News:
slide projection: Mémoires, 2012
New book: Our Pocketkamera 1985
i-D: "A photographer's portraits of his late wife over 7 years of marriage" [more]
Exhibition: "Face To Face 1978-1985" [more]
Exhibition: "First Trip to Bologna 1978 / Last Trip to Venice 1985" [more]
New book (2022): "First Trip to Bologna 1978 / Last Trip to Venice 1985" [more]
AMERICAN SUBURB X [more]
AnOther: "Mourning Throught the Camera:Seiichi Furuya's Elegy to His Late Wife" [more]
New book (2020): "FACE TO FACE" [more]
The New Yorker: A Photographer, Seen Through the Eyes of His Late Wife [more]
Aperture "A Japanese Photographer’s Bittersweet Archive of His Late Wife" [more]
Book page-turning videos [more]
AMERICAN SUBURB X [more]
C4 Journal [more]
Adieu-Wiedersehen [more]
Monopol, Was bleibt, ist die Melancholie [more]
SPIEGEL Geschichte "Herr Furuya und das Ende der DDR" [more]
© s.furuya
The photographic work of Seiichi Furuya (born 1950) is marked by his life as a wanderer between cultures and cross-border commuters between East and West.
© s.furuya
Number of works: 99; Size of work: 28.0 x 18.7 cm (11.02 x 7.36 inch); Technique: gelatin-silver print and Type C print; All photographs are mounted onto the Alpolic (2 mm). Production year: 2008
© s.furuya
© s.furuya
© FOTO: DBT/Melde
© s.furuya
© s.furuya
Number of works: 99; Size of work: 28.0 x 18.7 cm (11.02 x 7.36 inch); Technique: gelatin-silver print and Type C print; All photographs are mounted onto the Alpolic (2 mm). Production year: 2008
© s.furuya
Number of works: 75; Size of work: 16.5 x 24.8 cm (6.5 x 9.77 inch); Technique: gelatin-silver print and Type C print; All photographs are mounted onto the aluminum plates (1 mm).
© s.furuya
The photographic work of Seiichi Furuya (born 1950) is marked by his life as a wanderer between cultures and cross-border commuters between East and West.
© s.furuya
Slide Installation (4 x Slide-Projection)
© s.furuya
Views of the Berlin wall seen from East Berlin, capital of the GDR, 1985-1988
© s.furuya
© s.furuya
© s.furuya
As suggested at the start, Seiichi Furuya belongs to a generation of photographers allied to an existentialist dialectic: on the one hand, the continual, almost obsessive recording of what life is made up of, right through to the catastrophe which photography is unable to avert but can only register. On the other hand, the retelling of this story in the subjunctive: If when why.
