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extra=18 March 194519 October 2020 was a Japanese photographer best known within Japan for four series of photographs: scenes of buildings in and close to , portraits of people in the area of Tokyo, and rural and town life in India and Turkey. He pursued each of these for over two decades, and each led to one or more book-length collections.

Although previously a respected name in Japanese photography, Note Kikai's winning of the Ina Nobuo Award in 1988 (for details, see below); and the inclusion by 2000 of his works in the permanent collection of the Tokyo Metropolitan Museum of Photography as implied by Sumiyo Mitsuhashi (), "Kikai Hiroo" (), Nihon shashinka jiten () / 328 Outstanding Japanese Photographers (Kyoto: Tankōsha, 2000; ), p. 98 (despite its alternative title in English, the book is in Japanese only). Kikai was not widely known until 2004, when the first edition of his book Persona, a collection of Asakusa portraits, won both the Domon Ken Award and Annual Award of the PSJ.Domon Ken Award: " Domon Ken–shō no rekishi to zen-jushō-shashinka" (, list of award-winners since 1982) (accessed 6 March 2006). PSJ award: " 2004-nen Nihon Shashin Kyōkai-shō jushōsha". In 2009, the ICP and copublished Asakusa Portraits for an international market.

Early years
Kikai was born in the village of Daigo (now part of Sagae, Yamagata Prefecture) on 18 March 1945 as the seventh and last child (and fifth son) of the family.Place of birth, siblings: Kōtarō Iizawa, "Kikai Hiroo" (), in Japanīzu fotogurafāzu: 14nin no shashinka-tachi no "ima" () / Japanese photographers (Tokyo: Hakusuisha, 2005; ), p. 131. (Despite the book's alternative English title, the text is all in Japanese. This article, which runs pp. 129–43, previously appeared in , November 2004, pp. 248–52.) Date of birth: " Domon-Ken-shō jushō kinen Kikai Hiroo shashinten 'Persona' " (, Hiroh Kikai photograph exhibition "Persona", in celebration of the Domon Ken Award), Shōmeidō Gallery (松明堂ギャラリー), 2005 (accessed 5 March 2006). He had a happy childhood, from the age of 11 or so preferring to play by himself in the nature that surrounded the village.Noriyuki Kanda (, Kanda Noriyuki), "Gendai no shōzō: Shashinka Kikai Hiroo: Jinsei no fuhen o toru to iu otoko" (, A portrait of today: The photographer Hiroh Kikai: The man who photographs the universality of life), Aera, 25 April 2005. p. 61 (the article runs pp. 59–63). He graduated from high school in 1963 and worked in Yamagata for a year, and then went to in to study philosophy. As a student he was keen on the cinema—he particularly enjoyed the films of , who would later contribute essays to some of his books, and —and said that he would have worked in film production if it did not require writing, a task he never enjoyed, and money, which he lacked.Film tastes: Iizawa, "Kikai Hiroo", p. 132. Film as a career: Kanda, "Gendai no shōzō", p. 63.

Immediately after his graduation in 1968,Both Kikai's book Perusona / Persona (first impression, 2005, n.p.) and his Tōkyō Mutan / Labyrinthos (first impression, 2007, n.p.) say 1978, presumably first a typo or mistake and then inherited misinformation. His other books India (n.p.) and Ya-Chimata (n.p.) have him graduating in 1969. His book In-between 8 says 1968. (For details see "Books by Kikai".) Kikai said that 1968 is correct (conversation, 3 March 2006). Kikai worked for two years as a truck driver and for two in a shipyard.Hideko Oiwake (, Oiwake Hideko), "Kindaika ni norenakatta otoko: Kikai Hiroo" (, A man who couldn't get on board modernization: Hiroh Kikai), , November 1984, p. 141. Meanwhile, he stayed in touch with his philosophy professor from his university days, , whose interests extended to writing a regular column for the magazine ; he introduced Kikai to its editor, Shōji Yamagishi, who showed him photographs by that made a great impact on Kikai.Iizawa, "Kikai Hiroo", pp. 132–33; Kanda, "Gendai no shōzō", p. 62. Kikai started to take photographs in 1969. At that time (when somebody fresh out of university could expect to earn ¥40,000 per month), a SLR camera normally cost ¥600,000; Kikai heard of an opportunity to buy one for ¥320,000 and mentioned this to Fukuda, who immediately lent him the money, with no interest, and no date or pressure for repayment. (The loan was eventually repaid.) This Hasselblad 500CM, with its 80 mm lens, was what Kikai used for his portraits thereafter.Purchase and use of the Hasselblad: "Watashi kyō kinō ashita 24: Kikai Hiroo san" (, Me today yesterday tomorrow 24: Hiroh Kikai), Croissant no. 640, 10 July 2004, p. 98 (the article runs pp. 98–101).

Career
Kikai thought that work on a boat might be photogenic, but, having no experience, could not get a job on one. He was eventually accepted on a boat fishing for when he displayed the scar from an unneeded as evidence of one risk fewer that his presence might force the boat into port.Kanda, "Gendai no shōzō", p. 62. He worked on the boat in the Pacific from 6 April until 9 November 1972, with a stop in Manzanillo (Mexico) for provisions. It was during this time that he took his first photographs to be published, in the May 1973 issue of .Iizawa, "Kikai Hiroo", p. 133; Kikai, "Sen'in techō bangō: Misaki 16000" () / "Seamen's Registered Number: Misaki 16000", Camera Mainichi, May 1973, pp. 95–101 (the minimal text within the latter is in Japanese only, despite its secondary title in English). In 1973 he won a prize for his submission to the 14th exhibition of the Japan Advertising Photographers' Association.Mitsuhashi, "Kikai Hiroo", p. 98. But Kikai decided that in order to be a photographer he needed skills, and he returned to Tokyo to work at Doi Technical Photo (1973–76).Iizawa, "Kikai Hiroo", p. 134. He became a freelance photographer in 1984, a year after his first solo exhibition and the same year as his second.

