志賀理江子 Lieko Shiga
志賀理江子（しが りえこ、Lieko Shiga 、1980年 - ）は日本の写真家。
愛知県岡崎市出身。愛知県立岡崎東高等学校から東京工芸大学写真学科に入学するも半年で中退し、1999年にロンドン芸術大学チェルシー・カレッジ・オブ・アート・アンド・デザインに入学、2004年に卒業。2007年度文化庁在外派遣研修者としてロンドンに滞在。2008年、ロンドンの公営団地の住民たちを撮影した写真集『Lilly』、オーストラリアや仙台市での滞在制作をもとにした『CANARY』で第33回木村伊兵衛写真賞受賞。2009年、ニューヨーク国際写真センターインフィニティアワード新人賞を川内倫子とともに受賞。
帰国後は宮城県名取市北釜に移住し、地域カメラマンとしてお祭りや運動会などの行事を撮影しながら居住者のオーラルヒストリー作成を開始。その途中で東日本大震災に被災する。
2010年、「あいちトリエンナーレ2010」（愛知芸術文化センター）に出展。
2012年、せんだいメディアテークにて個展「螺旋海岸」を開催。第28回東川賞新人賞受賞。
2013年、「あいちトリエンナーレ2013」（岡崎市康生会場）に出展。
http://www.liekoshiga.com/
CANARY
2007
Be shot and Die.
The photographic paper is the evidence. The image printed on it hand a smell, like something still fresh, as it appeared before my eyes. If the time axis of this world exists inside the photograph, then I am standing completely outside of it, and in order to escape from the uncertainty of the "present," which is both indecisive and elusive, I search desperately for some clue of an axis that definitely exists.
Time moves forward towards my death, and the act of creating a moment of stationary time, as opposed to passing time, is something akin to prayer; the image establishes itself in line with a strong desire for and attachment to the existence of something opposed to self.
When photographing, I create a device to produce chance events, waiting to be shot by the camera at a moment that is impossible to predict in order to lose any control over the images I may intentionally hold. The verb" shoot" is used to describe the action of taking a photograph, but the same word is also used to mean" kill," therefore, to be shot is to be resurrected through the action of killing. I can already visualize the finished photograph when I first encounter the subject or scene, or even before that. The time that exists before the photograph is taken, shoots me when I stand outside, and restores me to life.
The body is simply a medium, I kept a canary inside my stomach.
Look upon people or scenery that have been sacrificed through photography as offerings to the next world.
Wedding Veil / 角隠し
Canary / カナリア
Perfect world / パフェクトワールド
Djon´s Heart / ディジョンの蛇
Banquet / 白蛇の姿焼き
Gift / 野生の王国
Seventeen Pulses / 17の脈拍
Pink House / ピンクハウス
Tatsuko / 黒猫
Disappearing Pluto / 消える冥王星
Restaurant Surtaj / レストラン・スタージ
White Mountain / ホワイトマウンテン
Hanna going back into the hole / 庭の穴
Out of Eden / アウトオブエデン
Forest of Figs / フィグの森
Carrying the Sun / 太陽を抱えて
Stomach / 腹
Bon Bon Hall / ボンボン会館
Purple Mountain Housing / 紫山団地
Rita / リタ
Remember that? / 覚えているか？
Blue Spring / 青の祭典
Crown / 頭
Flower Hole / 花穴
Chiako / 千愛子
Stranding Record / ストランディング・レコード
Dominique / ドミニク
螺旋海岸 / RASEN KAIGAN
2012
In winter 2008, I met a place called Kitagama, a village in North East part of Japan, facing pacific ocean. There 372 people with 107 houses lived in. The Rasen-Kaigan series consists of 250 pictures which were taken in this village, while I was living there as a resident photographer: documenting photographs of festivals, ceremonies, and every official activities of the village, collecting oral histories of the village to my body. These works were born with collaboration of residents in Kitagama and I. The bodies of those residents who became subject of the works, represent the all stories which are so delicate and invisible to be written as a history. Through the ritual of the shooting the photographs, their bodies unify to "the land". On the other hand I tried to photograph, through subsuming and reflecting the ritual of shooting photographs, my body experiences and traces which are related to the land of the Kitagama.
The title "Rasen-Kaigan" means "Rasen= spiral / helical-morphology, Kaigan＝coast" in direct translation but I also meant "Past, Present, Future" with this title. In the space of photographs, there is no past, present or future: the value of the photographs swings from being treated as a paper garbage to a same value of the living human being, or more, a subject for a prayer.
白癡HAKUCHI