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Now and Then, Japanese Photography and Art

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NOW AND THEN
Don’t Follow the Wind, Leiko Ikemura, Rinko Kawauchi, Ken Kitano, Tatsuo Miyajima, Daido Moriyama, Asako Narahashi, Mika Ninagawa, Lieko Shiga, Issei Suda, Yutaka Takanashi, Shomei Tomatsu and others

Dezember 5th, 2015 – January 23rd, 2016

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“NOW AND THEN” is the second exhibition in the new rooms of | PRISKA PASQUER. It is devoted to Japanese photography and art.

The exhibition brings together a number of different eras and media. Classical positions of Japanese post-war photography rub shoulders with the studious shots of Rinko Kawauchi; the bright pop aesthetic of Mika Ninagawa collides with the raw imagery of “Provoke” protagonists Daido Moriyama and Yutaka Takanashi; Leiko Ikemura’s contemporary painting is juxtaposed with a digital LED installation by Tatsuo Miyajima. On a thematic level, “NOW AND THEN” casts an eye on Japanese society. Past, present and future, changes and threats, possibilities and defeats are viewed from a wide variety of perspectives. As different as the artistic positions are, they all share a peculiarly Japanese approach to dealing with reality: the artists do not attempt to pigeon-hole what they find, but rather approach reality with a high degree of openness. This approach gives rise to a unique aesthetic. An aesthetic that toys with the visible and invisible, always referencing more than can be seen in the picture.

At the same time, all artists deal with very specific themes – always rupture, transition and change. These are discerned, shown and channelled into the image. However, they are not evaluated, nor is any attempt made to present reality in an explicable format or pattern.

The curtain on “NOW AND THEN” is raised with the website for the project titled “Don’t Follow the Wind”. Initiated by artist group Chim↑Pom and with ten international artists in radioactively contaminated houses near the Fukushima nuclear power plant, the exhibition on the Tepco company site is not visible in any real sense. The contaminated site is out of bounds for the general public until such time as it is decontaminated. It is not known when and even whether this will ever be the case. Accordingly, the website is also “invisible”. A blank white screen with a soundtrack, but nothing to be seen.

Since 2000, | PRISKA PASQUER has shown many exhibitions featuring the leading names in Japanese photography – both in its own gallery rooms and in cooperation with institutions in Germany and abroad (e.g. FOAM in Amsterdam, Fondation Henri-Cartier-Bresson in Paris, FOMU in Antwerp and Hundertwasser Haus in Vienna).

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„NOW AND THEN“ ist die zweite Ausstellung in den neuen Räumen von | PRISKA PASQUER. Sie widmet sich der japanischen Fotografie und Kunst.

Die Ausstellung vereint verschiedene Zeiten und Medien. Klassische Positionen der japanischen  Nachkriegsfotografie stehen neben den achtsam- konzentrierten Aufnahmen von Rinko Kawauchi, die knallbunte Pop-Ästhetik von Mika Ninagawa kollidiert mit der rauen Bildsprache der “Provoke”- Protagonisten Daido Moriyama und Yutaka Takanashi, aktuelle Malerei von Leiko Ikemura trifft auf eine digitale LED-Installation von Tatsuo Miyajima.

Auf inhaltlicher Ebene richtet „NOW AND THEN“ den Blick auf die japanische Gesellschaft. Vergangenheit, Gegenwart, Zukunft, Veränderungen und Bedrohungen, Möglichkeiten und Niederlagen werden aus unterschiedlichsten Perspektiven fokussiert. So verschieden die künstlerischen Positionen auch sind, eint sie doch ein spezifisch japanischer Umgang mit der Wirklichkeit: Die Künstler versuchen nicht, das Vorhandene, Vorgefundene in feste Kategorien zu fassen, sondern begegnen der Wirklichkeit mit einer großen Offenheit. Aus diesem Ansatz heraus entwickelt sich eine besondere Ästhetik. Es ist ein Spiel mit dem Sichtbaren und dem Unsichtbaren, das immer auf mehr verweist, als im Bild konkret sichtbar ist.

Dabei sprechen alle Künstler ganz konkrete Themen an. Immer geht es um die Brüche, Veränderungen und den Wandel. Diese werden wahrgenommen, gezeigt und ins Bild übertragen. Sie werden jedoch weder bewertet, noch wird versucht, die Wirklichkeit in ein erklärbares Format und Raster zu bringen.

