{"id":36988,"date":"2023-03-21T03:35:44","date_gmt":"2023-03-21T03:35:44","guid":{"rendered":"https:\/\/encartes.mx\/?p=36988"},"modified":"2024-04-24T09:50:27","modified_gmt":"2024-04-24T15:50:27","slug":"gutierrez-alvarado-garnica-entrevista-shinohara-fotografo-hiroshima","status":"publish","type":"post","link":"https:\/\/encartes.mx\/fr\/gutierrez-alvarado-garnica-entrevista-shinohara-fotografo-hiroshima\/","title":{"rendered":"L'iridescence des lucioles. Hiroshima \u00e0 travers l'objectif de Seiji Shinohara"},"content":{"rendered":"<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Entretien avec Shaykhi Shinohara | Hiroshima \u00e0 travers l&#039;objectif de Seiji Shinohara\" width=\"580\" height=\"326\" src=\"https:\/\/www.youtube.com\/embed\/dBD3lFEhv3I?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-1 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p class=\"abstract has-small-font-size\">\u7389\u866b\u8272\u306b\u5149\u308b\u86cd\u305f\u3061 \uff5e\u7be0\u539f\u8aa0\u4e8c\u306e\u30ec\u30f3\u30ba\u306e\u5411\u3053\u3046\u306b\u5199\u308b\u5e83\u5cf6\uff5e<a class=\"anota\" id=\"anota1\" data-footnote=\"1\">1<\/a><br>Naku na mushi<br>wakaruru koi wa<br>hoshi ni sae<\/p>\n\n\n\n<p class=\"abstract has-small-font-size\">Ne pleurez pas, insectes !<br>comme les \u00e9toiles<br>partie des amoureux.<br>Kiku-jo<\/p>\n<\/div>\n<\/div>\n\n\n\n<p class=\"has-drop-cap abstract\">Dans l'imaginaire occidental, Hiroshima renvoie \u00e0 une ville d\u00e9vast\u00e9e par des bombes atomiques, \u00e0 la destruction massive et \u00e0 la souffrance. Dans le roman <em>La tumba de las luci\u00e9rnagas<\/em> (1967), \u00e9crit par Akiyuki Nosaka<a class=\"anota\" id=\"anota2\" data-footnote=\"2\">2<\/a> et dans son adaptation anim\u00e9e, produite par le Studio Ghibli (Takahata, 1988), les horreurs les plus brutales des raids a\u00e9riens de 1945 sur le Japon sont pr\u00e9sent\u00e9es \u00e0 travers les exp\u00e9riences des fr\u00e8res et s\u0153urs Seita et Setsuko, qui, bien qu'ils aient tout perdu, s'embarquent pour un voyage vers l'espoir.<\/p>\n\n\n\n<p>L'histoire s'inspire des propres exp\u00e9riences de l'auteur, ainsi que de photographies et de r\u00e9cits oraux concernant le grand nombre d'enfants qui, lorsqu'ils devenaient orphelins, \u00e9taient seuls responsables du transport des corps de leurs parents d\u00e9c\u00e9d\u00e9s jusqu'aux cimeti\u00e8res. Les petits enfants \u00e9taient attach\u00e9s avec un ruban sur le dos et port\u00e9s de cette mani\u00e8re. Un portrait sordide de ce fait a circul\u00e9 dans le monde entier, dans lequel un gar\u00e7on d'environ six ans porte le corps de son jeune fr\u00e8re sur son dos.<\/p>\n\n\n\n<p>Les photographies de Seiji Shinohara semblent remettre en question cette image et la renverser, car son regard ne se porte pas sur cet Hiroshima, mais sur ce lieu qui ne co\u00efncide pas avec notre imagination, bord\u00e9 de grandes portes, d'offrandes bouddhistes dans les ruelles, de d\u00e9tails architecturaux de sanctuaires shinto\u00efstes, de routes pav\u00e9es, de cerisiers qui se refl\u00e8tent dans les rivi\u00e8res et de publicit\u00e9s quotidiennes qui insinuent des rues habit\u00e9es et vivantes... laissant toute silhouette ou individu en dehors du cadre. Il nous pr\u00e9sente des photographies en noir et blanc qui font sans doute allusion \u00e0 l'espoir que les fr\u00e8res cherchaient dans le tombeau des lucioles.