Notes Japan-Photo.info

Miscellanea (mainly) on Japanese art and culture...

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Issei Suda, a Master of Japanese Photography | Interview Roland Angst with Ferdinand Brueggemann | Part 2

Issei Suda, a Master of Japanese Photography | Interview Roland Angst with Ferdinand Brueggemann | Part 2

Previously I had posted an interview I did with Mariko Takeuchi on Japanese photography, this time I am posting an interview the Berlin publisher Roland Angst did with me on the Japanese photographer Issei Suda for the first Western monograph in the artist. Suda is slowly becoming more popular in the West((At GALERIE | PRISKA PASQUER we introduced Issei Suda’s work with two solo exhibitions…

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MISS HOKUSAI - New Animé on the the 19th century artist Hokusai Set in 1814, Miss Hokusai focuses on O-Ei, the daughter of famed artist Tetsuzo, better known by his pen name Hokusai, as she tries to navigate the various aspects of her life. O-Ei spends the bulk of her time assisting her divorced father who cares about his art and not much else.

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Issei Suda, a Master of Japanese Photography | Interview Roland Angst with Ferdinand Brueggemann | Part I

Issei Suda, a Master of Japanese Photography | Interview Roland Angst with Ferdinand Brueggemann | Part I

Previously I had posted an interview I did with Mariko Takeuchi on Japanese photography, this time I am posting an interview the Berlin publisher Roland Angst did with me on the Japanese photographer Issei Suda for the first Western monograph in the artist. Suda is slowly becoming more popular in the West((At GALERIE | PRISKA PASQUER we introduced Issei Suda’s work with two solo exhibitions in…

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[japan-photo]

Yutaka Takanashi – Towards the City | Part 4 |Final

Yutaka Takanashi – Towards the City | Part 4 |Final

by Ferdinand Brueggemann This is part four, the final part of my essay “Yutaka Takanashi – Towards the City” for the “Yutaka Takanashi” exhibition catalogue, accompanying the show at the Fondation Henri Cartier-Bresson.((Essay: “Towards the City” [French/English]. in: Yutaka Takanashi, published by Éditorial RM, Mexico City and Toluca Éditions, Paris. Published on occasion of the exhibition…

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Yutaka Takanashi – Towards the City (including a short history of the “Provoke” era), Part 3

Yutaka Takanashi – Towards the City (including a short history of the “Provoke” era), Part 3

This is part three of of my essay “Yutaka Takanashi – Towards the City” for the “Yutaka Takanashi” exhibition catalogue, accompanying the show at the Fondation Henri Cartier-Bresson.((Essay: “Towards the City” [French/English]. in: Yutaka Takanashi, published by Éditorial RM, Mexico City and Toluca Éditions, Paris. Published on occasion of the exhibition Yutaka Takanashi, Fondation Henri…

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Kirsten Dunst in "Turning Japanese" By Mr. Mr. & Takashi Murakami

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Daido Moriyama at the photo shooting range of The Photographers’ Gallery in London.

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Exhibition: Mika Ninagawa Viborg Kunsthal, Viborg, Denmark Jan. 18 - May 4, 2014 Mika Ninagawa’s richly colored photos and movies often focus on magnifying details in extreme close-ups that provide an almost abstract image of reality. The particularly eye-catching aesthetics are kitsch in its exaggeration, but also poetic in its gentle and evocative images. In a unique style, artist mixes a surreal universe with attractive visuals from the popular culture. For example by reference to older, Japanese geisha traditions and neoclassical films like “Kill Bill”. Both play with staging of sex, violence, weapons and beauty. In this manner, the works represent a special style that is particularly popular among Japan’s youth, but also within a wide international audience. Mika Ninagawa (b. 1972) lives and works in Tokyo, Japan. She exhibited at Kunsthaus Graz, Austria; Centre National d’Art Contemporain, Grenoble, France; Mori Tower and Ueno Royal Museum, Tokyo, Japan, amongst many other places. [from the press release by Viborg Kunsthal] IMAGE: Mika Ninagawa, “on air” (Chiaki Kuriyama), 2004 ©Mika Ninagawa, courtesy Galerie Priska Pasquer, Cologne

galerie-priska-pasquer:

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Ginza, 1941 (photo by Katsuji Fukuda)

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“Is it still worthwhile to talk about new art?” Dercon asks. And then he answers himself. “I think it’s much more worthwhile to talk about new techniques and new audiences. The real challenge for the development of art is maybe the fact that we have a true new audience who want much more from us and from art than to judge and admire. They want to use art and museums almost as a kind of platform to explore the human condition.” Dercon’s decision to have his office on the same floor as the visitor learning and education departments reflects the importance he attaches to Tate’s social role and its new public, which he wants to involve more in the creative process. “Today, to be really cool and sexy is to be sharing,” he says. “Inclusivity instead of exclusivity. Let the private collectors in the private museums do the exclusivity game.”

Tate Director Chris Dercon: ‘Everything Can Be Changed’ ARTnews

(via galerie-priska-pasquer)

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A short quote by me in this article on Rinko Kawauchi at German "Art" magazine Rinko Kawauchi portfolio at “Art” magazine (Germany)

Gedichte über Leben und Tod | Poems on Life and Death by Tim Holthoefer Art, November 2013 Bedrohlich, poetisch, kitischig - mit verführerischen Fotobüchern wirbelt Rinko Kawauchi die japanische Kunstszene auf. Ein Portfolio aus ihrem Meisterwerk “Illuminance”

(…) 2001 dann die Sensation: Als völlig Unbekannte veröffentlichte sie drei Bücher auf einen Schlag und wirbelte die japanische Fotoszene gehörig durcheinander. Besonders “Utatane” sorgt für Begeisterung bei Kritik und Publikum. Magnum-Fotograf und Kurator Martin Parr (…) bezeichnete den Band später als eines der wichtigsten Fotobücher des Jahrzehnts. Diese Art zu fotografieren hatte man vorher einfach noch nicht gesehen.