Den Auftakt zu „NOW AND THEN“ macht die Website des Projekts „Don’t Follow the Wind”. Die von der Künstlergruppe Chim↑Pom initiierte und mit zehn internationalen Künstlern in radioaktiv verstrahlten Häusern in der Nähe des Atomkraftwerkes Fukushima realisierte Ausstellung auf dem Gelände der Firma Tepco ist faktisch nicht sichtbar. Das verstrahlte Gelände ist für die Öffentlichkeit gesperrt und wird erst nach seiner Dekontaminierung wieder betreten werden können. Es ist vollkommen ungewiss, wann und ob dies jemals der Fall sein wird. Entsprechend „unsichtbar“ ist auch die Website: Ein leerer weißer Screen, auf dem nur ein Sound-Track läuft, aber nichts zu sehen ist.

Seit dem Jahr 2000 hat | PRISKA PASQUER eine Vielzahl von Ausstellungen mit den bedeutendsten Vertretern der japanischen Fotografie gezeigt – sowohl in den eigenen Räumen als auch in Zusammenarbeit mit Institutionen im In- und
Ausland (z. B. FOAM, Amsterdam, Fondation Henri-Cartier-Bresson, Paris, FOMU, Antwerpen, Hundertwasser Haus, Wien).

Daido Moriyama / Mika Ninagawa, Kasseler Kunstverein

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Daido Moriyama / Mika Ninagawa
Kasseler Kunstverein

October 25th – November 6th 2013

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Ninagawas Arbeiten zeigen eine große Nähe zur Anime- und Mangakultur, die Teil der japanischen Populärkultur sind. Großformatig, bunt, zuweilen schrill, aber immer dicht am Motiv präsentiert sie mit ihrer Serie Noir die Licht- und Schattenseiten des Daseins. Schwarz ist bei ihr ein vielfarbiges Dunkel, das das Tempo drosselt, in dem die Bilder vorbei zu rauschen drohen.

Moriyamas Werk hingegen ist in der Tradition der Street Photography der 1970er Jahre verankert. Sein zentrales Anliegen ist die Beschreibung unmittelbarer Erfahrung, die er über die direkte Konfrontation mit dem Bildgegenstand erreicht. Intuitiv, flexibel und schnell nutzt er das Medium Fotografie, um die Facetten des urbanen Lebens möglichst authentisch zu zeigen. Reduziert auf das Schwarz und Weiß baut er mit harten Kontrasten auf den grafisch wirkungsvollen Charakter der Fotografie.
Gemeinsam ist beiden die direkte Nähe zum ausgewählten Motiv. Ninagawa und Moriyama verzichten auf eine ‚höfliche’ Distanz. Scheinbar ganz ohne Wertungen des Gezeigten liegt die Urteilsfindung beim Betrachter.

Eine Ausstellung des kasseler kunstvereins und des kasseler fotoforums
Kasseler Kunstverein | Fridericianum | Friedrichsplatz 18 | 34117 Kassel

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Ninagawas Arbeiten zeigen eine große Nähe zur Anime- und Mangakultur, die Teil der japanischen Populärkultur sind. Großformatig, bunt, zuweilen schrill, aber immer dicht am Motiv präsentiert sie mit ihrer Serie Noir die Licht- und Schattenseiten des Daseins. Schwarz ist bei ihr ein vielfarbiges Dunkel, das das Tempo drosselt, in dem die Bilder vorbei zu rauschen drohen.

Moriyamas Werk hingegen ist in der Tradition der Street Photography der 1970er Jahre verankert. Sein zentrales Anliegen ist die Beschreibung unmittelbarer Erfahrung, die er über die direkte Konfrontation mit dem Bildgegenstand erreicht. Intuitiv, flexibel und schnell nutzt er das Medium Fotografie, um die Facetten des urbanen Lebens möglichst authentisch zu zeigen. Reduziert auf das Schwarz und Weiß baut er mit harten Kontrasten auf den grafisch wirkungsvollen Charakter der Fotografie.
Gemeinsam ist beiden die direkte Nähe zum ausgewählten Motiv. Ninagawa und Moriyama verzichten auf eine ‚höfliche’ Distanz. Scheinbar ganz ohne Wertungen des Gezeigten liegt die Urteilsfindung beim Betrachter.

