Just when it seems that everything has been photographed, in every possible way, along comes a photographer, whose work is so original that the medium is renewed. Such a photographer is Rinko Kawauchi, who makes simple, lyrical pictures, so fresh and unusual that they are difficult to describe or classify. Her images documentary everyday things, yet could not be described as documentary. They are generally light in tone, yet somehow dark in mood. They are almost hallucinatory, yet seem to capture something fundamental about the psychological mood of modern life.
Garry Badger

On Saturday, May 15, Rinko will give a lecture about her work; her new book we be available as well.

And there will be an exhibition by the young women photographer Lieko Shiga.
Last year Lieko Shiga received the ICP “Infinity Award / Young Photographer” for her series Lilly and in 2008 the “Kimura Ihei Award” for “Lilly” and “Canary”. In Kassel she will exhibit works from her series Canary which I find extremely interesting. I sureley will write more about the artist in the future.

Lieko Shiga on her photography:

Be Shot and Die
… The verb “shoot” is used to describe the action of taking a photograph, but the same word is also used to mean “kill”, therefore to be shot is to be resurrected through the action of killing. I can already visualize the finished photograph when I first encounter the subject or scene, or even before that. The time that exists before the photograph is taken, shoots me where I stand outside, and restores me to life.

The body is simply a medium, I kept a canary inside my stomach.

Look upon people or scenery that have been sacrificed through photography as offerings to the next world.
Lieko Shiga

Lieko Shiga will give a lecture on Sunday, May 16.

By the way, I will give a lecture  too: “Liquid Dreams – Female Japanese contemporary photographers”, May 16.

Artists participating in Kassel:

- Paul Graham
- Rob Hornstra
- Rinko Kawauchi
- Sybren Kuiper
- Joachim Schmid
- Lieko Shiga
- Alec Soth
- Niels Stomps

Recently I had the pleasure to initiate the first solo exhibition of Shomei Tomatsu in Germany, which is currently on show at Galerie Priska Pasquer.

Shomei Tomatsu at Galerie Priska Pasquer Cologne
Exhibition: March 13 – April 17, 2010

Tomatsu’s photographs are examining, in an absolutely personal and unique vision, the changes in the Japanese society since the 1950s. They provide a candid look at the aftereffects of the atomic bombing of Nagasaki, the influence of American military and popular culture, and the impact of the post-1960s economic boom in Japan. The exhibition will show a selection of works from late 1950s to the early 1970s.

A self-taught photographer, Shomei Tomatsu went freelance in 1956. In the years that followed, he took part in the pioneering “Eyes of Ten” exhibitions and in 1959 he was one of the co-founders of photographic agency VIVO, which is seen as the ‘epicentre’ of Japanese post-war photography. Other VIVO members included Ikko Narahara and Eikoh Hosoe, both of whom were the subject of individual exhibitions by Galerie Priska Pasquer (Eikoh Hosoe in 2002, Ikko Narahara in 2009/2010).

Shomei Tomatsu’s imagery is noted for its varied and complex nature. His style ranges from works leaning towards classical street photography, symbolically charged objects, abstract (urban) views to dynamic, expressive compositions. Depending on the subject matter, the artist constantly expanded his visual grammar,  creating pictures that walk a tightrope between the concrete and the abstract and between fascination and repulsion, while remaining timeless.

A central theme in Tomatsu’s photographic work is the effects of the atom bomb on Hiroshima and Nagasaki. Here, he portrays survivors and documents objects from the Atom Bomb Museum. Among the works featured in the exhibition is “Bottle Melted and Deformed by Atomic Bomb Heat, Radiation, and Fire, Nagasaki, 1961”. This photo, which calls to mind a melted body part, is described by Leon Rubinfien as “possibly the single strongest image of his career” (Shomei Tomatsu:  Skin of a Nation, p. 27).

Another theme that has been explored by Tomatsu for more than a decade is the influence of the US occupying forces and of American culture on Japanese society. The “Chewing Gum and Chocolate” series, which was taken near the US military bases, thrives on the ambivalent experience of the Americans as overbearing victors who also brought a new culture to Japan.

However, Tomatsu’s photography deals not only with the unfamiliar but also with the familiar, such as the tension relating to rural traditions and Japan’s journey to urban modernity since the 1950s. In “Flood and Japanese” (1959), Tomatsu demonstrated the effects of floods, in “Protest” the student demonstrations in Tokyo, and in “The Pencil of the Sun” the dwindling popular culture in Okinawa, the group of islands in the south of Japan.