Living close to (), Kikai often went there on his days off, taking photographs of visitors. He stepped up his visits in 1985; a number of collections of his portraits taken there have been published.

Kikai's other long-term photographic projects are of working and residential neighborhoods in and near Tokyo, and of people and scenes in and . All these are . However, his occasional diversions included color photographs of the Gotō Islands and even of nudes.Gotō islands: "Nihon o arukō (19): Kikai Hiroo to aruku (Nagasaki): Gotō rettō" (, Walking around Japan 19: Walking with Hiroh Kikai Nagasaki: The Gotō islands), , July 2006, pp. 4, 6, 8–16. Nudes: "Hareta hi ni" () / "On clear day", Asahi Camera, July 2005, pp. 47–52.

Unusually in Japan, where photographers tend to join or form groups, Kikai was never in any group, preferring to work by himself.Kanda, "Gendai no shōzō", p. 61. When not setting out to take photographs, Kikai did not carry a camera with him. He left photographing his own family to his wife Noriko, and it is she who had the camera if they went on a trip together.Kanda, "Gendai no shōzō", p. 63.

In the early part of his career, Kikai often had to earn money in other ways: after three years' work in the darkroom, he returned to manual labor.Oiwake, "Kindaika ni norenakatta otoko", p. 141. By his own account in 1980 he briefly worked at an plant, in 1982 in a plant.Kikai, Ōtachi no shōzō / Ecce homo, n.p. (for details see "Books by Kikai").

Kikai taught for some time at Musashino Art University, but he was disappointed by the students' lack of sustained effort and therefore quit.Name of the university: " Domon-Ken-shō jushō kinen Kikai Hiroo shashinten 'Persona' "; this says that he started there in 1994. Dissatisfaction: "Watashi kyō kinō ashita 24", p. 101.

Kikai died of on 19 October 2020. 鬼海弘雄氏が死去　写真家, Nihon Keizai Shinbun, 19 October 2020 (accessed 19 October 2020). 鬼海弘雄さん死去　写真家「Persona」, , 20 October 2020 (accessed 20 October 2020). 摄影师｜鬼海弘雄：将人类永恒不变的东西，以肖像记录下来, The Paper (Shanghai), 20 October 2020 (accessed 20 October 2020).

Asakusa portraits
Kikai had started his series of square, portraits as early as 1973, but after this there was a hiatus until 1985, when he realized that an ideal backdrop would be the plain red walls of Sensō-ji. At that time, the great majority of his Asakusa portraits adopted further constraints: the single subject stands directly in front of the camera (originally a Autocord TLR, later the Hasselblad), looking directly at it, and is shown from around the knees upwards.Backdrop and constraints: Iizawa, "Kikai Hiroo", pp. 134–35. Autocord and Hasselblad: Iizawa, "Kikai Hiroo", p. 134. Kikai might wait at the temple for four or five hours, hoping to see somebody he wanted to photograph, and three or four days might pass without a single photograph; but he might photograph three people in a single day, and he photographed over six hundred people in this way.Time spent waiting, number photographed: "Watashi kyō kinō ashita 24", p. 98. Days with no photos, three people in a day: "Watakushi no naka no 'Persona (, My Persona), , November 2003, pp. 152–53 (Kikai in conversation with and ; article runs p. 148–54). He believed that to have a plain backdrop and a direct confrontation with the subject allows the viewer to see the subject as a whole, and as somebody on whom time is marked, without any distracting or limiting specificity."Watashi kyō kinō ashita 24", p. 99; "Watakushi no naka no 'Persona, p. 149.

Though Kikai started to photograph in Asakusa simply because it was near where he then lived, he continued because of the nature of the place and its visitors. Once a bustling and fashionable area, Asakusa long ago lost this status. If it were as popular and crowded as it was before the war, Kikai said, he would go somewhere else."Watakushi no naka no 'Persona, p. 150.

Published in 1987, Ōtachi no shōzō / Ecce Homo was the first collection of these portraits. It is a large-format book with portraits made in Asakusa in 1985 to '86. Kikai won the 1988 Newcomer's Award of the Photographic Society of Japan (PSJ) for this book and the third Ina Nobuo Award for the accompanying exhibition.PSJ award: PSJ, " Kako no jushōsha ichiran" (, List of past PSJ award-winners) (accessed 6 March 2006); PSJ, " 2004-nen Nihon Shashin Kyōkai-shō jushōsha" (, PSJ prize-winners for 2004) (accessed 6 March 2006). Ina Nobuo Award: announcement of 13th Ina Nobuo award, 1988 (, 13th Ina Nobuo Award 1988, Hiroh Kikai, Ecce Homo), Nikon (accessed 5 March 2006.) Also see Ina Nobuo shō 20-nen: Nikon Saron ni miru gendai shashin no nenpu () / Ina Nobuo Award '76–'95, Nikon Salon Books 23 (Tokyo: Nikon, 1996), with a few pages devoted to the works of each of the winners of the Ina Nobuo Award to date (Kikai is on pp. 96–101), and also lists of the exhibitions at the Ginza and Shinjuku .

In 1995, a number of portraits from the series were shown together with the works of eleven other photographers in Tokyo/City of Photos, one of a pair of opening exhibitions for the purpose-made building of the Tokyo Metropolitan Museum of Photography. Tokyo/City of Photos, the published catalogue of the exhibition (for details see "Other works with contributions by Kikai").

Ya-Chimata, a second collection of the portraits made in Asakusa, was published a year later.

Persona (2003) is a further collection. A few are from Kikai's earliest work, but most postdate anything in the earlier books. Several of the subjects appear twice or more often, so the reader sees the effect of time. The book format is unusually large for a photograph collection in Japan, and the plates were printed via quadtone.Kanda, "Gendai no shōzō", p. 60. The book won the 23rd Domon Ken Award and 2004 Annual Award of the PSJ. A smaller-format edition with additional photographs followed two years later.

