井上廣子 INOUE Hiroko

《Absence》1999年 ゼラチンシルバープリント、布、ライトボックス  45×45×45cm (25点)
デュッセルドルフ市立ギャラリー、アトリエ アム エック企画 
個展  展示風景、撮影:フランク・ピータース
Absence, 1999, Gelatin Silver Print, Cloth, Light Boxes, 45×45×45cm (25 pieces)
Exhibited at the solo exhibition, curated by Atelier am ECK, City Gallery of Düsseldorf, Photo by Frank Peters
Collection of Tochigi Prefectural Museum of Fine Arts



INOUE Hiroko




小勝禮子 井上廣子・作品解説『アジアをつなぐ-境界を生きる女たち1984-2012』展図録(福岡アジア美術館ほか、2012年)より一部抜粋



                   ゼップ・ヒーキッシュ=ピカルド(ドイツ・ボッホム市立美術館 副館長)







Born in Osaka, Japan. Lives and works in Nara, Japan and also works in Berlin, Dortmund, Germany and Vienna, Austria.

 Inoue Hiroko has traveled and worked around the world in places including Germany, Austria, and North America.  But the spiritual root of her work lies in the experiences she had in Okinawa doing field work in cultural anthropology. She became a fiberwork artist in in the 1990s, but the 1995 Great Hanshin Earthquake led her to create works with themes like the pain of those in isolation and the boundaries which exist between people. Her photographic works create a theme out of the windows of quarantine institutions such as insane asylums, prisons and refugee camps. They, as well as her Inside Out photo installation of high school students with their eyes closed (2005, Vienna), have received high praise.
 Mori (Forest) is a recent work made after the 2011 Great East Japan Earthquake. It was first displayed at an individual exhibition in Dortmund in September of the same year, and was reconfigured in 2012 with shots taken in the disaster area itself. Next are her photos of the forests of Japan and Germany, which give off a light that seems to bleach the dark forests’ memories. For the German forests, she chose an artificial forest near the mine that has since been abandoned in the Ruhr industrial area, and the Reichswald forest that had been the site of a bloody battle in the Second World War. The forests in Inoue’s photos each have traditional stories that go with them. In Japan, an ancient land tied to national myths, the Nara Forest was the first subject of her photos. Can her new photos of the scene of the Great East Japan Earthquake, alongside her photos of the forests in Japan and Germany, tell us about her hopes for the future?

-Excerpt from the comment about INOUE Hiroko in Women In-Between: Asian Woman Artists 1984-2012 (Exh. Cat.), Fukuoka Asian Art Museum, 2012(KOKATSU Reiko / Translated by Sam Innes)


Hiroko Inoue – New photographic work (excerpt)

                     Seep Hiekisch-Picard, Deputy Director, Kunstmuseum Bochum

 She is deeply involved with social themes in her photographs, installations and photo-sculptures that the environmental and technology issues have become decisive roles in her works more and more in recent years.

 The important thing as an artist, there is a concern with the retrieve hidden or repressed aspects of our daily life in this world. Hiroko Inoue has been to put serious efforts to dealt with social trauma as well as personal trauma that the traumatic experience of the Great Hanshin Earthquake in 1995 gave the impulse; the disaster of Fukushima highlighted the blind belief in advanced Technological civilization and its progress, and conflict between the nature and the environment which cannot be completely dominated by human beings. It has become her principal theme.

 Inoue’s photographic works warn you that we should realize again human beings is as a part of the nature that the law of nature is human nature at the same time, external nature is also internal human nature simultaneously. Hiroko Inoue’ works has provided this as the ready for thought and sensuously comprehensible models for years.

(Translated by TSUKAMOTO Yasuko)


Please refer to the artist’s and the gallery’s website for new updates.


大阪府20世紀美術コレクション 井上廣子《封印された布貌》アーティスト・インタビュー、2021年8月6日
INOUE Hiroko, Artist Interview, August 6, 2021



《井上廣子 inside-out 2005年 インクジェットプリント、アクリル板、ライトボックス 94×64×15cm(17点)
オットーワグナー精神病院、ユーゲントシュテール・テアター企画  個展 展示風景(オーストリア・ウィーン)
Hiroko Inoue inside-out, 2005, Ink-jet print, Acrylic resin, Light Boxes  94×64×15cm (17pieces)
Installation view at the solo exhibition, curated by Jugendstiltheater, Otto-Wagner-Spital, Vienna, Austria




《井上廣子 inside-out 》2011年 インクジェットプリント (各120×60×0.5cm×18点)、スチール円管(直径700cm)、アクリル板 ウィーン美術館企画  コレクションによる 個展  展示風景 撮影:マイケル・ネトウセッ

Hiroko Inoue inside-out, 2011, Ink-jet print (120×60×0.5cm each×18pieces), Steel (ø700cm), Acrylic resin
Installation view at the solo exhibition, Wien Museum MUSA, Vienna, Austria, Photo by Michael Netousek 



Inside-out》2011/2018年修正 インクジェットプリント 90×60cm
Inside-out, 2011/2018 Retouching, Ink-jet print, 90×60cm



《Mori》2012年 ゼラチンシルバープリント(各90×120×5cm×10点、各60×90×5cm×4点)、布、木、蛍光灯、塩
「アジアをつなぐ -境界を生きる女たち 1984-2012」福岡アジア美術館  展示風景 撮影:泉山朗土
Mori, 2012, Gelatin Silver Print (90×120×5cm×10pieces, 60×90×5cm×4pieces), Cloth, Wood, Lamp, Salt
Installation view at the group exhibition Women In-Between: Asian Women Artists 1984-2012, Fukuoka Asian Art Museum, Japan Photo by IZUMIYAMA Road



《MIZU》2016/2019年修正 インクジェットプリント 90×60cm
「大芸術祭」出品 クンスト パラスト (ドイツ、デュッセルドルフ)
MIZU, 2016/2019 Retouching, Ink-jet print, 90×60cm
Exhibited at the Grosse Kunstausstellung, Kunst Palast, Düsseldorf, Germany