Brief Biography
Born in Aichi, Nagoya in 1930. 1954-56 Photographer at the Iawanami Shashin Bunko publishing house together with Nagano Shigeichi. Participated in the “Eyes of Ten” exhibitions, 1957-59. In 1959, founded photographic agency VIVO together with Kikuji Kawada, Akira Sato, Akira Tanno, Ikko Narahara and Eikoh Hosoe. In the same year, he began to take photographs at the US military bases all over Japan and also the effects of a typhoon that destroyed his mother’s house. Commissioned to work on a book about the dropping of the atom bomb on Nagasaki, together with Domon Ken. 1972-1976 lived in Okinawa. 1974 Founded the “Workshop Photography School”, Tokyo, together with Nobuyoshi Araki, Masahisa Fukase, Eikoh Hosoe, Daido Moriyama and Noriaki Yokosuka. 1995 Awarded the Purple Ribbon Medal by the Japanese government.

Selected exhibitions
1974 New Japanese Photography, Museum of Modern Art, New York
1979 Japan: A Self-Portrait., International Center of Photography, New York
1984 Shomei Tomatsu: Japan 1952-1981, Forum Stadtpark, Graz
1985 Black Sun: The Eyes of Four, Museum of Modern Art, Oxford
1992 Sakura + Plastics, Metropolitan Museum of Art, New York
1996 Traces: 50 years of Tomatsu’s works, Tokyo Metropolitan Museum of Photography, Tokyo
2000 How You Look at It: Photographs of the Twentieth Century, Sprengel Museum Hannover
2004 Interface. Shomei Tomatsu, The National Museum of Modern Art, Kyoto
2006 Shomei Tomatsu: Skin of the Nation, San Francisco Museum of Modern Art, San Francisco
2006 Aichi Mandala: Early Works of Tomatsu Shomei, Aichi Prefectural Museum of Art, Nagoya
2007 Tokyo Mandala, Tokyo Metropolitan Museum of Photography, Tokyo

Selected publications
- Shomei Tomatsu, Ken Domon, et al: Hiroshima-Nagasaki Document. Tokyo 1961
- 11:02 Nagasaki. Tokyo 1966
- Nippon. Tokyo 1967
- Salaam Aleikum. Tokyo 1968
- Okinawa, Okinawa, Okinawa. Tokyo 1969
- Oh! Shinjuku. Tokyo 1969
- Après-Guerre. Tokyo 1971
- I Am a King. Tokyo 1972
- The Pencil of the Sun. Tokyo 1972
- Kingdom of Mud. Tokyo 1978
- Ruinous Garden. Tokyo 1987
- Sakura, Sakura, Sakura. Osaka 1990
- Tomatsu Shomei 1951-60. Tokyo 2000
- Shomei Tomatsu. Skin of the Nation. San Francisco 2004

photos © Shomei Tomatsu

Ikko Narahara – Photographs from the 1950s to the 1970s

It’s the first solo exhibiton of Ikko Narahara´s work in Germany and the first time that his vintage prints from the 60s and 70s are on show in a gallery.

Ikko Narahara, born in 1931 in the Fukuoka Prefecture was self taught photographer. The response to his first (one week) solo exhibition in Tokyo’s only photo gallery was so positive that he decided to become a photographer. Soon after he took part in the groundbreaking photography exhibition ‘The Eyes of Ten’ in Tokyo in 1957. Two years later he became one of the co-founders of the legendary photo agency VIVO (in collaboration with Shomei Tomatsu, Eikoh Hosoe, Kikuji Kawada, and others), which was to be the epicenter for a new generation of Japanese photographers.

In his early work Narahara focused on people who were living in isolation from the everyday world, such as monks in a Trappist monastery or the inmates of a women’s prison. His work aimed at creating a ‘personal document’, he aspired to ‘a process of laying bare the inner form by thoroughly depicting the exterior’ (Ikko Narahara).

Walking a tightrope between description and abstraction, objectivity and a personal narrative, Narahara transcended the journalistic documentary photography then prevalent in Japan. Furthermore, Narahara displayed a particular facility for abstraction and the staging of everyday scenes in strict graphic compositions as in, for example, the series ‘Tokyo, the ‘50s’, which was only to be published in 1996.

The beginning of the 1960s and the 1970s were dominated by long stays abroad. From 1962 to 1965 Ikko Narahara took photographs in France, Spain and Italy. The results are picture essays in which Narahara evokes the ‘old continent’ within a timeless narrative, a fiction in which time has come to a standstill. Accordingly, one of his contemporary books was appropriately titled ‘Where Time Has Stopped’.

