichman will be traveling to Kyoto to begin her residency here at Benrido in December. Be sure to stay tuned for updates on our blog so you can follow along with her journey.  


HARIBAN AWARDの最新情報、また受賞者の京都での制作体験の様子は、メールマガジンで随時お届けしてまいります。メールマガジンを購読して最新情報をチェックしてみてください!


HARIBAN AWARD 2018 – Shortlist

We’re thrilled to announce the shortlist for the HARIBAN AWARD 2018.

As we celebrate the 5th year of the Award, we are extremely thankful to see how the award has garnered new interest from artists across the globe. This year we are incredibly proud to have received 371 submissions. Before sharing this year’s shortlist we would first like to thank each of the applicants this year for submitting their work to the Hariban Award.

From this truly impressive array of submissions, we are excited to share and congratulate this year’s Shortlist of 54 applicants.

ハリバンアワード 2018の一次審査を通過したショートリストの発表をいたします。



HARIBAN AWARD 2018 – Shortlist

(Alphabetical order with names written in Japanese at the beginning)

楠樹 仁, 三保谷 将史, Joseph Ball, Adam Bell, Laura J. Bennett, Jacob Burge, Tara Cronin, Maja Daniels, Mark De Fraeye, Michel Delsol, John Divola, John Edmonds, Veronique Evrard, Jonas Feige, Leila Forés, Nicole Clare Fraser, Thomas Fuesser, Dan Gemkow, Matthew Genitempo, George Georgiou, Marie-José Jongerius, Hajime Kimura, Jesse Koechling, Isabela Kubrik, Madeleine Kukic, Robert Langham, MAKIKO, Rose Marasco, Masayo Matsuda, Raymond Meeks, Eldad Menuchin, Wanki Min, Noritaka Minami, Yaniv Mizrahi, Mimi Mollica, Jacopo Moschin, Hiroko Okahashi, Laura Pannack, Perry Schrijvers, Levana Schutz, Steven Smith, Fiona Struengmann, Paul Taylor, Esther Teichmann, Bert Teunissen, Amanda Tinker, Gabriela Torres Ruiz, Feiyi Wen, Mandy Williams, Andrew Williams, Vanessa Winship, Dave Woody, Daren You, HanShun Zhou.


The final award winners consisting of the Juror’s Choice Awards, Honourable Mentions, and lastly the Grand Prize Winner will be selected from this pool of 54 submissions.

The Winning names will be announced in August.

This year’s panel of jurors is made up of Masako Sato, David Campany, Shoair Mavlian, Lesley A. Martin, all highly esteemed members of the global photography community.




Selected Photographers’ Work

View the 54 Shortlisted submissions for this year’s Hariban Award on the slideshow below. The submitted works within the slideshow have been presented in no particular order. 


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Juror Interview: A Conversation with David Campany

With this year’s HARIBAN AWARD applications coming to a close, we spoke to this year’s Juror David Campany about his thoughts on this year’s competition, collaborative processes and the relevance of collotype today.  


David Campany is a writer, curator and artist. His many books include A Handful of Dust 2015 and Art and Photography 2003. He has written over two hundred essays for museums and monographic books, and contributes to Frieze, Aperture, Source and Tate magazine. Recent curatorial projects include The Still Point of the Turning World: Between Film and Photography, FoMu Antwerp, 2017; A Handful Dust *Le Bal, Paris, 2015; Pratt Institute New York, 2016; the Whitechapel Gallery London, 2017; The California Museum of Photography, 2018). David has a PhD and teaches at the University of Westminster, London.

Collotype has been around for a little over 160 years. As there are now only two commercially active collotype studios left in the world (both in Kyoto), is there any relevance for the process today?

If a technique produces things that cant be produced any other way, then it is relevant and contemporary.  Its fascinating that the technologies of photography and printing have never remained static. There has always been change.  Its true that things that were once the norm very often become marginal or specialized. That is to be expected. And it is also very often true that new technologies alert us to the specific qualities of the older ones. Today fine printing is of a standard equal to any moment in the history of printing, and in part this renaissance is a response to the fact that we no longer live in a visual culture dominated by print. Its screenbased.

One of my favourite books, Atget: Photographe de Paris, 1930, was printed in collotype. It has a very specific look to it. Both Walter Benjamin and Walker Evans wrote about it at the time. Benjamin thought it was beautiful. Evans thought it looked like a pirated edition of some other publication.”  Maybe Evans was expecting gravure printing, which is very different. Who knows? But I like the fact that even then, collotype could feel both contemporary and historical. Relevant, and irrelevant.

The Hariban Award provides the opportunity for collaboration. What are your thoughts on collaborative processes and in this case with printmaking? Is there a difference when the technique is over 160 years old versus one that is digital?