Asakusa Portraits (2008) is a large collection edited by the International Center of Photography (New York), published in conjunction with the ICP's exhibition of recent Japanese photography and art Heavy Light. Kikai's contribution to this exhibition was well received,Favorable reviews of Kikai's photographs in "Heavy Light": Roberta Smith, " Japanese Culture, in Vivid Color", New York Times, 13 June 2008 (accessed 17 September 2008, requires registration but no payment); Heesun Wee, " Summer's photo finish with Atget, Evans, Kikai, Fusco ", Newyorkology, 22 August 2008 (accessed 17 September 2008); " Goings On About Town", New Yorker, 30 June 2008 (accessed 17 September 2008). and Asakusa Portraits won praise for its photography and also (from Paul Smith) for the vernacular fashion of those photographed.Photography: Jörg M. Colberg, " Review: Asakusa Portraits by Hiroh Kikai ", Conscientious, 10 September 2008; Jörg M. Colberg, " Best Photo Books 2008 ", Conscientious, 16 December 2008 (both accessed 1 January 2011). Fashion: Paul Smith, " Kikai Style ", vogue.co.uk, 10 September 2008 (accessed 17 July 2009).

Portraits of spaces
Kikai said that people and scenery are two sides of the same coin."Watashi kyō kinō ashita 24", p. 99. When tired of waiting (or photographing) in Asakusa, he would walk as far as 20 km looking for urban scenes of interest where he could make "portraits of spaces"."Watashi kyō kinō ashita 24", p. 98. "Portraits of spaces" (, Kūkan no pōtoreito): afterword to Tōkyō meiro / Tokyo Labyrinth (for details see "Books by Kikai"). A day's walk might take two or three hours for less than a single roll of 120 film.Time, quantity: Noriyuki Kanda, "Kikai Hiroo no Tōkyō: Miru me, erabu me" (), The Tokyo of Hiroh Kikai: The seeing eye, the selecting eye), Asahi Camera, November 2006, pp. 232–33. He generally photographed between 10 a.m. and 3 p.m., and avoided photographing when people were outside as their presence would transform the photographs into mere snapshots, easily understood; even without people, they are the images or reflections of life.Time: " Tōkyō meiro o megutte" (, About Tokyo Labyrinth), , February 2000, p. 110 (Kikai in conversation with and Iwao Matsuyama ). Peopling, snapshots, image/reflection of life ( seikatsu no kage, ): " Tōkyō meiro o megutte", p. 109; Kanda, "Kikai Hiroo no Tōkyō". Kikai might find a scene that he wanted to photograph and then wait there and only photograph it when something unexpected occurred in the frame. After development, he did not bother with , instead judging a photograph by the negative alone.Waiting for the unexpected, avoidance of contact prints: Kanda, "Kikai Hiroo no Tōkyō".

Samples from this series appeared in various magazines from at least as early as 1976.See for example "Nagi" (凪, Calm), , June 1976, pp. 119–25. Each photograph is simply captioned with the approximate address (in Japanese script) and year.

Tōkyō meiro / Tokyo Labyrinth (1999) presents portraits of unpeopled spaces in Tokyo (and occasionally the adjacent town of Kawasaki). There are individual shopfronts, rows of shops and residential streets. Most of the buildings are unpretentious. Like the Asakusa series, these portraits are monochrome and square, taken via a on 120 film.Standard lens: afterword to Tōkyō meiro / Tokyo Labyrinth.

Tōkyō mutan / Labyrinthos (2007)—based on an essay/photograph series that ran in the monthly Sōshi () from March 2004 to July 2005 and then in the web series "Tokyo Polka" Sōshi is produced by Sōshisha, the publisher of Labyrinthos. Some photographs within the book had also appeared elsewhere, e.g. issue 2 (October 2004) of Tamaya (). " Tokyo Polka " was a series of essays, each illustrated with photographs (accessed 24 February 2006; as of 28 May 2007, the essays and photographs had been removed, leaving only a short description; earlier versions do not seem to be available via the .) Continues in " Yurari-yurayura-ki ".—presents more of the same. Between a single nude in a shopfront display from 1978 and a very young boy photographed in December 2006 (the latter appearing to share the Sensō-ji backdrop of Persona), are square monochrome views of Tokyo and Kawasaki, compositions that seem casual and rather disorderly, mostly of unpeopled scenes showing signs of intensive and recent use. The book also has Kikai's essays from "Tokyo Polka", essays that dwell on the inhabitants of Tokyo as observed during walks or on the train.

Tokyo View (2016) is a large-format collection, mostly of photographs that also appear in one or other of the earlier books (or Tōkyō pōtoreito / Tokyo Portraits).

India
Kikai said that going to felt like a return to the Yamagata of his youth, and a release from life in Tokyo." Tōkyō Meiro o megutte", pp. 114, 115. His photography there was much less planned or formal than his portraits of people or places in Tokyo: after an early start with color 120 film, he used black and white 35 mm film in India—and laughingly said that he would use 35 mm in Tokyo if the city were more interesting and did not make him feel unhappy.Color photographs of India: Kikai, "Indo: Higan to shigan" (, India: The world of the Buddha and our world), , November 1981, pp. 24–29. (Kikai mentions use of a Minolta Autocord and a .) On Tokyo: " Tōkyō Meiro o megutte", p. 115.

India, a large-format book published in 1992, presents photographs taken in India (and to a much lesser extent ) over a period totalling rather more than a year and ranging from 1982 to 1990. It won high praise from the critic , who commented that the India of Kikai's work seems perpetually overcast, and that in their ambiguity his photographs seem to benefit from the work done in the Asakusa portrait series.Kazuo Nishii, "Kikai Hiroo ( India)" (), in Shashinteki kioku (, Photographic memories) (Tokyo: Seikyūsha, 1997; ), 173–77 (first appeared in an unspecified publication of Misuzu Shobō, November 1992). The book won Kikai the 1993 Society of Photography Award.Society of Photography, Awards, 1 (1989) – 10 (1998) (accessed 4 April 2007).