Eine Ausstellung des kasseler kunstvereins und des kasseler fotoforums
Kasseler Kunstverein | Fridericianum | Friedrichsplatz 18 | 34117 Kassel

Araki, Moriyama, Takanashi, Tomatsu, JAPAN 4

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JAPAN 4
Araki, Moriyama, Takanashi, Tomatsu

Jablonka Pasquer Projects

September 10th – November 11th, 2011

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Galerie Priska Pasquer and Jablonka Galerie are delighted to be embarking on a new partnership for the 2011 autumn season. At Lindenstr. 19, Jablonka Pasquer Projects is presenting the exhibition:
Japan 4
Nobuyoshi Araki, Daido Moriyama, Yutaka Takanashi, Shomei Tomatsu
The exhibition centrally features four Japanese photographers whose work has significantly influenced the medium both within Japan and internationally.
Shomei Tomatsu (*1930) is the most important Japanese photographer of the latter half of the twentieth century. His photography series on the deep-reaching changes that have taken hold in Japanese society since the 1950s and his brilliant and powerful imagery make him the pre-eminent figure in Japanese art. The exhibition features a selection of the artist’s work from his central series, including ‘Bottle Melted and Deformed by Atomic Bomb Heat, Radiation and Fire, Nagasaki’ from the ‘Nagasaki 11:02’ series, as well as his ‘Eros’ work from the ‘OO! Shinjuku’ cover photography on the 1968 generation in Tokyo.
Nobuyoshi Araki, Daido Moriyama and Yutaka Takanashi are representatives of the ‘Provoke’ generation of artists that forged new frontiers and decisively broadened the scope of photography as a medium.
Yutaka Takanashi (*1935) and Daido Moriyama (*1938), co-founder and member of the ‘Provoke’ group (1968) respectively, radically broke from conventions in photography with their raw expressive style of ‘are, bore, boke’ (rough, blurred and out of focus). Like Shomei Tomatsu, they are driven by the search for identity in contemporary society, a society caught on the cusp between centuries-old traditions and modernity.
The search for the elemental in society and in individual existence leads Daido Moriyama to the grey fringes of Japanese life – to strip clubs, to the back rooms of cheap kabuki theatres and to bars catering to American soldiers, but first and foremost to the street and throughout rural Japan.
Yutaka Takanashi’s central theme is also change in Japan. In dark images, he describes a country that in vast areas has become a no man’s land between city and country devoid of any place for human beings except as consumers under the sway of American popular culture.
The revolutionary imagery of the ‘Provoke’ group continues to influence street photography in Japan and in the West to this day.
Nobuyoshi Araki (*1940), a contemporary of Takanashi and Moriyama, took a different path in both subject matter and imagery, one founded on an examination of Eros and Thanatos, the taboo depiction of sexuality in the mirror of ephemerality and death. His art flouts both societal and aesthetic rules, showing human sexuality unfiltered. Araki’s pictures range from subtle erotic studies to seemingly pornographic works while renouncing customary evaluations of of ‘good’ or ‘bad’ pictures.
In his work, he also unites two separate areas, such as personal and commission work, studio shots and street photography, private pictures and public. Nobuyoshi Araki’s work is in many respects marked by a radical transcendence of borders and unbridled excessiveness.

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Galerie Priska Pasquer and Jablonka Galerie are delighted to be embarking on a new partnership for the 2011 autumn season. At Lindenstr. 19, Jablonka Pasquer Projects is presenting the exhibition:
Japan 4
Nobuyoshi Araki, Daido Moriyama, Yutaka Takanashi, Shomei Tomatsu
The exhibition centrally features four Japanese photographers whose work has significantly influenced the medium both within Japan and internationally.
Shomei Tomatsu (*1930) is the most important Japanese photographer of the latter half of the twentieth century. His photography series on the deep-reaching changes that have taken hold in Japanese society since the 1950s and his brilliant and powerful imagery make him the pre-eminent figure in Japanese art. The exhibition features a selection of the artist’s work from his central series, including ‘Bottle Melted and Deformed by Atomic Bomb Heat, Radiation and Fire, Nagasaki’ from the ‘Nagasaki 11:02’ series, as well as his ‘Eros’ work from the ‘OO! Shinjuku’ cover photography on the 1968 generation in Tokyo.
Nobuyoshi Araki, Daido Moriyama and Yutaka Takanashi are representatives of the ‘Provoke’ generation of artists that forged new frontiers and decisively broadened the scope of photography as a medium.
Yutaka Takanashi (*1935) and Daido Moriyama (*1938), co-founder and member of the ‘Provoke’ group (1968) respectively, radically broke from conventions in photography with their raw expressive style of ‘are, bore, boke’ (rough, blurred and out of focus). Like Shomei Tomatsu, they are driven by the search for identity in contemporary society, a society caught on the cusp between centuries-old traditions and modernity.
The search for the elemental in society and in individual existence leads Daido Moriyama to the grey fringes of Japanese life – to strip clubs, to the back rooms of cheap kabuki theatres and to bars catering to American soldiers, but first and foremost to the street and throughout rural Japan.
Yutaka Takanashi’s central theme is also change in Japan. In dark images, he describes a country that in vast areas has become a no man’s land between city and country devoid of any place for human beings except as consumers under the sway of American popular culture.
The revolutionary imagery of the ‘Provoke’ group continues to influence street photography in Japan and in the West to this day.
Nobuyoshi Araki (*1940), a contemporary of Takanashi and Moriyama, took a different path in both subject matter and imagery, one founded on an examination of Eros and Thanatos, the taboo depiction of sexuality in the mirror of ephemerality and death. His art flouts both societal and aesthetic rules, showing human sexuality unfiltered. Araki’s pictures range from subtle erotic studies to seemingly pornographic works while renouncing customary evaluations of of ‘good’ or ‘bad’ pictures.
In his work, he also unites two separate areas, such as personal and commission work, studio shots and street photography, private pictures and public. Nobuyoshi Araki’s work is in many respects marked by a radical transcendence of borders and unbridled excessiveness.