Artists have always collaborated with printmakers. It is one of the richest areas of creative exchange. It is particularly significant for photographers, because they are working with a medium that naturally has different stages. There is image capture, and there is output. Since, as you say, collotype studios are very rare, any artist coming to you is likely to be learning fast while they collaborate, and that can be a very special moment. When a newcomer meets experts, the questions and the possibilities blossom very quickly. Is collotype different to digital? Yes, of course, but the dynamic interplay of newcomer and expert can be very similar.

In what ways do you think photographers can benefit from participating in a competition like the Hariban Award and what sort of work are you hoping to see from this years submissions?

Entering a competition focuses the mind, particularly a competition as specialized as the Hariban Award. If you are entering, you have to ask yourself what you are really doing, and what you want for your work. So this process is valuable even if youre not successful.

As for submissions, I try not to hope to seeanything in particular. One must live for surprises. However a judge for the Hariban Award, just like those submitting, does have to think about what the collotype process can really offer the winner.

Enter Competition ➔


プロフィール:ライター、キュレーター、アーティスト。彼の著書に『A Handful of Dust 2015』と『Art and Photography 2003』がある。また美術館のカタログな ど約200ものエッセイを書き、Frieze, Aperture, Source, Tate Magazineなどにも寄稿し ている。近年にキュレーションした展覧会として『The Still Point of the Turning World: Between Film and Photography』『FoMu Antwerp, 2017; A Handful Dust』などがある。 現在はロンドンのウエストミンスター大学で教えている。




ハリバンアワードは職人とのコラボレーションの機会を提供しています。こういった共同作業についてどう思われますか?特にプリント制作においてのコラボはどうでしょう? また、160年前の技法と現在のデジタルと比べて、その違いはなんでしょう?


コロタイプとデジタルは全然違うかって? それはもちろんそうだ。しかし、初心者とプロとのダナミックな相互作用はそれにとても似ているし、可能性も多く生まれるはずだ。




応募フォーム ➔


Juror Interview: A Conversation with Masako Sato

As part of this year’s HARIBAN AWARD, we will be sharing interviews with this year’s jurors. This week, we spoke with Tokyo based curator, consultant and Founder of CONTACT TOKYO, Masako Sato.

Masako Sato graduated from Sophia University in Tokyo.  She has worked as a freelance translator and interpreter whilst organising various photography exhibitions. Founded Contact. Co., Ltd. in 2012, and has since organised and curated many travelling exhibitions of artists such as Robert Doisneau, Jacques Henri Lartigue, Shoji Ueda, Shigeo Gocho, and the first retrospective of Saul Leiter’s works in Tokyo Japan. We had the chance to sit down with Masako Sato to talk about her work and her hopes for this year’s  HARIBAN AWARD applicants.

You’ve been influential in bringing the works of photographers such as Saul Leiter and Jacques-Henri Lartigue to a Japanese audience. As a curator and facilitator of such exhibitions and publications, can you share with us the work that you do?

I have been curating photography-based exhibitions for Japanese museums through my company, CONTACT TOKYO. I negotiate with copyright holders or collection owners to realize exhibitions that were held overseas or photographers whom I want to introduce to Japan. My job is to handle contract management, contract selection, the decision of the venue, the arrangement of transport exhibition companies, editing of catalogues, etc., all necessary for organizing the exhibitions. Depending on the nature of each exhibition, I occasionally work with other curators, otherwise, I organize exhibitions in selecting and curating the works independently.

What would you say initially drew you to photography?

I majored in journalism at university, however, since I was interested in art, I also took curatorial classes. After graduating, I was hired by PPS, a photo agency, the company was getting involved in organizing photography exhibitions, and PPS was a pioneer of organizing photography exhibitions in Japan, such as Robert Capa, Henri Cartier-Bresson, Andre Kertesz, Alfred Stieglitz, Eugene Atget, Brassai, Ansel Adams, etc. In those days, it was mainly held at the department stores. I was lucky enough to be involved with artists whose works are an important part of photography’s history and my passion for photography grew throughout the years.

What do you think makes a great photo stand out?

A picture that you catches your attention or a picture you can look at for a long time, a picture that cannot distract your eyes, or a work that can draw out a number of stories from a single image.

What are the advantages of participating in a competition like the Hariban Award? 

The advantage is to be able to show your work to Jurors from various regions. When you are facing your own work by submitting to the competition, your eyes tend to become clearer or maybe the other way around. I also believe it will make a great opportunity to face the questions about why you create your works.

Do you have any advice for those who are looking to apply?

When I saw the works by previous winners, I found the special creativity of the artists and collotype’s materiality fused together in them. It is not a coincidence that the only active collotype studios in the world are in Kyoto. Kyoto is a city where craftsmen, their skills and tradition have been fused through a long history. In order to connect what has been handed over from the past to the future, I think it is necessary to have the energy of new perspectives according to each era. The winner of the Hariban Award will receive an invaluable opportunity to focus on making works with experienced craftsmen, I hope to see exciting works that will open up new possibilities for Collotype.

