dub non dub iii

「dub non dub iii」
Photography by Mikito Hyakuno
Artwork by Taikou Kaneda
Printed in Japan
「dub non dub」は、百野幹人が撮影した写真に金田大巧がペインティングなどの加工を施す共同制作を起点に、2023年にスタートしたプロジェクトです。同名の書籍制作を軸に、世界各地を巡回しながら発表を続けています。それぞれの活動や旅の中で出会った文化や風景をもとに写真に手を加える制作スタイルは、既存の素材を編集し新たなイメージを立ち上げる音楽ジャンル「Dub（ダブ）」の思想と強く呼応しています。
　dub non dubは、編集という行為そのものを制作の中心に据え、描く、重ねる、ずらす、残すといった操作を通して、すでに在るイメージを別の視点で読み直す試みです。加工された部分（dub）と手を加えない部分（non dub）は同時に存在し、その境界は意図的に曖昧にされています。
　オリジナルとは何か、作者とはどこにいるのか、そして見るという行為そのものもまた編集ではないか、という視点です。完成されたイメージではなく、見る人の時間や距離感によって意味が変化していく状態そのものを、作品集として提示しています。
　またこのプロジェクトは、私たちが最も大切にしている、皆が気づいていない表現以前の感覚や見落とされがちな価値を見つけ、それを共有することを地球に向けて発信しています。
　本作はその3作目となる2人が重要な地と認識するSadhuのいる国-インドを舞台として作り上げられた。

dub non dub is a project that began in 2023, originating from a collaborative practice in which photographs taken by Mikito Hyakuno are intervened with painting and other forms of modification by Taikou Kaneda. Centered around the publication of a book under the same title, the project has continued to be presented while traveling to various locations around the world.

Their method of working—adding interventions to photographs informed by cultures and landscapes encountered through their respective practices and travels—strongly resonates with the philosophy of Dub, a music genre that creates new images through the editing and reconfiguration of existing material.

dub non dub places the act of editing itself at the core of its practice. Through actions such as drawing, layering, shifting, and leaving elements untouched, the project attempts to reread images that already exist from a different perspective.
Here, altered elements (dub) and unaltered elements (non dub) coexist simultaneously, and the boundary between them is intentionally left ambiguous.
The project raises questions about what originality means, where authorship resides, and whether the act of seeing itself can also be understood as a form of editing.
Rather than presenting a completed or fixed image, the work is offered as a state in which meaning shifts according to the viewer’s time and distance, and this condition is presented in the form of an artist book.
At its core, the project seeks to identify and share pre-verbal sensibilities and overlooked values—those often unnoticed before becoming expression—and to transmit them outward to the world.
This work marks the third installment of the project and was created in India, a country the two artists regard as a significant and essential place in their practice, closely associated with the presence of sadhus.