MARUKAWA Collection
Photographs That Cannot Return: Belonging, Release, and Filling — And Photography Is Left at a LossKunie Sugiura, Cko #L10-V2/2, 1967
©Kunie Sugiura
If POST INDUSTRIAL MEDIUM — The End of the Age of Its Technological Reproduction is Side A, this exhibition corresponds to Side B. Dreaming up a record with “Kaerenai Futari” on one side and “Soshite Boku wa Toho ni Kureru” on the other while selecting the photographs, the mental playlist began to proliferate on its own. Even when commanded to “return to photography,” any supposed “essence of photography” to which one might return was an illusion from the start; photography has nowhere to return. Unable to locate a “language to come” and incapable of becoming an objective “botanical dictionary,” photography is left at a loss. Released from its attribution to the medium, the photograph that has nowhere to return weaponizes its own emptiness, initiating a replenishment that surpasses the physical world. Appearing across T3 PHOTO ASIA 2026 as Sides A and B, these two parallel exhibitions are, in truth, a double A-side.
（by birth year）
(All works are in the collection of Marukawa)
Q Ei, Untitled, 1936-39
Zai Nomura,Still Life: 496800ss, 2021
Curator