In Japan, hanami means “flower viewing.” This centuries-old tradition, which dates back to the 8th century, takes place each spring during the blooming of the cherry blossoms. It celebrates ephemeral beauty, renewal, and hope. It is during this symbolic moment for the Japanese archipelago that Kyotographie, the international photography festival founded in 2013 by Lucille Reyboz and Yusuke Nakanishi, kicks off. Locals and visitors alike are invited not only to admire the sakura but also to explore the many photographic exhibitions spread across the city.
This year, they are asked to reflect on the broad theme of the festival’s 13th edition: Humanity.
“How do we define humanity?” ask the founders in the festival’s manifesto an essential question in light of past and present wars, a central focus of this year’s programming. In the exhibition Little Boy, a powerful scenography by Spinning Plates contrasts two photographs: one of the American army, the other by Horimi Tsuchida. On the ground floor, an image of the atomic mushroom cloud reminds us of the devastating fate of Hiroshima and its global impact. Upstairs, in a darkened room, a haunting photograph of a dress worn by a young girl on that day, still bearing the marks of the tragedy, offers a stark, emotional encounter.
Next door, The Logic of Truth by Adam Rouhana provides a counter-narrative on Palestine, moving beyond mainstream media portrayals. Through intimate moments elderly people drinking coffee, children playing, families gathered he highlights resilience under violent occupation, offering viewers an alternative perspective and a lesser-known truth.
On a lighter, though no less relevant note, British photographer Martin Parr, known for his satirical lens on modern society, documents mass tourism with his signature irony. His images span iconic tourist destinations—from the Louvre to Machu Picchu and Kyoto itself, which is increasingly affected by overtourism, especially during the blossom season. Coinciding with Japan’s newly announced tourism tax hike, Parr presents a new series of photographs taken beneath Kyoto’s cherry trees alongside his classic works.
But the cherry blossom isn’t the only flower in focus this year.
Akabana (Red Flower), a powerful exhibition by Mao Ishikawa, pays tribute to the women of Okinawa, whom the artist describes as “as strong and beautiful as the red hibiscus.” Born during the American military occupation, Ishikawa has spent her life documenting her island and its people. In the 1970s, while working as a barmaid, she photographed women who served American soldiers, particularly African American servicemen. These mixed-race couples, often marginalized by their communities, are the heart of a deeply sensitive series. Her more recent work also captures the ongoing tensions in the Ryukyu Islands and the lasting legacy of foreign military presence.
Names like Graciela Iturbide, JR, Tamaki Yoshida, Eamonn Doyle, Keijiro Kai, Lee Shulman, and Victor Diop can be found throughout Kyoto during the festival. Their works are thoughtfully integrated into historic and modern venues—temples, tea houses, museums, old print shops, and even the train station—highlighting the city’s blend of tradition and innovation. The festival also includes talks, workshops, and a more experimental satellite program, KG+, which showcases emerging artists—over 300 in total. A sound-based component, Kyotophonie, adds an auditory dimension to the experience.
This year’s edition is rich and multifaceted, anchored by the central theme of Humanity—a theme that finds natural resonance in Kyoto, once known as Heian-kyō, the “capital of peace.” In a city that has long embodied a quest for harmony and connection, the festival encourages reflection on compassion, mutual understanding, and the human bonds that unite us all.
Marine Aubenas
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