<\/p>\n\n\n\n<div class=\"image-slider\">\n                <div class=\"frame\">\n                    <div class=\"picture\" itemscope itemtype=\"http:\/\/schema.org\/ImageGallery\">\n                        <figure itemprop=\"associatedMedia\" itemscope itemtype=\"http:\/\/schema.org\/ImageObject\" class=\"slider-element\">\n                              <a href=\"https:\/\/archive.org\/download\/vol6num11-multimedia\/gutierrez-alvarado-garnica-entrevista-shinohara-fotografo-hiroshima-image-1.jpeg\" itemprop=\"contentUrl\" data-size=\"800x1101\" data-index=\"0\" data-caption=\"Panor\u00e1mica de la exposici\u00f3n Hiroshima en El Colegio de San Luis, A. C., 2022.\" >\n                                <img decoding=\"async\" src=\"https:\/\/archive.org\/download\/vol6num11-multimedia\/gutierrez-alvarado-garnica-entrevista-shinohara-fotografo-hiroshima-image-1.jpeg\" itemprop=\"thumbnail\">\n                                <i class=\"fa fa-expand expand\" aria-hidden=\"true\"><\/i>\n                            <\/a>\n                            <\/figure><figure itemprop=\"associatedMedia\" itemscope itemtype=\"http:\/\/schema.org\/ImageObject\" class=\"slider-element\">\n                              <a href=\"https:\/\/archive.org\/download\/vol6num11-multimedia\/gutierrez-alvarado-garnica-entrevista-shinohara-fotografo-hiroshima-image-2.jpeg\" itemprop=\"contentUrl\" data-size=\"771x514\" data-index=\"0\" data-caption=\"Panor\u00e1mica de la exposici\u00f3n Hiroshima en El Colegio de San Luis, A. C., 2022.\" >\n                                <img decoding=\"async\" src=\"https:\/\/archive.org\/download\/vol6num11-multimedia\/gutierrez-alvarado-garnica-entrevista-shinohara-fotografo-hiroshima-image-2.jpeg\" itemprop=\"thumbnail\">\n                                <i class=\"fa fa-expand expand\" aria-hidden=\"true\"><\/i>\n                            <\/a>\n                            <\/figure>                    <\/div>    \n                <\/div>\n                    <div class=\"caption\">Pr\u00e9sentation de l'exposition Hiroshima au El Colegio de San Luis, A. C., 2022.<\/div><div class=\"image-analysis\"><\/div><div class=\"caption\">Pr\u00e9sentation de l'exposition Hiroshima au El Colegio de San Luis, A. C., 2022.<\/div><div class=\"image-analysis\"><\/div>                <div class=\"bullets\"><\/div>\n            <\/div>\n\n\n\n<p>Ces images nous ont inspir\u00e9 le titre de l'interview \"L'irisation des lucioles\", car la sensibilit\u00e9 de Shinohara nous montre, avec une acuit\u00e9 exp\u00e9rimentale, la beaut\u00e9 d'un Hiroshima qui existe aussi et qui a \u00e9t\u00e9 ni\u00e9 par le poids des \u00e9v\u00e9nements. Ce sont les marches que son regard cr\u00e9e dans chaque coin et que sa m\u00e9moire visuelle filtre vers l'observateur ; c'est la possibilit\u00e9 que le b\u00e9b\u00e9 de la photographie et son fr\u00e8re aient un avenir. La base de ses pas visuels devient ainsi une m\u00e9taphore : celle de l'espoir. L'espoir non seulement de l'enfant qui a emmen\u00e9 son fr\u00e8re au cimeti\u00e8re, mais aussi l'espoir que dans un coin de la ville, l'enfant vive \u00e0 c\u00f4t\u00e9 de sa petite s\u0153ur, comme Seita et Setsuko ; que les douleurs soient peut-\u00eatre devenues l'esth\u00e9tique d'une m\u00e9moire qui, au lieu de lac\u00e9rer, enseigne. Ces images, que nous aimerions qualifier d'iris\u00e9es, avec leurs clairs-obscurs comme des murmures du pass\u00e9, sont destin\u00e9es \u00e0 transformer les horreurs de la guerre, \u00e0 rendre visible le sens du mot \"nankurunaisa\", <em>avec le temps, tout finit par s'arranger<\/em>. C'est l'irisation d'une luciole qui illumine cette Hiroshima qui, comme Suzaku, le ph\u00e9nix japonais, rena\u00eet de ses cendres pour briller et atteindre l'immortalit\u00e9.