Erwin Blumenfeld, Alexander Rodchenko, Frantisek Drtikol, August Sander, Annelise Kretschmer, Wols, Madame Yevonde and others, WOMEN

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WOMEN
Erwin Blumenfeld, Alexander Rodchenko, Frantisek Drtikol, August Sander, Annelise Kretschmer, Wols, Madame Yevonde and others

June 27th – September 19th, 2009

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Erwin Blumenfeld, Alexander Rodchenko, Frantisek Drtikol, August Sander, Annelise Kretschmer, Wols, Madame Yevonde, Heinz Hajek-Halke, Elfriede Stegemeyer, Weegee, Aaron Siskind, Josef Sudek, Chargesheimer, Ed van der Elsken, Gerard P. Fieret, Marcel Broodthaers, Louis Faurer, Helmut Newton, Daido Moriyama, Michael Ruetz, Rudolf Bonvie, Jen Davis, Oliver Sieber

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Erwin Blumenfeld, Alexander Rodchenko, Frantisek Drtikol, August Sander, Annelise Kretschmer, Wols, Madame Yevonde, Heinz Hajek-Halke, Elfriede Stegemeyer, Weegee, Aaron Siskind, Josef Sudek, Chargesheimer, Ed van der Elsken, Gerard P. Fieret, Marcel Broodthaers, Louis Faurer, Helmut Newton, Daido Moriyama, Michael Ruetz, Rudolf Bonvie, Jen Davis, Oliver Sieber

Osamu Shiihara, Shomei Tomatsu, Daido Moriyama, Nobuyoshi Araki, Issei Suda, Asako Narahashi, Rinko Kawauchi, Mika Ninagawa, REVIEW / PREVIEW – JAPANESE PHOTOGRAPHS

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REVIEW / PREVIEW – JAPANESE PHOTOGRAPHS

Osamu Shiihara, Shomei Tomatsu, Daido Moriyama, Nobuyoshi Araki, Issei Suda, Asako Narahashi, Rinko Kawauchi, Mika Ninagawa

June 24th – September 6th, 2008

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Press Release

With the group exhibition ‘Review / Preview’, we have the pleasure of giving an initial overview of the programme of Japanese photography at Galerie Priska Pasquer.
Since its earliest days, Galerie Priska Pasquer has regularly played host to individual exhibitions on Japanese photography – including the works of Daido Moriyama, Eikoh Hosoe and Rinko Kawauchi – with further exhibitions in a similar vein currently being prepared for the coming season.
The works that make up the exhibition are drawn from a total of seven decades. The earliest photograph in the exhibition is an experimental oeuvre by avant-garde photographer Osamu Shiihara.

From the 1960s there are two key photographs by Shomei Tomatsu, whose series on the current condition and traditions of Japanese society established him as the most influential photographer since the war.

The 1970s are represented by Issei Suda and his outstanding ‘Fushi Kaden’ series. An exhibition dedicated exclusively to Issei Suda’s work will be held at Galerie Priska Pasquer next November, the first event of its kind to be held in the West.
The exhibition will also include works by Daido Moriyama from the 1980s and 1990s – as the representative of the ‘Provoke Era’, he has had a key influence on Japanese photography since the late 1960s.

Also from the 1980s are a number of works by Nobuyoshi Araki, who holds a singular position in modern photography, primarily owing to his obsessive preoccupation with Eros and Thanatos, juxtaposed with descriptions of his own life.

