Tag / Rinko Kawauchi

ISSEI SUDA | "Ginza, Chuo-ku, Tokyo", from the series "Human Memory" (Ningen no Kioku), 1984
by Ferdinand Brueggemann

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[1]At GALERIE PRISKA PASQUER we introduced Issei Suda’s work with two solo exhibitions in 2009 and 2013 and frequent presentations at fairs like Paris Photo, AIPAD New York and … Continue reading with his distinct but mysterious 1970s work as a kind of antithesis to the raw energy of the Provoke photography.  

[Part I of the interview]

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

Published in: “Issei Suda – The Work of a Lifetime – Photographs 1968 – 2006“, Only Photography, Berlin, 2011

 

RA: Is it correct to say that Suda succeeds – despite the strong influence of Japanese history and tradition on his perceptions and his choice of motifs – in creating a modern image of Japan, albeit one that is more classic than provocative, as in the case of the Provoke Group?

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References

References
↑1 At GALERIE PRISKA PASQUER we introduced Issei Suda’s work with two solo exhibitions in 2009 and 2013 and frequent presentations at fairs like Paris Photo, AIPAD New York and Art Basel. See here: https://priskapasquer.art/issei-suda/
Rinko Kawauchi, Untitled (Illuminance), 2009
by Ferdinand Brueggemann

Rinko Kawauchi “Illuminance” – Preview

“It’s not enough that [the photograph] is beautiful,” says Kawauchi. “If it doesn’t move my heart, it won’t move anyone else’s heart.”

Rinko Kawauchi will publish her new book “Illuminance” in May. It will be her first book being published outside Japan. Publisher is Aperture, New York; and the photobook will be available in Germany at Kehrer Verlag as well.


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Lieko Shiga: Chiako, from the series Canary, 2007 ©Lieko Shiga
by Ferdinand Brueggemann

Rinko Kawauchi, Lieko Shiga exhibitions, lectures at Photobook Festival Kassel, Germany

Next week Rinko Kawauchi will join the 3. International Photobook Festival in Kassel, Germany, where she will exhibit works from her series “Utatane” (2001).
I have already written about Rinko  here and here, therefore today just my favourite quote about “Utatane”:

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

Rinko Kawauchi, Utatane, 2001 ©Rinko Kawauchi

Rinko Kawauchi, Utatane, 2001 ©Rinko Kawauchi

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Eikoh Hosoe: Man and Woman #20. 1960 © Eikoh Hosoe
by Ferdinand Brueggemann

Must/should sees: Tokyo Photo fair/ The Provoke Era; Photography Now – China, Japan, Korea, at SFMOMA

TOKYO PHOTO 2009

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 these galleries from other 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 travelling exhibitions which introduced leading Japanese photographers to the West: Daido Moriyama in 1999 and Shomei Tomatsu in 2006.

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Kayo Ume: Ume-me. Little More, 2006
by Ferdinand Brueggemann

Focus on contemporary Japanese photography. Interview with Mariko Takeuchi, Part II

Part II of the interview with Mariko Takeuchi, the Guest Curator of Paris Photo, on Japanese photography for “Foam” magazine.

This is the second part of my interview with Mariko Takeuchi, last year’s guest curator the Guest Curator of the Paris Photo fair. The interview was published (without the images) in foam magazine #17, winter 2008.
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Part II    (Part I of the interview here)

Ferdinand Brueggemann:
Speaking of institutions and the galleries I would like to ask about Rinko Kawauchi. She is highly successful in the West, with many solo shows in Europe, in the USA and even in Latin America, but so far she has had only one solo exhibition in a Japanese museum, and that was in the countryside a long way out of Tokyo. Do you have an explanation for this gap?

Yutaka Takanashi: Untitled (Towards the city), 1968 ©Yutaka Takanashi

Mariko Takeuchi:
Perhaps it is not appropriate to judge an artist’s success only by his or her solo exhibitions in Japanese museums. Nevertheless, it is still not easy for Japanese photographers to be recognized and promoted by Japanese museums. For example, Yutaka Takanashi, who played a leading from around Provoke Era at the end of the 1960s will have his first museum-scale solo exhibition at the National Museum of Modern Art, Tokyo next January. As you know, even though there are several museums which collect and exhibit photographs, it is still not easy for a photographer to get a solo show in a museum. In spite of that, Rinko Kawauchi, for example, is amazingly successful in Japan. Her photobooks are very popular. The common way to success for photographers in Japan is to first publish a photo book.

Masafumi Sanai: Trouble in mind. Taisho, 2008

Talking about photobooks I would like to come back to John Szarkowski’s show in 1974. In the exhibition catalogue Shoji Yamagishi, the Japanese co-curator, made the very important observation that the photobook is the most important tool for Japanese photographers to communicate their work. He gave three reasons for this: the aesthetics of the book, the shortage of exhibition venues and a non-existing art market: “Japanese photographers have only a limited opportunity to present their original prints to the public and no opportunity to sell their pictures to public or private collections. […] Japanese photographers usually complete a project in book form…”

Is Yamagishi’s observation that the photobook is the most important medium for a photographer still valid?

