We Have No Place to Be
Joji Hashiguchi


—Photography: Joji Hashiguchi
—Design: Kumiko Otsuka
—Forward: Yoshitomo Nara
—Afterword: Mika Kobayashi
—Translation: Daniel Gonzalez
—Editor: Keenan McCracken

—Photo Assistant: Makoto Kubota
—Film Development: Seiichi Motohashi
—Printing Specialist: Motoyuki Kubo, Joji Hashiguchi
—Production Assistant: Yasuyo Takahashi


—8.25 x 11.25 inches
—Soft cover
—256 pages
—Edition of 1,000

Session Press is pleased to present “We Have No Place to Be” by renowned Japanese photographer Joji Hashiguchi. With a career spanning over forty years, this is Hashiguchi’s first monograph published outside Japan. “We Have No Place” to Be is a newly edited edition based on the original of the same title that was published in 1982 by Soshi-sha. This new version combines 138 black and white photographs from the original with Hashiguchi’s acclaimed debut series “Shisen” (”The Look,” winner of the 18th Taiyo Prize in 1981) and twenty more previously unpublished works.

“We Have No Place to Be” revolves around Hashiguchi’s courageous quest to capture the lives of the teenagers on the streets of six cities; Liverpool, London, Nuremberg, West Berlin, New York and Tokyo in 1981-82. The work has been praised for his ability to present a difficult yet precious association between youth and their communities. Hashiguchi observed a massive variety of troubles which young people in society may find themselves confronted by- drug addiction, unemployment, poverty, prostitution, crime, racism, segregation, ignorance, and isolation. Through his photos Hashiguchi challenges the viewer to reexamine what we have both become and lost- and whether the issues remain relevant in the present day.

Throughout history of photography 'youth' has remained a captivating theme. Photographers such as Danny Lyon, Karlheinz Weinberger, Bruce Davidson, Joseph Sterling and Joseph Szabo made masterpieces from their investigations into cultures of renegade bikers, street gangs, and the drama found where teenagers sought amusement. While it is well known that William Klein and Ed van der Elsken presented their distinctive street photos abroad in the ’50-60s, Hashiguchi’s intense contribution to this aspect of documentary photography is marked specifically by his attention to ‘troubled youth’ around the world in the early ’80’s on a scale which no other photographer has equaled.

Hashiguchi’s legendary “We Have No Place to Be” has influenced generations of photographers in Japan. This lushly produced publication includes an essay by artist Yoshitomo Nara, a close friend of Hashiguchi, discussing his thoughts on what it means to review this collection now many decades old. As our current world goes through a period of shifting social dynamics we hope that this book becomes a contemporary classic for a new international audience.


セッションプレスの第11冊目の写真集は、橋口譲二の『俺たちどこにもいられない』です。橋口のデビュー作として注目を集めた『視線』(1981年に第18回太陽賞を受賞)と並び、『俺たち、どこにもいられない 荒れる世界の十代』(草思社、1982) は、写真家橋口譲二の40年以上に及ぶ礎を築いた重要な初期作品です。本書では、20点以上の未発表の作品を含め、橋口自身が再編集し、見応えある内容に仕上がっています。




Joji Hashiguchi

Joji Hashiguchi
(Kagoshima, 1949)

Joji Hashiguchi was born in Kagoshima, Japan in 1949. Hashiguchi went to Tokyo when he as 19 years old and studied at a photography school in Tokyo. Received The 18th Taiyo Award in 1981 and The 8th Higashikawa Award and Photographic Society of Japan Award in 1992. Hashiguchi founded the organization NGO in 2003. His work has been exhibited worldwide including “Avoir 17 ans au Japon” in Arles, France in 1989 and “Seventeen” in Rome, Italy in 1990 and “Couple” on Tokyo, Nagoya, Sendai and Zurich so on. Since the early ‘80s, Hashiguchi has published many works including: “We have no place to be” (Soshisha, 1982) “Leave me alone” (Shueisha, 1985), “Seventeen's Map” (Bungeishunju, 1988), “South Winds” (Fusosha, 1988), “Zoo” (Joho Center Shuppan-kyoku, 1989), “Father” (Bungeishunju, 1990), “Die Mauer” (Joho Center Shuppan-kyoku, 1991), “BERLIN” (Ota Shuppan, 1992),“Couple” (Bungeishunju, 1992), “One Summer: Photographs from the Film: The girl of the silence Sizuko” (Little More, 1995), “Work: 1991-1995” (Media Factory, 1996), “Dream” (Meia Factory, 1997), “Berlin” (Mitropa, 1997), “The Look” (Mitoropa, 1998) “Sisso (Rush)” (Kadokawa, 1998), “Freedom” (Kadokawa, 1998), “Seventeen” (Kadokawa, 1998) and many others.



鹿児島県に生まれ、19歳の時上京、写真学校に学ぶ。1981年、平凡社の雑誌『太陽』の写真コンテスト「第18回太陽賞」に応募し、新宿歌舞伎町や原宿などの路上の若者たちの姿をとらえた29枚の組み写真『視線』で受賞を果たし、写真家としてデビュー。1992年、日本写真協会賞年度賞と、東川賞国内作家賞を受賞。2003年にNGO組織「APOCC」を創設。国内外で展示会を多く開催:『17歳』(アルル国際写真フェスティバル、1989年)、『17歳』(ローマ、1990年)、『カップル』(東京、名古屋、仙台、チューリッヒ)、『現代日本写真家展』出品等多数展示会を開く。これまで数多くの写真集を出版してきた。『俺たち、どこにもいられない』(草思社、1982年)、『ここにいたっていいじゃないか』(集英社、1985年)『十七歳の地図』(文藝春秋、1988年)、『南からの風』(扶桑社、1988年)『動物園』(情報センター出版局、1989年)『Father』(文藝春秋、1990)(新装版、産業編集センター、2007年)、『DIE MAUER』 (情報センター出版局、1991年)、『BERLIN』(太田出版、1992年(再刊:ミトローパ、1997年)、『Couple』(文藝春秋1992年(新装版、産業編集センター、2007年)、『ひと夏:ファザーファッカーThe Photography』(リトル・モア、1995年)、『職 1991~1995 WORK』(メディア・ファクトリー、1996年)、『夢 Dream』(メディア・ファクトリー、1997年)、『BERLIN』(ミトローパ、1997年)『視線』(ミトローパ、1998年)、『疾走』(角川書店、1998年)、『自由』(角川書店、1998年)、『17歳』(角川書店、1998年)(新装版、産業編集センター、2007年)、『子供たちの時間』(小学館、1999年)、『17歳 2001-2006』(岩波書店、2008年)、『Hof - ベルリンの記憶』(岩波書店、2011年)等。