Mémoires 1995 continues the project of recollection instantiated with Japanese photographer Seiichi Furuya’s 1989 volume Mémoires. The reappearance of various photographs from the earlier text attests to memory as a faculty that is not linear, but marked by continuous return and juxtaposition. Cherry blossoms in Japan, Furuya’s home country, are interspersed with double rainbows in Austria, where Furuya has resided for over 50 years; photographs of Bosnian refugees and strangers in 1980s East Berlin appear alongside portraits of Furuya’s young son and late wife, Christine Gössler, who died by suicide a decade prior to the volume’s publication. An accompaniment to Furuya’s solo exhibition in Switzerland the same year, Mémoires 1995 represents the shifting ground of personal and public history, and the inextricability of each from the other.