Contemporary photography is represented in this exhibition by three women photographers. The first of these is Rinko Kawauchi, whose poetic and sensitive works have twice been exhibited by Galerie Priska Pasquer (in Cologne and recently in Paris): namely the series of colour photographs ‘Utatane’ and ‘Aila’.
The second is Mika Ninagawa, whose goldfish series ‘Liquid Dreams’ walks a delicate line between art and pop culture.
And the third is Asako Narahashi, whose work reached a wider audience for the very first time with her series ‘half awake and half asleep in the water’, published last autumn. Following ‘Review / Preview – Japanese Photography’, Galerie Priska Pasquer will present the series ‘half awake and half asleep in the water’ in an individual exhibition (Vernissage 12 Sept.: attended by Asako Narahashi).

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Press Release

With the group exhibition ‘Review / Preview’, we have the pleasure of giving an initial overview of the programme of Japanese photography at Galerie Priska Pasquer.
Since its earliest days, Galerie Priska Pasquer has regularly played host to individual exhibitions on Japanese photography – including the works of Daido Moriyama, Eikoh Hosoe and Rinko Kawauchi – with further exhibitions in a similar vein currently being prepared for the coming season.
The works that make up the exhibition are drawn from a total of seven decades. The earliest photograph in the exhibition is an experimental oeuvre by avant-garde photographer Osamu Shiihara.

From the 1960s there are two key photographs by Shomei Tomatsu, whose series on the current condition and traditions of Japanese society established him as the most influential photographer since the war.

The 1970s are represented by Issei Suda and his outstanding ‘Fushi Kaden’ series. An exhibition dedicated exclusively to Issei Suda’s work will be held at Galerie Priska Pasquer next November, the first event of its kind to be held in the West.
The exhibition will also include works by Daido Moriyama from the 1980s and 1990s – as the representative of the ‘Provoke Era’, he has had a key influence on Japanese photography since the late 1960s.

Also from the 1980s are a number of works by Nobuyoshi Araki, who holds a singular position in modern photography, primarily owing to his obsessive preoccupation with Eros and Thanatos, juxtaposed with descriptions of his own life.

Contemporary photography is represented in this exhibition by three women photographers. The first of these is Rinko Kawauchi, whose poetic and sensitive works have twice been exhibited by Galerie Priska Pasquer (in Cologne and recently in Paris): namely the series of colour photographs ‘Utatane’ and ‘Aila’.
The second is Mika Ninagawa, whose goldfish series ‘Liquid Dreams’ walks a delicate line between art and pop culture.
And the third is Asako Narahashi, whose work reached a wider audience for the very first time with her series ‘half awake and half asleep in the water’, published last autumn. Following ‘Review / Preview – Japanese Photography’, Galerie Priska Pasquer will present the series ‘half awake and half asleep in the water’ in an individual exhibition (Vernissage 12 Sept.: attended by Asako Narahashi).

DAIDO MORIYAMA, KYOKU – EROTICA

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KYOKU – EROTICA
Daido Moriyama

September 15th – December 14th, 2007

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Einzelausstellung des japanischen Künstlers Daido Moriyama. Vorgestellt werden Fotografien aus der Serie „Kyoku / Erotica“, die 2007 als Publikation erschienen ist.

Die Serie „Kyoku / Erotica“ versammelt Aufnahmen aus Städten wie Tokyo, New York, Shanghai, Bangkok, Köln, Buenos Aires und Sydney.
Daido Moriyama setzt damit eine Fotografie fort, mit der er 60er Jahren in Straßen von Tokyo begonnen hat:
„Beginnend mit Yokosuka, meiner ersten Arbeit, habe ich den öffentlichen Raum in der Stadt und in den Straßen zu meinem Territorium gemacht. Die unendliche Anzahl von Städten, die Menschen in ihnen, die Schaufenster, die Schilder – sie beinhalten alles und fügen sich zu einem perfekten, harmonischen Ganzen zusammen, welches sich zu einem Strudel formt und die Straßen überflutet.“ (Daido Moriyama)

Der Titel der Ausstellung „Kyoku / Erotica“ bezeichnet Daido Moriyamas ambivalente Wahrnehmung der Welt. „Kyoku“ kann mit ‚Gefahrenzone‘ beziehungsweise ‚Danger Zone‘ übersetzt werden. Für Daido Moriyama ist die Welt zugleich Gefahrenzone und erotisches Spannungsfeld, eine Mischung aus Gefährlichem und Anziehendem.