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Bibliographie<\/h2>\n\n\n\n<p class=\"bibliography\" data-no-auto-translation=\"\">Nosaka, Akiyuki (1999). <em>La tumba de las luci\u00e9rnagas<\/em>. Barcelona: Acantilado.<\/p>\n\n\n\n<p class=\"bibliography\" data-no-auto-translation=\"\">Takahata, Isao (director) (1988). <em>La tumba de las luci\u00e9rnagas<\/em> [pel\u00edcula]. Jap\u00f3n: Studio Ghibli.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-text-color has-background has-accent-background-color has-accent-color is-style-dots\"\/>\n\n\n\n<p class=\"abstract\"><em>Seiji Shinohara<\/em> N\u00e9 \u00e0 Hokkaido, au Japon. Il vit au Mexique depuis 47 ans. Il utilise un appareil Hasselblad 6\u00d76 depuis plus de 25 ans. Fondateur du Foto Club Azteca Nippon au Mexique, <span class=\"small-caps\">cdmx<\/span> et premier membre officiel au Mexique de la Soci\u00e9t\u00e9 photographique du Japon. Auteur de plusieurs livres de photos repr\u00e9sentant la communaut\u00e9 japonaise au Mexique.<\/p>\n\n\n\n<p class=\"abstract\"><em>Arturo Guti\u00e9rrez del \u00c1ngel<\/em> est enseignant-chercheur au sein du programme d'\u00e9tudes anthropologiques du Colegio de San Luis. Il est membre du syst\u00e8me national des chercheurs depuis 2008. Ses recherches portent sur la mythologie, les religions et les rituels. Elle s'est sp\u00e9cialis\u00e9e dans l'anthropologie visuelle, en particulier dans la relation entre la photographie, la plastique et les expressions culturelles. Il a travaill\u00e9 avec des groupes de l'ouest et du nord du Mexique, tels que les Wixaritari et les Na'ayari. Il a publi\u00e9 cinq livres en tant qu'auteur et six livres en tant que co-auteur, ainsi que des publications dans des magazines nationaux et internationaux. Il a expos\u00e9 son travail photographique dans des mus\u00e9es et des galeries, et compte 20 expositions de photographies, y compris celles li\u00e9es \u00e0 l'Asie, <em>L'instant du regard : cinq pays d'Asie<\/em>.<\/p>\n\n\n\n<p class=\"abstract\"><em>Greta Alvarado Lugo<\/em> est professeur \u00e0 l'universit\u00e9 autonome de San Luis Potos\u00ed, au Mexique. Membre du r\u00e9seau latino-am\u00e9ricain et carib\u00e9en sur la Chine. Doctorante en \u00e9tudes anthropologiques \u00e0 El Colegio de San Luis, Mexique (2018-en cours). Master et sp\u00e9cialiste en art indien \u00e0 l'universit\u00e9 Complutense de Madrid, Espagne. Dipl\u00f4me en Asie, Universidad del Chaco Austral, Argentine.<\/p>\n\n\n\n<p class=\"abstract\"><em>Frances Paola Garnica Qui\u00f1ones <\/em>est professeur de recherche et professeur Conacyt affect\u00e9 au programme d'\u00e9tudes anthropologiques du Colegio de San Luis. Elle est titulaire d'une ma\u00eetrise et d'un doctorat en anthropologie sociale et m\u00e9dias visuels de l'universit\u00e9 de Manchester, au Royaume-Uni. Ses recherches portent sur la perception et l'imaginaire des espaces, la migration chinoise \u00e0 San Luis Potos\u00ed et les utilisations rituelles et th\u00e9rapeutiques du peyotl dans une optique de d\u00e9fense territoriale bioculturelle. Elle est cor\u00e9alisatrice du documentaire <em>...Et je ne quitterai pas le quartier !