Following Ikko Narahara’s return to Japan, his previous confrontation with Europe then led to an increased interest in the particulars of his own culture. Photographic series, such as ‘Zen’ (published in the book ‘Japanesque’) were the consequence, in which the aspect of timelessness was also addressed.

At the beginning of the 1970s Ikko Narahara went to the USA. This was the location of his best-known series ‘Where Time Has Vanished’. During extensive trips across the country he photographed the mythic sites of the American Dream, vast landscapes, Indian reservations, automobiles, motels and casinos. In contrast to his fellow photographers Gary Winogrand and Robert Adams, Narahara did not take a critical approach to the American scene. Ikko Narahara’s photography is primarily poetic with surreal elements, such as the shot “Two garbage cans, Indian Village, New Mexico” in which Narahara found the fantastic and absurd in small-town America.

Time coming to a standstill is no longer the subject here, but rather the disappearance of time within a mythic space: ‘As I drove across the land in Arizona and Utah and New Mexico, I began to have hallucinations that this was not the earth at all and that I had been thrown onto some other planet’ (Ikko Narahara).

In 1974, his final year in New York, Ikko Narahara took part in the first exhibition of ‘New Japanese Photography’ at the Museum of Modern Art. Since then his work has been shown in countless exhibitions, amongst others: ‘Japan: A Self-Portrait’, ICP, New York 1979; ‘Ikko Narahara. Photographies 1954-2000′, Maison Européene de la Photographie, Paris 2002 and ‘The History of Japanese Photography’, Houston 2004.
[Quotes: Galerie Priska Pasquer]

Ikko Narahara, selected publications:

• Where Time Has Stopped. Tokyo 1967
• Espana Grand Tarde. Japan 1969
• Japanesque. Tokyo 1970
• Celebration of Life. Tokyo 1972
• Where Time Has Vanished. Tokyo 1975
• Domains (Ôkoku). Tokyo 1978
• Venice – Nightscapes. Tokyo 1985
• Human Land. Tokyo 1987
• Tokyo, the ‘50s. Tokyo 1996
• Stateless Land – 1954. Tokyo 2004

It’s a little bit late, but for Tokyoites and current visitors to Tokyo not too late:  This weekend the first photography art fair is held in Japan: TOKYO PHOTO 2009. The fair is not that big – not to say quite small with 18 galleries participating, including four galleries from the USA. But some of the leading Japanese galleries have a booth like Tomio Koyama Gallery, Zeit-Photo Salon, MEM or Taro Nasu.

TOKYO PHOTO 2009 endeavors to be the foremost art fair of photography in Japan. The venue is located in the heart of international business and culture in Tokyo. To be held from September 4 to 6, Tokyo Photo 2009 will provide visitors with a unique opportunity to see and buy a wide range of photographic works from vintage prints to cutting-edge digitally enhanced images.

It would be great, if this first photography fair would be successful and would be repeated in the upcoming years. Until now we have two major photography fairs, Paris Photo in Europe and the AIPAD Photography Show New York in the USA. I think, a successful third fair in Asia would be an important tool to promote photography in Japan and nearby countries like China or Korea whose photography scenes are growing, but in which the market for photography still needs development. But of course, for this galleries from others Asian countries need to be included in future photography fairs…

THE PROVOKE ERA – Postwar Japanese Photography

I would love to see this show which opens on September 12 at the San Francisco Museum of Modern Art. The show is curated by Sandra S. Phillips, senior curator of photography at the SFMOMA. Sandra did already the two fabulous traveling exhibitions which introduced leading Japanese photographers to the West: Daido Moriyama in 1999 and Shomei Tomatsu in 2006.

The tumultuous period following defeat in World War II proved fertile ground for a generation of Japanese photographers who responded to societal upheaval by creating a new visual language dubbed “Are, Bure, Boke” — rough, blurred, and out of focus. After the war, Japan experienced a complete overhaul of its national identity, catapulting itself from empire to democracy. Named for the magazine Provoke, which sought to break the rules of traditional photography, this exhibition traces how Japanese photographers responded to their country’s shifting social and political atmosphere. Though American audiences may be less familiar with photographers like Masahisa Fukase, Eikoh Hosoe, Daido Moriyama, and Shomei Tomatsu, SFMOMA has been actively acquiring the work of these internationally recognized artists since the 1970s. The photographs, magazines, and artist books in the show all come from the SFMOMA collection, considered one of the preeminent holdings of Japanese photography in the United States.
[Quote: SFMOMA]