Im Zusammenspiel der Bilder dieser Serie entsteht ein vielgestaltiges Kaleidoskop der Welt aus der Perspektive eines Flaneurs oder eines streunenden Hundes, des „Stray Dog“, den Moriyama in seinen früheren Arbeiten als sein Alter Ego gewählt hat. Aus diesem Blickwinkel gibt es keine besonderen oder herausragenden Orte, sondern alle Plätze und Szenen erhalten die gleiche Wertigkeit. Diese Wahrnehmung unterstreicht Daido Moriyama durch den rauen, kontrastreichen und grobkörnigen Stil seiner Fotografien; Fotografien, die alltägliche Szenarien ambivalent – gefährlich und erotisch – erscheinen lassen.

Daido Moriyama, 1938 in Osaka geboren, ist einer der wichtigsten japanischen Künstler nach 1945. Sein Werk ist zentral für die Etablierung der japanischen Fotografie als eine der kreativsten Richtungen in der Kunstgeschichte. Moriyama leistete besonders in der „Provoke Ära“ Ende der 1960er, Anfang der 1970er Jahre einen entscheidenden Beitrag zur Entwicklung der Fotografie und hat bis heute großen Einfluss auf die jüngeren japanischen Fotografen.

Daido Moriyama hat zahlreiche Fotobücher publiziert. Publikationen wie „Farewell Photography“ und „Japan: A Phototheater“ zählen heute zu den Hauptwerken der Fotobuchgeschichte.

Das Fotobuch „Kyoko / Erotica“ ist 2007 in Japan erschienen und bei Schaden.com erhältlich.

Weitere Veranstaltungshinweise zu Daido Moriyama Ausstellungen

Ausstellungen
Im Anschluss an die Preview in der Galerie Priska Pasquer Eröffnung der Ausstellung:
„Daido Moriyama – Retrospektive ab 1965“
Photograpische Sammlung / SK Stiftung Kultur
Im Mediapark 7, 50670 Köln
4. September, 19 Uhr
Ausstellung: 5. September – 9. Dezember 2007

Ausstellung unter Beteiligung von Daido Moriyama:
„Ein Blick auf die Gegenwart. Japanische Photographie seit 1970“
Japanisches Kulturinstitut
Universitätsstr. 98, 50674 Köln
Eröffnung: Freitag, 7. September, 19 Uhr
Mit einer Einführung von Ferdinand Brüggemann
Ausstellung: 7. September – 16. November 2007

Vorträge
Prof. Minoru Shimizu, Kunsthistoriker, Kyoto:
„Zerrissen zwischen Unersetzlichem und Wiederholbarem. Daido Moriyama Photographie“
6.September, 19 Uhr
Photograpische Sammlung / SK Stiftung Kultur

Ferdinand Brüggemann, Fotohistoriker, Köln
„Daido Moriyama und die Provoke Ära“
23. Oktober, 19 Uhr
Photograpische Sammlung / SK Stiftung Kultur

Filmprogramm
Zwischen dem 6. September und dem 29. Oktober 2007 werden Highlights der japanischen Filmgeschichte gezeigt, die Einblick in Leben und Werk von Daido Moriyama und die historischen Umstände seines Schaffens geben.
Japanisches Kulturinstitut
Universitätsstr. 98
50674 Köln

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“Kyoku / Erotica” is Galerie Priska Pasquer’s second exhibition to be devoted exclusively to the work of Japanese artist Daido Moriyama. The exhibition will feature photographs from the series entitled “Kyoku / Erotica”, which was published in book form in 2007.

The “Kyoku / Erotica” series brings together photographs from cities such as Tokyo, New York, Shanghai, Bangkok, Cologne, Buenos Aires and Sydney. For Daido Moriyama, this is the continuation of a photographic career that began in the 1960s on the streets of Tokyo:
“Starting with Yokosuka, my earliest work, I have consistently made the external environment – in the cities, on the streets – my territory. The infinite number of cities, the people in them, the shop windows, the signs – all of this comes together in a perfect, harmonious whole that forms a whirlpool and floods the streets”. (Daido Moriyama)

The title of the exhibition – “Kyoku / Erotica” – reflects Daido Moriyama’s ambivalent perception of the world. The word “Kyoku” can be translated as “danger zone”. For Daido Moriyama, the world is both a danger zone and a minefield of sexual tension, a mixture of danger and allure.

The images in this series interact to form a veritable kaleidoscope of the world as seen by a flâneur or a stray dog – the latter having been chosen by Moriyama as his alter ego in his earlier work. From this perspective, there are no special or outstanding places – all scenes are of equal importance. This perception is emphasized by Daido Moriyama through his raw, grainy, high-contrast style; these are photographs that show everyday scenarios in an ambivalent light – dangerous and erotic.

