T3 PHOTO FESTIVAL TOKYO 2026

Himonochō Square,TOFROM YAESU TOWER 1F,1-6-1 Yaesu, Chuo-ku, Tokyo 103-0028

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Octorber 3,(Sat) - Octorber 26,(Mon)

7:00-23:00

Free

[Main Exhibition] Zanele Muholi｜When Things Become a Crown,

Photography began with appropriation. Shoot, capture, expose—the language of photography is the language of possession and control. The camera has long been the privilege of those behind the lens, while African bodies have continued to be treated as objects to be seen. The centerpiece of this exhibition, Zanele Muholi’s Somnyama Ngonyama (Hail the Dark Lioness), is the most fundamental response to this structure. Muholi turns the camera toward the self, reweaving clothespins and rubber gloves—the tools of a mother who lived as a domestic worker and of people often forced into labor—into crowns and body adornments. When these everyday tools become crowns, the memory of dispossession is rewritten as pride. A body rendered in deep black gazes back at us from the center of the image. Who looks at whom? Muholi shifts the direction of the gaze, and yet, takes nothing back from those who once took from others. Photography ceases to be “evidence” of existence, transformed into an act of self-definition: “I am here. In this form, I define myself.” Value is created without taking anything from anyone. The photographer and the photographed—long fixed as opposing sides of a binary—come together on Muholi’s body, where 対 (opposition) is rewritten as と (and). The question ultimately falls on our own gaze. Whom are you looking at, and from which side?

PHOTO：Zanele Muholi, Bester VIII, Philadelphia, 2018 Courtesy Zanele Muholi; Southern Guild, Cape Town/New York; and Yancey Richardson, New York. © Zanele Muholi

Tokyo Midtown Yaesu 1F, 2-2-1 Yaesu, Chuo-ku, Tokyo 104-0028

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Octorber 3,(Sat) - Octorber 26,(Mon)

9:00-23:00

Free

[Main Exhibition] Lucas Foglia｜Constant Bloom

Painted Lady butterflies undertake the longest butterfly migration. Lucas Foglia traced their journey from Africa through the Middle East, across the Mediterranean, and into Europe, photographing the butterflies alongside the people and landscapes they encounter. Constant Bloom reframes nature and humanity, ecosystems and political borders, not as separate entities but as part of one continuous, interconnected world.

Tokyo Tatemono Nihonbashi Building 1F, 1-3-13 Nihonbashi, Chuo-ku, Tokyo 103-0027

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Octorber 3,(Sat) - Octorber 26,(Mon)

Weekday 7:00-20:00

Holiday 8:00-17:00

Free

[Special Exhibition 1 ] Sarah van Rij｜L’épaisseur du temps

Sarah Van Rij is a photographer who conjures poetic imagery through photography, collage, and self-portraiture. Her work layers fragments cut from different places, moments, and realities, allowing memory to accumulate in strata, time to fold in on itself, and familiar landscapes to drift into something quietly uncanny. Rather than recording the visible world, it feels closer to a kind of magic—one that brings to the surface a visual language suspended between perception and imagination. In this exhibition, alongside landscapes, objects, and gestures, the streets of Tokyo are woven into the work as a landscape that holds its own layers of time. As different places, memories, and moments quietly overlap, a “L’épaisseur du temps” begins to emerge.

1-5-8 Kyobashi, Chuo-ku, Tokyo 104-0031

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Octorber 3,(Sat) - Octorber 26,(Mon) All Day

Free

[Special Exhibition 1 ] Sarah van Rij｜L’épaisseur du temps

Sarah Van Rij is a photographer who conjures poetic imagery through photography, collage, and self-portraiture. Her work layers fragments cut from different places, moments, and realities, allowing memory to accumulate in strata, time to fold in on itself, and familiar landscapes to drift into something quietly uncanny. Rather than recording the visible world, it feels closer to a kind of magic—one that brings to the surface a visual language suspended between perception and imagination. In this exhibition, alongside landscapes, objects, and gestures, the streets of Tokyo are woven into the work as a landscape that holds its own layers of time. As different places, memories, and moments quietly overlap, a “L’épaisseur du temps” begins to emerge.

Tokyo Tatemono Yaesu Building 1F,1-4-16 Yaesu, Chuo-ku, Tokyo 103-0028

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Octorber 3,(Sat) - Octorber 26,(Mon)

7:00 - 20:00

Free

[Special Exhibition 2 ] Shoji Ueda ＆Mure Akemi｜Shoji Ueda's Inner Child / Hidden Within the Chrysalises

TODA BUILDING 3F APK ROOM,1-7-1 Kyobashi, Chuo-ku, Tokyo 104-0031

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Tokyo Station (JR lines) Yaesu Central Exit 7minutes on foot

Nihombashi Station (Tokyo Metro Ginza Line, Tozai Line, Toei Asakusa Line) B1 Exit 5minutes on foot

Kyobashi Station (Tokyo Metro Ginza Line) B6 and B7 Exit 3minutes on foot

Octorber 3,(Sat) - Octorber 26,(Mon)

11:00 - 19:00

Free

[Special Exhibition 3]Antony Cairns & PIDAN

Photography is not a medium for recording what is visible, but for transforming the world by rewriting it. The three-dimensional world is rendered onto a two-dimensional plane, the physical world becomes data—information—and the image itself has no physical scale. This transformation is not reproduction; it is intervention. It renders the invisible visible and makes present what should remain immovable. The two artists in this exhibition push this transformative power to its limits, though each in a different direction. Antony Cairns moves toward the realm of perception. He photographs the city at night with a toy video camera from the 1980s; its coarse pixelation makes perceptible the underlying framework the city has submerged beneath layers of time. From a society that rewards and amplifies only what is immediately visible, he draws out realities that have been made invisible. PIDAN moves toward the realm of matter. He circumvents the taboo that “moving a stone would disrupt the balance of the world” and, through an equal exchange between matter and information, brings stones into the exhibition space while preserving the world's order. Here, the issue is not what is visible or invisible; PIDAN demonstrates that transformation itself can set reality in motion. Cairns draws out what has been made invisible and PIDAN causes what should remain immovable to arrive. These two transformations meet in a building that has played an integral role in shaping the identity of Kyobashi over the past 100 years. As you stand before the works, you are already within that transformation.