(…) Für ihr Debut gewann sie - quasi aus dem Stand - den renommiertesten japanischen Fotopreis. 

(…) "Rinkos Werk ist nicht egozentrisch. Sie erzählt über das Leben an sich und nicht über ihr eigenes Leben", beschreibt Ferdinand Brüggemann, Direktor der Kölner Galerie Priska Pasquer, die Qualität ihrer Arbeit." Rinko Kawauchi (…) vergleicht ihre Fotos mit Wörtern, die sie zu Gesichten verspinnt, zu Metaphern über das Leben und den Tod. In ihren Arbeiten versuche sie, Berührungspunkte von Traum und Wirklichkeit, Bewusstem und Unbewusstem aufzuspüren und darüber nachzudenken, woraus die Welt besteht und wieso wir eigentlich auf dieser Erde sind.

Und so komponiert Rinko Kawauchi wunderbare fotografische Haiku, mit dene sie uns ihr Universum nicht erklären möchte, sondern Raum für eigene Assoziationen schafft. Images: Rinko Kawauchi, from the series “Illuminance” ©Rinko Kawauchi

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Major Issei Suda retrospective at the Tokyo Metropolitan Museum of Photography

Suda Issei | nagi no hira - fragments of calm until December 1

The Tokyo Metropolitan Museum of Photography is delighted to announce the opening of an exhibition featuring the work of SUDA Issei, entitled “nagi no hira — fragments of calm”. The work he has produced since the 1970s seems to provide a glimpse through the cracks in reality to a space that exists in a different dimension and has received international acclaim, being shown not only in Japan but also in Australia, New York, etc.

Born in the Kanda district of Tokyo in 1940, SUDA has used an unconventional viewpoint and outstanding technique to create a body of work from the 1960s onwards that offers the viewer a behind-the-scenes view of people’s lives and the city. As one of the artists recently selected by the Tokyo Metropolitan Museum of Photography for priority collection, in this exhibition we will be able to show not only the works previously obtained for the collection, including “Fushi Kaden”, “Monogusa Syui”, and “Tokyo kei” (Tokyo View), but also early works, such as “Akai Hana” (Scarlet Bloom) and “Osorezan e” (To Osorezan), plus some of his latest works, celebrating his fifty years as a photographer.

SUDA’s eye seems to travel between the ordinary and extraordinary, creating an atmosphere similar to that experienced in moments of ‘calm’ when the wind ceases to blow. This exhibition consists of an accumulation of numerous fragments of this calm, each captured within a single photograph. We hope that you will enjoy these landscapes of the past, the people and images of various customs passed down from the middle of the last century, all captured by SUDA Issei’s unique vision, and preserved in minutely detailed gelatin silver prints.

http://syabi.com/e/contents/exhibition/index-1934.html

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Exhibition: Shomei Tomatsu: Island Life Art Institute Chicago Sept. 14, 2013 – Jan. 5, 2014

The first museum exhibition on Japanese photographer Shomei Tomatsu (1930–2012) since his death, anywhere in the world, and his first solo show in the United States in nearly ten years, Island Life is also the first to concentrate on Tomatsu’s long fascination with Japan’s southern islands. 

In 1966, when he was just a decade into his career but already a highly influential figure, Tomatsu published a magazine series called The Sea around Us that ran for nearly a year. This sustained look at coastal waters, for which Tomatsu traveled all around his country, was inspired by a book of that title by the American environmentalist Rachel Carson, but also by Americanization itself, which had wrought profound changes in Japan since the bombings and occupation that ended World War II. 

In 1969 Tomatsu went to Okinawa, the main island in an archipelago of several hundred islands that stretches across the sea from Japan to Taiwan. Okinawa was then under United States jurisdiction, and few Japanese were permitted entry. Tomatsu eventually moved there for several years, making four books and many more magazine stories on life in the southern or Ryukyu islands. The politically incisive black-and-white photographs he had made in the 1960s—including pictures of American bombers taking off from Okinawa for Vietnam—gave way to seascapes of dazzling color and more everyday scenes. But Tomatsu never stopped making tightly composed and moving photographs, guided by a finely developed sense of light and visual poetry.

CAPTION: Shomei Tomatsu. Untitled (Kadena, Okinawa), 1969, printed 1978. Photography Purchase Fund. © Shomei Tomatsu, courtesy Galerie Priska Pasquer, Cologne www.artic.edu/exhibition/shomei-tomatsu-island-life

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Blog discovery of the week (and there have been a few) goes to Eleanor Macnair’s great Photographs rendered in play-doh. Above: Untitled from the series Protest, Tokyo, 1969 by Shomei Tomatsu. She even takes requests!

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Link to the original photo: http://www.sfmoma.org/explore/collection/artwork/29652 :-)

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Great GIF's made from historical photographs

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Lieko Shiga's new book Rasen Kaigan.

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Pippin Barr - The Artist is Present (Marina Abramovic, 2010), video game

(play here)

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:-)