Enter Competition ➔







見る側を惹きつける写真にはどういった要素があると思いま すか?


ハリバンアワードのような写真コンペティションに参加する利点は何でしょうか? どのような作品を期待されていますか?




応募フォーム ➔


Hariban Award ’17 Grand Prize Winner Stephen Gill’s Exhibition ‘Night Procession’

Benrido is pleased to present the solo exhibition of Stephen Gill’s Night Procession, Grand Prize Winner of the Hariban Award International Collotype Competition 2017.

“A fascination with the mysteries and strangeness of the natural world threads Stephen Gill’s photography. This isn’t surprising; he has spoken of how his interest in the medium began with a concurrent fascination with what life looks like under a microscope. His 2012 series, Coexistence, made with water from a polluted pond in Luxembourg, echoes that personal history. While Gill looks intently, he also purposely obscures and complicates what we see. Relishing in chance and experimentation, his work has involved dipping negatives into the sea or directing sunlight onto a negative with the help of a magnifying glass; the resulting distortions offer up peculiar, idiosyncratic impressions of the world.
For his most recent series, Night Procession, Gill has moved from England, the setting for many of his series, and turned his eye on the landscape of rural southern Sweden and the nocturnal life teeming in this environment. “I started to imagine the creatures in absolute darkness on the forest floor driven by instincts and their will to survive,” he writes. “I thought of their eyes – near redundant in the thick of the night – and their sense of smell and hearing finely tuned and heightened.” Once again, he is searching the micro level for the unseen and the overlooked. It will be exciting to see how Gill uses the expertise of the Benrido atelier to bring this project to new life.”

– Michael Famighetti, editor Aperture
On behalf of the Juror, Hariban Award 2017

Born in Bristol, U.K., Stephen Gill became interested in photography in his early childhood, thanks to his father and interest in insects and initial obsession with collecting bits of pond life to inspect under his microscope. Stephen’s photographs are held in various private and public collections. Major works include Hackney Flowers, Anonymous Origami, and Invisible. His award-winning photobooks are self-published under the imprint “Nobody books”.

Sponsored by Kyoto City
Organized by Benrido

Dates: April 14 (Sat) – May 6 (Sun).
Hours: 9:00 am – 4:00 pm *last entry at 3:30 pm
Jojuin & exhibition entrance fee: Adult: 600 yen / Elementary and junior high student: 300 yen

Artist talk: April 15th (Sun), 2018 11:00 am – 0:00 pm, 2:00 pm – 3:00 pm
*maximum 20 persons at one time
Email to book in advance:

Kiyomizu-dera Temple Exhibition announcement

Watch Interview

ハリバンアワード 2017 グランプリ授賞展 このたび、便利堂が主催する国際コロタイプ写真コンペティションのグランプリに輝いたスティーブン・ギルのコロタ

イプ作品展 『 N i g h t P r o c e s s i o n ( 夜の行進 )』を清水寺境内成就院にて開催する運びとなりました。

ハリバンアワードは、世界でも希少となったコロタイプ技法で作品をつくる機会を提供したいという思いから2014年に スタートしました。このコンペティションは国内外の作家に幅広く作品を募集し、著名な美術館キュレーターや編集者、 ギャラリストによる厳選な審査によって受賞者が選出されます。これまでも、グランプリ受賞者は便利堂の工房 にて作 品を制作し、完成したコロタイプの展示を京都市内で行なってきました。

ギルはこれまで実験的ともいえる作品を手がけてきたアーティストとして知られています。スウェーデンの深い森の中で 2 年半をかけて撮られた意欲作を便利堂の職人とともに和紙を使った美しい作品に仕上げ、この展示に関しても作家本 人による会場構成が施されています。本展は春と秋にのみに公開される成就院「月の庭」を望む由緒ある空間での展示 となりますので、その美しい景観とともに是非お楽しみください。

スティーブン・ギル Stephen Gill
写真家。1971 年イギリス・ブリストル生まれ。 父親の影響で幼少期より写真を始める。フィ ルトン・カレッジで写真を 学び、ロンドンの マグナム・フォトにアシスタントとして勤務 した後に独立。ユニークな視点から日常を切り 取った独 自の表現を確立 。代表作に「 Hackney Flowers」、「Anonymous Origami」、「Invisible」 がある。これまで多数の写真 集を制作しており、 その多くは自ら手がける Nobody Books から 出版されている。

時間: 9:00-16:00 ※会期中無休・15時半に受付終了 観覧料:一般600円/小中生300円

会場: 清水寺成就院(京都市東山区清水 1 – 294)
主催: HARIBAN AWARD 事務局(京都市中京区新町通竹屋町下ル弁財天町302番地 便利堂内 )

後援: 京都市

アーティストトーク: 2 0 1 8 年 4 月 1 5 日( 日 ) 11:00-12:00、14:00-15:00 定員 各回先着順 20名 申込先