Shiawase / Shanti (2001) is a collection of photographs that concentrates on children, most of which were taken in , , , Puri and in 2000.Afterword, Shiawase / Shanti (for details see "Books by Kikai"). It won the Grand Prix of the second Photo City Sagamihara Festival." Domon-Ken-shō jushō kinen Kikai Hiroo shashinten 'Persona' ".

Turkey
Wanting to explore somewhere that (in contrast to India) was cold, as well as a Muslim land where Asian and European cultures meet, in 1994 Kikai made the first of six visits to , where he stayed for a total of nine months."Hyakunengo nimo hibiku koe o totta tabi" (), Asahi Camera, November 2010, p.225. His monochrome photographs of Turkey appeared in the magazine ,As installments of "Anatoria kikō" () / "A Journey to Anatolia", Asahi Camera, June 2001, pp. 55–61; January 2003, pp. 72–79; March 2006, pp. 68–75. Also, "Anatoria" () / "Anatolia, Turkey", Asahi Camera, November 2010, pp. 37–46. and his colour photographs on its website,"Anatoria kikō" () / "Backroad to Anatolia" Part 1 , Part 2 , asahicamera.net (both accessed 26 March 2010). Requires Flash. before the publication in January 2011 of his large book Anatolia, a compilation of his monochrome work.

Photography elsewhere
Kikai was one of thirteen Japanese photographers invited by EU–Japan Fest to photograph the twenty-six nations of the ; he spent twenty-one days in in September 2005 and a short period in in October 2004, travelling widely in both countries.Length of stay in Malta: Hiroh Kikai, In-between 8, n.p. (for details see "Books by Kikai"). Month and year: Kikai, "Porutogaru kikō" () / "My Portugal", , December 2005, p. 16. In color, these photographs are a departure from his earlier work. Most are more or less candid photographs of people. The collection was published in a book titled In-between 8.

Series of color photographs from short visits to Cuba (2007) and Taiwan (2013) have appeared in Asahi Camera.Kikai, "Habana no heijitsu" () / "Ordinary Days in Havana, Cuba, 2007", Asahi Camera, October 2007, pp. 47–56. Kikai, "Taiwan e" (), Asahi Camera, November 2013, pp. 29–36.

Writing
Kikai's essays have appeared in periodicals and within some of his own photobooks. They have also been collected in four books, in which they are illustrated by reproductions of relevant photographs.

Indo ya Gassan ("India and Gassan", 1999) is a collection of essays about and photographs of India. Gassan is a mountain in central Yamagata close to where Kikai was brought up; Kikai muses on India and compares it with the Yamagata of his youth.

Me to kaze no kioku ("Memories of the eye and the wind", 2012) collects essays published in Yamagata Shinbun () since 2006; Dare omo sukoshi suki ni naru hi: Memekuri bōbiroku ("Days when you come to like anyone a little: An image-turning aide-memoire", 2015) collects essays published in Bungakukai () since 2011; Kutsuzoku no herikata ("Ways to wear down shoe rubber", 2016) is a fourth collection.

Exhibitions
Supplementary English titles in parentheses are nonce translations for this article; those outside parentheses and in quotation marks were used at the time.