PHOTO:Exhibition view 'PXL CTY' by Antony Cairns at MEP – Maison européenne de la photographie, Paris, 2022. ©Tadzio

104-0031 TODA BUILDING 1F, 1-7-1 Kyobashi, Chuo-ku, Tokyo

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3 min walk from exit 6 of Kyobashi Station on the Tokyo Metro Ginza Line

5 min walk from exit B1 of Nihonbashi Station on the Tokyo Metro Ginza Line

8 min walk from the Yaesu Central Exit of Tokyo Station on all JR lines

Octorber 3,(Sat) - Octorber 20(Tue)

8:00 - 19:00

Free

[Special Exhibition 4] Trace and Vision: SUZUKI Nozomi & UEHARA Sayaka with the Higashikawa Award Collection

Suzuki Nozomi and Uehara Sayaka are two photographers whose work has attracted considerable attention in recent years. Both are recipients of the Higashikawa Award (New Photographer Award), given in recognition of outstanding creative expression in photographic work. This exhibition presents their award-winning works as well as more recent works. The keyword for the exhibition is "imagination." Small openings found in the city and in everyday objects. Suzuki has captured and fixed the images formed by light passing through these tiny apertures onto photographic paper and familiar items. Subtle traces of light reveal another world that she has discovered. 
To look anew at the places where we live. What different layers of time are held within the landscapes before us? Uehara continues to photograph Okinawa, tracing events through the details of its landscapes. Here, imagination is understood as the ability to perceive what lies in the spaces left open. Rather than simply pursuing subjects and information, Suzuki and Uehara draw out the histories of places and objects and the meanings that lie behind them. We hope this exhibition provides an opportunity to imagine together the layers of time and space that unfold beyond a single photograph.

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TOKYO SQUARE GARDEN 1F ,3-1-1 Kyobashi, Chuo-ku, Tokyo 104-0031

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Octorber 3,(Sat) - Octorber 26,(Mon)

TOKYO SQUARE GARDEN：All-day

*Tokyo Square Garden Art Gallery: 10:00-19:00 Weekday only

Free

[Special Exhibition 5] KODAMA Hironori & South HO T3 NEW TALENT: Trace Layers

Through the traces etched on the surface of the city, we gaze upon the layers of time.
This exhibition showcases two artists who each capture the traces accumulated in a city from different perspectives. Kodama Hironori’s BLOCK CITY surveys the urban landscape continuously reconstructed amidst the whirlwind of social events. As the actions and collectivity of the people bear temporary transformation to the city, the same landscape is continuously updated. Contrastingly, South Ho directs his attention to the traces that linger after the event in Work Naming Has Yet to Succeed. The residues of protests and social actions, evidence of erasures or patchings—they soon dissolve into the everyday and settle in the landscape like sediment. The occurrence of an event and its aftermath: traces generated anew and traces that stay and transform over time. A seesaw between two perspectives, the exhibition steps outside the concept of the city as a mere physical space and reframes the urban landscape as a place constantly overwritten by an infinite series of events and memories.

YaesuDai Building 1-1-1 Kyobashi, Chuo-ku, Tokyo 104-0031

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Octorber 3,(Sat) - Octorber 26,(Mon)

6:00 - 23:00

Free

[Special Exhibition 6] piczo | Reincarnation

Before leaving England where he had lived for twenty years to return to Japan and establish a new base, Piczo wanted to photograph Iceland, a country he and his wife had visited in 2022. He retraced his memories of that trip, revisiting the same subjects, following the same routes in the same car, and staying in the same hotels. He has described it as a strange experience—as though the past preserved in photographs had been brought back into the present. The exhibition title, reincarnation—rebirth, return, or renewal—suggests that photography, in its essence lies not in preserving the past as something fixed, but in sustaining a living memory that continually takes on new meanings.

YANMAR TOKYO B1F, 2-1-1 Yaesu, Chuo-ku, Tokyo 104-0028

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Octorber 3,(Sat) - Octorber 26,(Mon)

10:00 - 19:00

Free

[Special Exhibition 7] Ayalguun

Breath is the smallest form of circulation. Unlike the one-way flow of contemporary consumption, the nomadic worldview rooted in Ayalguun's heritage is based on an entirely different premise. Everything circulates like breath. The third of Human Breath is an installation consisting of a cylindrical structure reminiscent of a nomadic ger, intertwined with white braided ropes made of wool felt. Ayalguun's own voice, performing khöömei learned from his grandfather, and sounds of nature fill the exhibition space. This form of singing, in which two distinct pitches are produced simultaneously by the singer, is itself a circulation within the body. Among Mongolian people, there is a tradition of braiding the hair, and the ritual of cutting the braid at the age of three is still practiced today. While the braid is one visible sign of identity, it is also three strands of hair woven into a single form—much like the interconnectedness of breath, nature, and ourselves. Like the strands of a braid, Ayalguun ties back together what has been separated—Mongolia and Japan, tradition and modernity, what is lost and what is reclaimed. This exhibition, guided by Yanmar's HANASAKA philosophy of supporting the blossoming of talent, also seeks to establish HANASAKA SQUARE as a platform from which emerging artists can take flight. It is about breathing new life into fading memories. From this small square, that breath begins.