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 with his distinct but mysterious 1970s work as a kind of anti-thesis to the raw energy of the Provoke photography.
Part I of the interview | Part II 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
ISSEI SUDA | “Miura Peninsula, Kanagawa Prefecture”, from the series “Fushi Kaden”, 1975
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This is part two of of my essay “Yutaka Takanashi – Towards the City” for the “Yutaka Takanashi” exhibition catalogue, accompanying the show at the Fondation Henri Cartier-Bresson.
[Part 1, part 3 and part 4]
The “Provoke” era
The economic upturn of the 1960s, which established Japan as the third-largest economic power on Earth, took its toll on Japanese society. Particularly in the major cities, the boom led to the decline of traditional structures which in turn left a feeling of uprooting and perspectivelessness among the younger generation.
Especially in the universities, a fundamental opposition developed against the new political, economic and cultural structures that had emerged in the post-war period. In 1968, the resistance manifested itself once again in student protests against the pending extension of the “ANPO” security pact and the Vietnam War.
The sense of alienation and rootlessness felt by the young generation found artistic expression above all in photography from the end of the 1960s.
This phase of the upheaval was documented by Shomei Tomatsu in his photo book Oo! Shinjuku. A resident of the Shinjuku district, he zoned in on the public and private lives of the young generation and the student protests which began in Shinjuku.
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