  • A: Asakusa portraits
  • I: India
  • S: Portraits of spaces
  • T: Turkey

Selected solo exhibitions
  • "Nagi: Machinaka no kōkei" (, Calm: Town scenes). S Konishiroku Photo Gallery (Shinjuku, ), August–September 1983."Shashinten purebyū" () / "Photo Exhibition Guide", , September 1983, p.130. (Other lists of Kikai's past exhibitions give the place as "Konica Photo Gallery" or "Konica Photo Plaza"; these are anachronistic.)
  • "Indo kikō" (, India travelogue). I Doi Photo Plaza Shibuya (Shibuya, Tokyo), August 1984; Art Plaza (Fukuoka), August 1984; Gallery Antomeru (), September 1984; Yamagata, 1984.Shibuya: "Shashinten gaido" (, Photo exhibition guide), , August 1984, p. 13. Fukuoka, Sendai: "Shashinten gaido", Asahi Camera, September 1984, pp. 14, 16. In Ōtachi no shōzō / Ecce homo (n.p.), Kikai lists the Fukuoka exhibition as more specifically in Hakata. "Antomeru" is a transliteration of アントメル. Yamagata: " Kikai Hiroo, Indo ya gassan shashinka" (), Yamagata no yūmeijin () 2005 (accessed 25 May 2008), not specifying the gallery.　
  • "Ōtachi no shōzō (Sensōji keidai)" (, Portraits of kings in). A Ginza (, Tokyo), September 1988.Ginza Nikon Salon: Ina Nobuo shō 20-nen, p.154; Kōtarō Iizawa, "Shashin no seitōteki na hyōgen ni deau" (), Shashin no genzai: Kuronikuru 1983–1992 () (Tokyo: Miraisha, 1993; ), pp.208–209 (essay first appeared in , November 1988).　
  • "Dai-13 Ina Nobuo shō jushō sakuhinten: Kikai Hiroo 'Ōtachi no shōzō (Sensōji keidai) (, Exhibition of works winning the 13th Ina Nobuo Award: Hiroh Kikai, Portraits of kings in). A Ginza (, Tokyo); ; ; etc., 1988–89.Ginza Nikon Salon: Ina Nobuo shō 20-nen, p.154. Tokyo, Osaka, Kyoto, etc.: "Kikai Hiroo, Indo ya gassan shashinka" (specifying the cities but not the galleries).
  • The Hitachi Collection of Contemporary Japanese Photography, Center for Creative Photography, Tucson, Arizona. 1989." Jinsei gekijō ", Kyoto University of Art and Design (accessed 20 January 2009).　
  • "Dai-13-kai Ina Nobuo shō jushō sakuhinten: Kikai Hiroo 'Kanshō: Machi no katachi (, Exhibition of works winning the 13th Ina Nobuo Award: Hiroh Kikai, Meditation: Town shapes). S Osaka Nikon Salon, February 1990; Ginza Nikon Salon (Ginza, Tokyo), March 1990; Kyoto; etc., 1990.Ginza: Ina Nobuo shō 20-nen, p.154. Osaka and Ginza: "Shashinten gaido" (), / "Gallery Guide", , March 1990, pp. 135, 132. Tokyo, Osaka, Kyoto, etc.: "Kikai Hiroo, Indo ya gassan shashinka" (specifying the cities but not the galleries).　
  • "Ecce Homo". A Robert Koch Gallery (), 1993. Tokyo/City of Photos, n.p.　
  • "Indo kikō" (, India travelogue). I Shōmeidō Gallery (Kodaira), 1998."Kikai Hiroo, Indo ya gassan shashinka".
  • "Persona (1)". A (Kraków), 1999.
  • "Shashin to insatsu hyōgen" (, Photographs and printing expression). S Mitsumura Art Plaza (Ōsaki, Tokyo), February–March 2000." Exhibition history ", Mitsumura Printing Company (accessed 25 May 2008).
  • "Persona (2)". A Centrum Sztuki i Techniki Japońskiej "Manggha" (Kraków), November–December 2002." Miesiąc Fotografii w Krakowie ", fotopolis.pl (accessed 25 May 2008); Wojciech Wilczyk, " Miesiąc Fotografii w Krakowie: Spóźniona relacja", Fototapeta, 2002 (accessed 17 July 2009).
  • "Persona". A The Third Gallery Aya (Osaka), October 2003." Persona ", The Third Gallery Aya (accessed 16 March 2009).
  • "Persona". A Domon Ken Photography Museum (Sakata), September–November 2004."Shashinten gaido" (), / "Gallery Guide", , October 2004, p.309.　
  • "Persona". A Ginza Nikon Salon (Tokyo); Osaka, 2004.Kikai, In-between 8, n.p.; Tokyo/City of Photos, n.p.　
  • "Persona". A Galeria Fotografii PF, Centrum Kultury "Zamek" (Poznań), February–March 2005." Hiro Kikai w Galerii PF "; fotopolis.pl (accessed 9 March 2006); Marta Newelska, Marta. " O, ludzie! ", Japonica Creativa (accessed 9 March 2006).
  • "Persona". A Shōmeidō Gallery (Kodaira) January 2005.
  • "Perusona" (). A Ginza Nikon Salon (Ginza, Tokyo), February–March 2006; Osaka Nikon Salon (Osaka), April 2006. "Perusona" (Tokyo), "Perusona" (Osaka), Nikon (accessed 25 May 2008).
  • "Tōkyō mutan" (). S Ginza Nikon Salon (Ginza, Tokyo), September 2007; Osaka Nikon Salon (Osaka), October 2007. "Tōkyō mutan" (Tokyo), "Tōkyō mutan" (Osaka), Nikon (accessed 25 May 2008).
  • "Tokyo Labyrinth". S Yancey Richardson Gallery (New York City), September–October 2008., re-title.com (accessed 2 December 2009).
  • "Jinsei gekijō" (, Human theatre). A Gallery Raku, Kyoto University of Art and Design, Kyoto, March 2009.
  • "Persona". A Yancey Richardson Gallery (New York City), May–July 2009." Hiroh Kikai: Persona" (PDF file), yanceyrichardson.com (accessed 15 May 2009).
  • "Asakusai portrék". A Liget Gallery (), November–December 2010.Kürti Emese, " Kiállítás – Arcokból a világot – Hiroh Kikai: Asakusai portrék", Magyar Narancs (accessed 30 November 2014)." A Liget Galéria kiállításai 2002-tõl = Exhibitions at the Liget Gallery till 2012", Liget Gallery (accessed 30 November 2014).
  • "Anatoria e no purosesu" (). T Aoyama Book Center (Omotesandō, Tokyo), January 2011." Anatoria e no purosesu ", Aoyama Book Center (accessed 14 January 2011).
  • "Tōkyō pōtoreito" () / "Tokyo portraits". A, Tokyo Metropolitan Museum of Photography (Ebisu, Tokyo), August–October 2011." Hiroh Kikai: Tokyo Portraits", Tokyo Metropolitan Museum of Photography (accessed 6 August 2011).
  • "Anatoria" (). T M2 (Shinjuku, Tokyo), August 2011." Anatoria", M2 (accessed 22 August 2011).
  • "Persona". A, Yamagata Museum of Art (Yamagata), December 2011 – January 2012." Kikai Hiroo shashinten Persona " (), Yamagata Museum of Art (accessed 10 December 2011).
  • "Tokyo Labyrinth". S Zen Foto Gallery (, Tokyo), May 2013. Exhibition notice (JPEG), Zen Foto Gallery (accessed 6 November 2013).
  • "Persona" / "Perusona" (). A 14th Documentary Photo Festival Miyazaki, Miyazaki Prefectural Art Museum, August–September 2013. Exhibition notice , Documentary Photo Festival Miyazaki, 27 August 2013 (accessed 15 September 2014). Exhibition notice , Mainichi Shinbun, 29 August 2013 (accessed 15 September 2014).
  • "Asakusa Portraits (1973–2008) et India (1982–2008)". A, In between Gallery (Paris), November 2013. Exhibition notice , In between Gallery (accessed 6 November 2013). Exhibition notice, L'Œil de la Photographie, 11 November 2013 (accessed 15 September 2014).Jean-Sébastien Stehli, " Hiroh Kikai, un maître japonais", Photo sensible, Le Figaro fr Madame, 10 November 2013 (accessed 2 September 2015).
  • "India 1982–2011". I Canon Gallery S (, Tokyo), May–June 2014. Exhibition notice, Canon (accessed 15 September 2014). Exhibition notice , Misuzu Shobō (accessed 15 September 2014).
  • "Retratos de Asakusa". A , Promoción del Arte (Madrid), September–November 2014. Exhibition notice, Ministry of Education, Culture and Sport (accessed 15 September 2014). Exhibition notice, XTRart (accessed 15 September 2014)." Los retratos de Asakusa desde 1973 hasta hoy de Hiroh Kikai", Xatakafoto, 20 September 2014. Accessed 22 September 2014." #ArteTabacalera @PromociondeArte Presentación: Retratos de Asakusa. Hiroh Kikai", InfoArte fotoBlog, 18 September 2014. Accessed 22 September 2014." Retratos de Asakusa del Hiroh Kikai en Madrid ", Eikyô: Influencias japonesas, 21 September 2014. Accessed 22 September 2014." Retratos de Asakusa", hoyesarte.com, 18 September 2014. Accessed 25 September 2014.
  • "India 1982–2011". I The Museum of Art, Ehime (Matsuyama, Ehime), September–October 2014. 美術の秋開幕！　注目の展覧会, pitibo2000のブログ, 25 September 2014 (accessed 27 April 2019).
  • "Tôkyô: voyage à Asakusa". A, Société d'encouragement pour l'industrie nationale, Paris 6. October 2015." Exposition de photographies de Kikai Hirô: Tôkyô: voyage à Asakusa", Espace Mendès-France.
  • "India 1979–2016" I Fujifilm Photo Salon (Tokyo), May–June 2017. インドの時の流れに身も心も浮かべて 鬼海弘雄写真展「India 1979–2016」, Fujifilm (accessed 27 April 2019).
  • 《人物》鬼海弘雄的肖像摄影. A See+ Art Space / Gallery (Beijing), December 2017 – February 2018. photographs, See+ (accessed 27 April 2019). 2017年收官特展：<人物>-鬼海弘雄的肖像摄影, 自由微信 (FreeWeChat), 5 December 2017 (accessed 27 April 2019). 鬼海弘雄：40多年 我在寻找对方内心深处的自己, 界面 (Jiemian), 28 December 2017 (accessed 27 April 2019).
  • "Persona". A Photo Gallery Blue Hole (Katagami, Akita), August 2018 – January 2019. 「Persona」鬼海弘雄, Blue Hole (accessed 27 April 2019).
  • "Persona". A Kihoku town office (), Kihoku, Ehime, February 2019. 鬼海弘雄写真展「PERSONA」 , Nippon Travel Agency (accessed 27 April 2019). 鬼海弘雄写真展「PERSONA」, Imanani (accessed 27 April 2019).
  • "Persona". A Sagae City Museum of Art, Sagae, Yamagata, April–June 2019. Sagae-shi Bijutsukan (寒河江市美術館), Sagae City (accessed 27 April 2019). Kikai Hiroo shashinten (鬼海弘雄 写真展), Facebook (accessed 27 April 2019).
  • "Persona: The Final Chapter" / "Persona saishūshō" (). A Irie Taikichi Memorial Museum of Photography Nara City, September–October 2019. 鬼海弘雄　PERSONA　最終章, Irie Taikichi Memorial Museum of Photography Nara City, 7 September 2019. Accessed 14 September 2019. 鬼海弘雄「PERSONA 最終章」, Internet Museum. Accessed 14 September 2019.
  • "Persona: The Final Chapter ". A In between Gallery (Paris), November–December 2019." Persona: The Final Chapter : In)(between record vol. 42", In between Gallery. Accessed 24 November 2019.Luigi Clavaro, " in)(between record vol. 42 – Hiroh Kikai: «Persona – The Final Chapter»", Actuphoto, 12 October 2019. Accessed 24 November 2019." Persona The Final Chapter – Hiroh Kikai", Le Japon à Paris. Accessed 24 November 2019.
  • "Ōtachi no shōzō" (, Portraits of kings). A (Tokyo), June–August 2020. 鬼海弘雄作品展 「王たちの肖像」 (exhibition notice), JCII Camera Museum, 2020. Accessed 27 August 2020.