PHOTOGRAPHY NOW – China, Japan, Korea

A second exhibition at the SFMOMA which will be worth a visit (also Sept. 12 – Dec. 20, 2009)

Drawn entirely from SFMOMA’s collection, Photography Now showcases pictures by 30 contemporary artists working in China, Japan, and Korea. Documentary work from China depicts a shifting culture, in particular rapid urbanization and the effects of industrialization on the countryside. Inspired by the work of Robert Frank, Luo Dan journeyed from Shanghai to Tibet, making pictures that explore how dramatic economic changes are affecting people throughout China. In Japan, Rinko Kawauchi makes lyrical pictures that focus on the poetic details of daily life, and Yasumasa Morimura examines the nature of cultural identity through appropriation. Bohnchang Koo’s minimal photographs of ordinary architectural elements recall traditional Korean landscape paintings and reflect an emerging Korean identity that references that country’s complicated history.
[Quote: SFMOMA]

Some time ago I became director of Galerie Priska Pasquer, Cologne, were I am responsible for the program of Japanese photography. Already in the years before we had some solo shows with Japanese artists at the gallery: Iwao Yamawaki (Modern photography), Eikoh Hosoe (his first solo show in Germany), Daido Moriyama and Rinko Kawauchi. In the beginning we did not receive much response, but this changed very much in the recent years, because Western curators and private collectors alike became more and more aware of the history of Japanese photography and of the quality of the works coming from Japan.

In the last 12 month our gallery intensified the program in regard to Japanese photography with a series of shows: Rinko Kawauchi “Utatane” produced by our partner Antoine de Vilmorin in Paris; the group show ‘Review / Preview: Japanese photographs by Osamu Shiihara, Shomei Tomatsu, Daido Moriyama, Nobuyoshi Araki, Issei Suda, Asako Narahashi, Rinko Kawauchi and Mika Ninagawa; a solo show with Asako Narahashi’s great series “half awake and half asleep in the water”; the first solo show since many years in the West of Issei Suda’s in my opinion still undervalued photographs and lastly the overwhelmingly colorful works by Mika Ninagawa.

In general 2008 was truly a marvelous year for Japanese photography, with exhibitions like Heavy Light: Recent Photography and Video from Japan at the International Center of Photography (ICP)1, with artists like Hiroh Kikai, – a year which finally culminated in the fair Paris Paris 2008 with Japan as guest of honor. Never before so many Japanese photo galleries exhibited outside their home country and I presume that the number of works exhibited at the fair set a new record outside Japan as well.

We had an exciting time at the Paris Photo fair with the presentation of our Japanese program and during the fair I had the pleasure to participate in a conference on Japanese photography together with Etsurô Ishihara, founder of Zeit Foto Salon (Tokyo) and Anne Wilkes Tucker, curator for photography, Houston Museum of Fine Arts and author of  The History of Japanese Photography. The talk was moderated by Mariko Takeuchi, guest curator of Paris Photo, who by the way wrote a very good essay on “Photography in Japan” on occasion of the fair.

Besides doing shows and art fairs I published some articles on Japanese photography: On contemporary Japanese photography books (Experiment und Spiel. Anmerkungen zu japanischen Fotobüchern der Gegenwart) for a special edition on photo books by the German magazine Photonews (on request available at Schaden.com). I did an interview for Foam magazine (#17) with the Mariko Takeuchi on contemporary Japanese photography and last month I published an essay on Issei Suda in Photonews (issue Feb. 09, in German language). In addition to the conference at Paris Photo I did some other talks on Japanese photography, most interesting and funny was a talk for journalists with Nobuyoshi Araki at the opening of the Araki’s “Kinbaku” exhibition at Jablonka Galerie, Berlin.

Looking back at the last decade it is really amazing how differently Japanese photography is regarded today. I still remember well the situation when I went to Japan as research fellow on Modern Japanese photography. At the end of the 1990s only a fraction of today’s English sources on Japanese photography were available and the history of Japanese photography was almost completely unknown outside Japan. At that time I had to spent months in museum archives and libraries for to learn the basics about the Japanese photography of the 1920s and early 1930s. And as I wrote before this was the time when I came in contact with more recent Japanese photography. But during my lengthy stay in Japan and even 5-6 years later when I started this blog I did not anticipate at all that I would be involved in so many exhibitions on Japanese artists…

PS: I have just added a page with my writings and lectures on Japanese photography.