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HIROSHI SUGIMOTO | Yellow Sea, Cheju, 1992
by Ferdinand Brueggemann

Focus on contemporary Japanese photography. Interview with Mariko Takeuchi, Part I

Part I of the interview with Mariko Takeuchi, the Guest Curator of Paris Photo, on Japanese photography for “Foam” magazine.

Last year’s Paris Photo fair with Japan as “Guest of Honour” was a huge success and on this occasion, the Dutch photography magazine “foam” contacted me to do an interview with Mariko Takeuchi, the Guest Curator of Paris Photo. The interview was published in foam magazine #17, winter 2008. I will publish the full interview in two parts. The images are a new addition for the blog [the interview was without images, except for some very nice portraits of Mariko :-)].

Part II here
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Part I (of II)

The 2008 edition of Paris Photo – one of the world’s most important fairs for still photography – took place in the Carrousel du Louvre in mid-November. This year Japan was Guest of Honour, an exceptional opportunity to present an overview of Japanese photography. Photography has been a major feature of Japanese culture since its introduction in 1848, attracting wide international attention in the 1990s and growing world interest ever since.

We asked Ferdinand Brueggemann, of Galerie Priska Pasquer in Cologne and passionate founder of the photo blog Japan-Photo.info to discuss the current state of Japanese photography with the Guest Curator of the show, Mariko Takeuchi.

Nobuyoshi Araki, Yoko, from 'Sentimental Journey', 1971 ©Nobuyoshi Araki

Nobuyoshi Araki, Yoko, from ‘Sentimental Journey’, 1971 ©Nobuyoshi Araki

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Eikoh Hosoe: Kamaitachi 8, 1965
by Ferdinand Brueggemann

Some recent activties

It’s over a year that I have written at Japan-Photo.info. But is it not because I lost interest in Japanese photography, on the contrary, I was so much involved in Japanese photography, that there wasn’t much time nor thoughts left for the blog, unfortunately.

Eikoh Hosoe: Kamaitachi 8, 1965

Some time ago I became director of Galerie Priska Pasquer, Cologne, where 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.

Osamu Shiihara: Untitled, end 1930s

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Rinko Kawauchi: Untitled (from the series: Uatatane), 2001 ©Rinko Kawauchi
by Ferdinand Brueggemann

Rinko Kawauchi: “Utatane” exhibition in Paris

Just a short post after a long hiatus, but I hope to post more in the upcoming months.

I know I wrote a few times about Rinko Kawauchi – with whom I had a very pleasant dinner in Tokyo a few weeks ago -, but since this is the first time that her famous series “Utatane” from 2001 is exhibited in a solo show outside Japan, I thought it is worth to mention it.

Rinko Kawauchi “Uatane”, at Art77, presented by Antoine de Vilmorin (until May 3).

Rinko Kawauchi: Untitled (from the series: Uatatane), 2001 ©Rinko Kawauchi

As far as I know there has not been much written about the series and book “Utatane” (in contrary to “Aila”)  and which has lead to Rinko’s national and international breakthrough. For “Utatane” (and for her book “Hanabi” [Fireworks]) the artist received the prestigious Kimura Ihei Award and the book was included in the “The Photobook: A History. Vol. 2” by Parr and Badger. Badger wrote a very interesting comment on Rinko and “Utatane” in the photobook anthology:

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.

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Mikiko Hara: untitled (from the series: Agnus Dei), 1998
by Ferdinand Brueggemann

Mikiko Hara

When I went to Japan in the second half of the 1990s to research Modern Japanese photography I was fortunate to meet the photographer Eiji Ina who introduced me to the contemporary photography scene in Tokyo. At that time it was nearly impossible for foreigners without a well-developed ability to read Japanese (especially names)As an example: when I visited the exhibition “MOBO, MOGA / Modern Boy, Modern Girl: Japanese Modern Art 1910-1935” in Kamakura (1998) all artists names were written in Kanji. Since I find Japanese names very difficult to read I asked other Japanese visitors for the names of some artists. This caused vivid discussions among the Japanese because the Kanji can have several different readings and sometimes the Japanese could not agree on the correct spelling of the names :-). to find out what was going on in Tokyo, since there were no English sources neither about exhibitions nor galleries available and Eiji Ina was so kind to take me to photography events like exhibition openings at galleries and museums or to the award ceremony of the Kimura Ihei Award. He also introduced me to the photographer Mikiko Hara, whom I met for the first time in 1998 at the opening of her exhibition “Agnus Dei” at Nikon Salon, Ginza/Tokyo.

A year later I saw Mikiko’s work again in the group exhibition about young Japanese women photographers “Private Room II” at Art Tower Mito. Curated by Kohtaro Iizawa this exhibition was a kind of assessment of the “onna no ko shashinka” (girly photographer) phenomenon which had already faded at that time. I felt that Mikiko’s work was misplaced in the girly photographer context since she was a few years older than these ‘girlies’ like Hiromix and Yurie Nagashima. Also, Hiromix’s and Nagashima’s main aim was to use the camera to talk about themselves and to deal with their own identity. Mikiko’s topic is different, she does not speak about herself:

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