Selected group exhibitions
  • "The Hitachi Collection of Contemporary Japanese Photography". Center for Creative Photography, University of Arizona, 1988. Tokyo/City of Photos, n.p.; Kikai, India, n.p. (for the latter book see "Books by Kikai").　　
  • "Nyū dokyumentsu 1990" () / "New Documents 1990". Museum of Modern Art, Toyama (Toyama), 1990.
  • "Shashin toshi Tōkyō" () / "Tokyo/City of Photos". A (Other photographers exhibited were , Ryūji Miyamoto, , , Ikkō Narahara, Mitsugu Ōnishi, , , , , and .) Tokyo Metropolitan Museum of Photography, 1995.　
  • "Shashin wa nani o katareru ka" (). I Tokyo Metropolitan Museum of Photography, June; Osaka Canon Salon, July; Fukuoka Canon Salon, August; Canon Salon, September; Canon Salon, October; Canon Salon, November 1997."Shashin wa nani o katareru ka" () (Tokyo: Canon, 1997), 3.
  • "Berlin–Tokyo". Neue Nationalgalerie, Berlin, 2006.
  • "Tōkyō meiro / Andesu Kuero" () / "Tokyo Labyrinth / Andes Qero". S (With , who exhibited photographs taken of the Q'ero.) Shōmeidō Gallery (Kodaira), July 2007." Kikai Hiroo / Sekino Yoshiharu shashinten 'Tōkyō meiro / Andesu Kuero-mura' " (, Hiroh Kikai / Yoshiharu Sekino photograph exhibition "Tokyo labyrinth / Andes Qero"), Shōmeidō Gallery, 2007 (accessed 25 May 2008).
  • "Heavy Light: Recent Photography and Video from Japan". A International Center of Photography (New York), May–September 2008." Heavy Light ", ICP, 2008 (accessed 5 June 2008).
  • "Sander's Children". A Danziger Projects, New York, 2008.
  • Mit anderen Augen. Das Porträt in der zeitgenössischen Fotografie = With Different Eyes: The Portrait in Contemporary Photography. A Die Photografische Sammlung/, Cologne, 26 February – 29 May 2016; , 25 February – 8 May 2016. Exhibition notice , Kunstmuseum Bonn (accessed 9 May 2016).
  • "Faces from Places". A L. Parker Stephenson Photographs, Manhattan, 6 May – 16 July 2016. With , Sirkka-Liisa Konttinen, J. D. 'Okhai Ojeikere, Malick Sidibé, and Jacques Sonck. Exhibition notice, New York Art Beat. Accessed 14 June 2016.