<\/em> (2019).<\/p>","protected":false},"excerpt":{"rendered":"<p>Les photographies de Seiji Shinohara semblent remettre en question cette image et la renverser, car son regard ne se porte pas sur cet Hiroshima, mais sur ce lieu qui ne co\u00efncide pas avec notre imagination, bord\u00e9 de grandes portes, avec des offrandes bouddhistes dans les all\u00e9es, des d\u00e9tails architecturaux de sanctuaires shinto\u00efstes, des routes pav\u00e9es, des cerisiers qui se refl\u00e8tent dans les rivi\u00e8res et des publicit\u00e9s quotidiennes qui insinuent des rues habit\u00e9es et vivantes... laissant toute silhouette ou individu en dehors du cadre. <\/p>","protected":false},"author":4,"featured_media":37009,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[12],"tags":[],"coauthors":[551],"class_list":["post-36988","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-12","personas-gutierrez-del-angel","personas-garnica-quinones","personas-alvarado-lugo-greta","personas-shinohara-seiji","numeros-1038"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.2 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Hiroshima tras la lente de Seiji Shinohara &#8211; Encartes<\/title>\n<meta name=\"description\" content=\"En las fotograf\u00edas de Seiji Shinohara, Hiroshima est\u00e1 revestido de grandes portones, con ofrendas budistas entre los callejones.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/encartes.mx\/fr\/gutierrez-alvarado-garnica-entrevista-shinohara-fotografo-hiroshima\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Hiroshima tras la lente de Seiji Shinohara &#8211; Encartes\" \/>\n<meta property=\"og:description\" content=\"En las fotograf\u00edas de Seiji Shinohara, Hiroshima est\u00e1 revestido de grandes portones, con ofrendas budistas entre los callejones.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/encartes.mx\/fr\/gutierrez-alvarado-garnica-entrevista-shinohara-fotografo-hiroshima\/\" \/>\n<meta property=\"og:site_name\" content=\"Encartes\" \/>\n<meta property=\"article:published_time\" content=\"2023-03-21T03:35:44+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-04-24T15:50:27+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/encartes.mx\/wp-content\/uploads\/2023\/03\/shinohara.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1224\" \/>\n\t<meta property=\"og:image:height\" content=\"667\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Arthur Ventura\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"\u00c9crit par\" \/>\n\t<meta name=\"twitter:data1\" content=\"Arthur Ventura\" \/>\n\t<meta name=\"twitter:label2\" content=\"Dur\u00e9e de lecture estim\u00e9e\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutes\" \/>\n\t<meta name=\"twitter:label3\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data3\" content=\"Arthur Ventura\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/encartes.mx\/gutierrez-alvarado-garnica-entrevista-shinohara-fotografo-hiroshima\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/encartes.mx\/gutierrez-alvarado-garnica-entrevista-shinohara-fotografo-hiroshima\/\"},\"author\":{\"name\":\"Arthur Ventura\",\"@id\":\"https:\/\/encartes.mx\/#\/schema\/person\/97215bba1729028a4169cab07f8e58ef\"},\"headline\":\"La iridiscencia de las luci\u00e9rnagas. 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