Daido Moriyama, born in Osaka in 1938, is one of the most important Japanese artists since 1945. His work is instrumental in establishing Japanese photography as one of the most creative schools in the history of art. Particularly in the “Provoke Era” in the late 1960s and early 1970s, Moriyama made a key contribution to the development of photography and continues to have a great influence on young Japanese photographers to this day.

Daido Moriyama has published many books of photographs. Publications such as “Farewell Photography” and “Japan: A Photo Theater”, are among the most important works of their kind.

The “Kyoko / Erotica” series was published as a photo book in Japan in 2007 and is available at Schaden.com.

Further information about events related to Daido Moriyama

Exhibitions
Following the preview at Galerie Priska Pasquer opening of the exhibition:
“Daido Moriyama – Retrospective since 1965”
Photographic collection / SK Stiftung Kultur
Im Mediapark 7, 50670 Cologne, Germany
September 4, 7 p.m.
Exhibition: September 5 – December 9,

“A Look at the Present. Japanese Photography since 1970”
Japanisches Kultur Institut (Nihon Bunka Kaikan)
Universitätsstr. 98, 50674 Cologne, Germany
Opening: Friday, September 7, 7:00 p.m.
With an introduction by Ferdinand Brüggemann
Exhibition: September 7 – November 16, 2007

Presentations
Prof. Minoru Shimizu, art historian, Kyoto:
“Torn between the Irrecoverable and the Repeatable. The Photography of Daido Moriyama”
September 6, 7 p.m.
Photographic collection / SK Stiftung Kultur

Ferdinand Brueggemann, photography historian, Cologne
“Daido Moriyama and the Provoke Era”
October 23, 7 p.m.
Photographic collection / SK Stiftung Kultur

Film program
Between September 6 and October 29, 2007, highlights of Japanese film history will be
shown, giving an insight into the life and work of Daido Moriyama and the historic
surroundings of his works.
Japanisches Kultur Institut (Nihon Bunka Kaikan)
Universitätsstr. 98, 50674 Cologne, Germany

DAIDO MORIYAMA, Colour prints and vintages

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COLOUR PRINTS AND VINTAGES

Daido Moriyama

October 28th 2004 – January 28th, 2005

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Daido Moriyama is one of the most important Japanese photographers to emerge after 1945. Both within and outside of Japan, his work has played a central role in establishing Japanese photography as one of the most creative movements in the history of photography. In the “Provoke Era” in particular – a period of intense photographic activity at the end of the 1960s and in the early 1970s in Japan – Moriyama made a crucial contribution to the development of photography and continues to be a considerable influence for younger Japanese photographers to this day.As was the case with many artists of his generation, Moriyama found himself searching for the identity of Japanese society. Indeed, a society moving within an area of conflict between centuries-old traditions and the mighty influence of the West, and the USA in particular. The question as to the basis for society and his own existence took him and his camera to the grey areas and fringes of Japanese life: into strip clubs, the backrooms of cheap Kabuki theatres and to the bars frequented by American soldiers; but most of all, his work took him to the streets and on journeys through rural Japan. In doing so, his approach is not analytically or conceptually motivated. In the search for marginal existences and fractures in society, he unremittingly coasts along Japan’s streets and takes photographs without even using the viewfinder, thus producing shots of intense emotional expression. He often takes photographs on the move, and in doing so adopts the position of a “stray dog”, which is also the title of his most well known photographic work. His images are deliberately coarse-grained, out of focus, canted, cropped and characterised by high contrasts.Daido Moriyama developed his raw and expressive style with portraits, street scenes, nudes and the objects of everyday culture both under the influence of the Japanese avant-garde, such as photographer Shomei Tomatsu and the theatre director Shûji Terayama, as well as American art and in particular the photographic works of William Klein and the graphic art of Andy Warhol.

Even though Moriyama’s photography depicts a Japanese society that was rapidly changing as American influence took hold, Moriyama has never viewed himself as a political photographer – in contrast to his colleagues of the “Povoke Era”. In fact, his photographs are always directly related to his own life.