Permanent collections
  • Tokyo Metropolitan Museum of Photography: 17 photographs from the series Ōtachi no shōzō (later known as Persona or Asakusa Portraits), 1985–86. Search results , Tokyo Metropolitan Museum of Photography. Accessed 11 March 2013.
  • Museum of Modern Art, Toyama (Japan)
  • Domon Ken Photography Museum (Sakata, Yamagata, Japan)
  • Neue Nationalgalerie (Berlin)
  • Walther Collection (, Germany / New York): 16 photographs from the series Asakusa Portraits" Kikai, Hiroh", Walther Collection. Accessed 28 October 2020.
  • Center for Creative Photography (University of Arizona, Tucson)
  • Hood Museum of Art (Dartmouth College, Hanover, New Hampshire)Emily S. Burke, "Photography", Modern and Contemporary Art at Dartmouth: Highlights from the Hood Museum of Art (Hanover, N.H.: University Press of New England, 2009; ), p. 195.
  • Museum of Fine Arts, Houston (Texas)
  • Museum of the International Center of Photography (New York)
  • Mead Art Museum (, Amherst, Massachusetts) Annual report for the year 2010–2011 (PDF), Amherst College, 2011, p. 9. Accessed 16 September 2014.
  • Philadelphia Museum of Art (Pennsylvania) Catalogue entry, Philadelphia Museum of Art. Accessed 16 September 2014.

Publications
Books by Kikai
  • Ōtachi no shōzō: Sensō-ji keidai () / Ecce homo: Portraits of kings. Yokohama: Yatate, 1987. . Photograph collection, with captions in Japanese and English, and an essay by . There are forty-one monochrome plates.
  • India. Tokyo: Misuzu Shobō, 1992. . Photograph collection, with text (by Kikai and ) in Japanese and English, and captions in English. There are 106 monochrome plates (all "landscape" format).
  • Ya-Chimata: Ōtachi no kairō (, Ya-Chimata: A gallery of kings). Ya-Chimata (in other contexts written in the kanji rather than in hiragana) means a place where a road divides into eight (or some comparable number), or a place where the paths are confusingly numerous. For a dictionary definition (in Japanese), see 八衢（やちまた） の意味 (goo辞書). Tokyo: Misuzu Shobō, 1996. . Photograph collection, with text (by Kikai and ten other writers) in Japanese only. There are 183 monochrome plates.
  • Tōkyō meiro () / Tokyo Labyrinth. Tokyo: Shōgakukan, 1999. . Photograph collection, with text (by , , and ) in Japanese only. There are 108 monochrome plates.
  • Indo ya Gassan (, India and Gassan). Tokyo: Hakusuisha, 1999. . Thirty essays and forty-one photographs; text in Japanese only. The monochrome photographs are a mixture of "landscape" (across two pages) and "portrait" (on single pages).
  • Shiawase: Indo daichi no kodomo-tachi () / Shanti: Children of India. Tokyo: Fukuinkan, 2001. . Photograph collection (all monochrome): thirteen "landscape" photographs across both pages; and ninety-four "portrait". There are no captions, and the text is in Japanese only.Fukuinkan's description (in Japanese) of Shanti is here.
  • Persona. Tokyo: Sōshisha, 2003. . Photograph collection, with captions and text (by , , and Kikai) in both Japanese and English. Between an additional plate at the front and back, there are twelve plates in a prefatory section (photographs taken well before the others), and in the body of the book twenty-eight plates four to a page and 138 plates on their own pages.
  • Perusona () / Persona. Tokyo: Sōshisha, 2005. . Second, popular edition of the 2003 Persona in a smaller format. There are additional essays and photographs by Kikai; captions in both Japanese and English, other text in Japanese only. The twelve prefatory plates of the first edition and 191 plates of the main series are each presented on a separate page; there are also three more plates of photographs outside the series.Sōshisha's description (in Japanese) of the second edition of Persona (with 24 sample photographs) is here.
  • In-between 8: Kikai Hiroo Porutogaru, Maruta () / In-between, 8: Hiroh Kikai, Portugal, Malta. Tokyo: EU–Japan Fest Japan Committee, 2005. . One of a series of 14 books (). Photograph collection; captions and text in both Japanese and English. There are twenty-eight colour photographs of Portugal and twenty-seven of Malta.The EU–Japan Fest Japan Committee's description of In-between 8 is here.
  • Tōkyō mutan () / Labyrinthos. Tokyo: Sōshisha, 2007. . Collection of 118 monochrome photographs and essays; captions (for each, the approximate address and the year) and essays are in Japanese only.
  • Asakusa Portraits. New York: International Center of Photography; Göttingen: Steidl, 2008. . Collection of monochrome photographs; captions and texts in English only. With an interview of Kikai by Noriko Fuku, essays by Kikai (translated from Perusona) and an essay on Asakusa by .Steidl's description of Asakusa Portraits is here.
  • Anatoria () / Anatolia. Tokyo: Crevis, 2011. . Collection of 140 monochrome photographs (all "landscape" format) of Turkey (not only ). With afterwords by and Kikai.Crevis's description (in Japanese) of Anatolia is here.
  • Tōkyō pōtoreito () / Tokyo Portraits. Tokyo: Crevis, 2011. . Exhibition catalogue of over 150 monochrome photographs of the "Asakusa portraits" and "portraits of spaces" series. Afterwords (by , , and Nobuyuki Okabe ) in Japanese only; captions in Japanese and English.Crevis's description (in Japanese) of Tokyo Portraits is here.
  • Me to kaze no kioku: Shashin o meguru esē (). Tokyo: Iwanami, 2012. . Essay collection.
  • Seken no hito (). Chikuma Bunko. Tokyo: Chikuma Shobō, 2014. . A anthology of the Asakusa portrait series.
  • Dare o mo sukoshi suki ni naru hi: Memekuri bōbiroku (). Tokyo: Bungei shunjū, 2015. . Essay collection.
    • Naxie jianjian xihuan shang ren de rizi (那些渐渐喜欢上人的日子 视线所至备忘录). Hunan: 浦睿文化·湖南文艺出版社, 2019. . Translation into Chinese by 连子心.
  • Tokyo View. Kyoto: Kazetabi-sha, 2016. A large-format collection of 117 monochrome photographs of the "portraits of spaces" series. Captions in Japanese and English; afterword by in Japanese only.Kazetabi's description (in Japanese) of Tokyo View is here.
  • Kutsuzoku no herikata (). Tokyo: Chikumashobo, 2016. . Essay collection, contains 32 full-page plates from the "portraits of spaces" series.Chikumashobo's description (in Japanese) of Kutsuzoku no herikata is here.
  • India 1979–2016. Tokyo: Crevis, 2017. . Black and white plates, mostly one to a page, with captions in Japanese. With a preface by Kikai and an essay by ; all in Japanese only.Crevis's description (in Japanese) of India 1979–2016 is here.
  • Persona saishūshō 2005–2018 () / Persona: The Final Chapter, 2005–2018. Tokyo: Chikumashobo, 2019. . 205 captioned black and white plates, one to a page; with essays by Kikai and Toshiyuki Horie; all both in Japanese and in English translation.Chikumashobo's description (in Japanese) of Persona: The Final Chapter is here.
  • Kotoba wo utsusu: Kikai Hiroo taidanshū (, Portraying words: Hiroh Kikai interview collection). Tokyo: Heibonsha, 2019. . Interviews by Kikai of , , , , Randy Taguchi, , Toshiyuki Horie and ; edited by .Heibonsha's description (in Japanese) of Kotoba wo utsusu is here.
  • Shanti: Persona in India. Tokyo: Chikumashobo, 2019. . 168 captioned black and white plates, one to a page; with essays by Kikai and Shinji Ishii; all both in Japanese and in English translation.Chikumashobo's description (in Japanese) of Shanti is here.
  • Ōtachi no shōzō (, "Portraits of kings"). JCII Photo Salon Library 346. Tokyo: JCII Photo Salon, 2020. . 鬼海弘雄作品展 「王たちの肖像」 (catalogue sales page), JCII Camera Museum, 2020. Accessed 27 August 2020. Photographs from the series later known as "Asakusa portraits", from 1973 to 1986; 22 photographs, one per page; plus four photographs on each of four pages.

Other books with contributions by Kikai
  • Shashin toshi Tōkyō () / Tokyo/City of Photos. Tokyo: Tokyo Metropolitan Museum of Photography, 1995. Catalogue of an exhibition held in 1995. Plates 113–29, admirably printed, are from Kikai's series of Asakusa portraits. Captions and texts in both Japanese and English.
  • Literatura na świecie (Warsaw, ISSN 0324-8305) number 1–3, 2002. This special issue on Japanese literature, Japonia, is illustrated with photographs by Kikai, taken from Ya-Chimata and Tōkyō meiro / Tokyo Labyrinth. Text in Polish.
  • Ueda Makoto. Shūgō jūtaku monogatari (, The story of collective housing). Tokyo: Misuzu, 2004. . A book about collective housing in Japan from the Dōjunkai buildings onward, with 165 illustrative color photographs, all by Kikai. (Some monochrome photographs are older and are by other photographers.) The text, by Ueda, is in Japanese only. Content previously (1997–2001) published in .Misuzu's description (in Japanese) of Shūgō jūtaku monogatari is here.
  • In-between: 13-nin no shashinka 25-kakoku () / In-between: 13 photographers, 25 nations. Tokyo: EU–Japan Fest Japan Committee, 2005. . Kikai is one of the thirteen in this supplementary collection of photographs in six themes ("Stones and walls", "Words", etc.); captions and text in both Japanese and English.
  • Miyako Harumi. Messēji () / The Message. Tokyo: Juritsusha, 2006. . A book of which about half consists of quotations from interviews with the singer , and the other half of color photographs by Kikai. The photographs are not described or identified; a handful are of Miyako but most are of sea and provincial views. (In many, the scenes are recognizably of the Kumano area just west of Kumanogawa, Wakayama.) The text is all in Japanese.Juritsusha's description (in Japanese) of The message is here .
  • Heavy Light: Recent Photography and Video from Japan. New York: International Center of Photography; Göttingen: Steidl, 2008. . Captions and texts in English only.
  • Higashi-Nihon dai-jishin: Shashinka 17-nin no shiten (, The great east Japan earthquake: The perspectives of 17 photographers). Special compilation by . Tokyo: Asahi Shinbunsha, 2011. . A collection of photographs of the aftermath of the 2011 Tōhoku earthquake and tsunami. Text in Japanese only. Kikai contributes six pages: Sōma in early June, and three towns in Miyagi in late August.
  • Kikai Hirô and . Tôkyô: voyage à Asakusa. Atlantique, Éditions de l'Actualité Scientifique Poitou-Charentes, 2015. . An introduction to the work of Kikai, in French and Japanese.
  • Gabriele Conrath-Scholl and Stephan Berg, eds. Mit anderen Augen. Das Porträt in der zeitgenössischen Fotografie = With Different Eyes: The Portrait in Contemporary Photography. Cologne: Snoeck, 2016. . Catalogue of the exhibition.

Notes

External links
  • Website accompanying the 2015 Paris exhibition "Tôkyô: voyage à Asakusa"

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