Daido Moriyama was born in Osaka in 1938, and initially studied design before undertaking studies in photography in Kobe. In 1961 he moved to Tokyo, to join the VIVO group (Tomatsu, Hosoe, etc.), yet the group disbanded at the same time and Moriyama became an assistant to Eikoh Hosoe. In 1964 he met Takuma Nakahira, with whom he began an intensive artistic friendship. In 1968 his first book was published, entitled “Japan: A Photo Theater”. In 1969, his work was published in the 2nd issue of “Provoke” magazine. Regarding the magazine, Nobuyoshi Araki commented: “It was like an explosion within Japanese photography.” In 1971, Moriyama travelled to New York with the designer Tadanoori Yoko. Between 1972–74 he published several books, including “Farewell Photography”, in which he explores the limits of the medium.
He participated in the “New Japanese Photography” exhibition held at the MOMA in New York. Between 1975–78, Moriyama became an instructor in photography and he opened the CAMP gallery in Tokyo. Between 1979–81, drugs and depression hindered his production of photographic work. In 1982 Moriyama returned to photography, and some new series were born. Several books were published, including “The Time of a Dog” and the written work “Memories of a Dog”. In 1987, the Room 801 gallery was opened. Since the 1980s, Daido Moriyama has been taking part in exhibitions about Japanese photography, both in Japan and abroad. The 1990s saw the publication of the series “Daido Hysteric”, and he began to experiment with Polaroids.

Besides his black and white photographs Galerie Priska Pasquer is glad to exhibit a group of colour photographs by Daido Moriyama for the first time ever.

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Daido Moriyama is one of the most important Japanese photographers to emerge after 1945. Both within and outside of Japan, his work has played a central role in establishing Japanese photography as one of the most creative movements in the history of photography. In the “Provoke Era” in particular – a period of intense photographic activity at the end of the 1960s and in the early 1970s in Japan – Moriyama made a crucial contribution to the development of photography and continues to be a considerable influence for younger Japanese photographers to this day.As was the case with many artists of his generation, Moriyama found himself searching for the identity of Japanese society. Indeed, a society moving within an area of conflict between centuries-old traditions and the mighty influence of the West, and the USA in particular. The question as to the basis for society and his own existence took him and his camera to the grey areas and fringes of Japanese life: into strip clubs, the backrooms of cheap Kabuki theatres and to the bars frequented by American soldiers; but most of all, his work took him to the streets and on journeys through rural Japan. In doing so, his approach is not analytically or conceptually motivated. In the search for marginal existences and fractures in society, he unremittingly coasts along Japan’s streets and takes photographs without even using the viewfinder, thus producing shots of intense emotional expression. He often takes photographs on the move, and in doing so adopts the position of a “stray dog”, which is also the title of his most well known photographic work. His images are deliberately coarse-grained, out of focus, canted, cropped and characterised by high contrasts.Daido Moriyama developed his raw and expressive style with portraits, street scenes, nudes and the objects of everyday culture both under the influence of the Japanese avant-garde, such as photographer Shomei Tomatsu and the theatre director Shûji Terayama, as well as American art and in particular the photographic works of William Klein and the graphic art of Andy Warhol.

Even though Moriyama’s photography depicts a Japanese society that was rapidly changing as American influence took hold, Moriyama has never viewed himself as a political photographer – in contrast to his colleagues of the “Povoke Era”. In fact, his photographs are always directly related to his own life.

Daido Moriyama was born in Osaka in 1938, and initially studied design before undertaking studies in photography in Kobe. In 1961 he moved to Tokyo, to join the VIVO group (Tomatsu, Hosoe, etc.), yet the group disbanded at the same time and Moriyama became an assistant to Eikoh Hosoe. In 1964 he met Takuma Nakahira, with whom he began an intensive artistic friendship. In 1968 his first book was published, entitled “Japan: A Photo Theater”. In 1969, his work was published in the 2nd issue of “Provoke” magazine. Regarding the magazine, Nobuyoshi Araki commented: “It was like an explosion within Japanese photography.” In 1971, Moriyama travelled to New York with the designer Tadanoori Yoko. Between 1972–74 he published several books, including “Farewell Photography”, in which he explores the limits of the medium.
He participated in the “New Japanese Photography” exhibition held at the MOMA in New York. Between 1975–78, Moriyama became an instructor in photography and he opened the CAMP gallery in Tokyo. Between 1979–81, drugs and depression hindered his production of photographic work. In 1982 Moriyama returned to photography, and some new series were born. Several books were published, including “The Time of a Dog” and the written work “Memories of a Dog”. In 1987, the Room 801 gallery was opened. Since the 1980s, Daido Moriyama has been taking part in exhibitions about Japanese photography, both in Japan and abroad. The 1990s saw the publication of the series “Daido Hysteric”, and he began to experiment with Polaroids.

Besides his black and white photographs Galerie Priska Pasquer is glad to exhibit a group of colour photographs by Daido Moriyama for the first time ever.