GALLERY HOURS | Tue.–Sat. 11:00–13:00, 14:00–19:00
CLOSED | Sun., Mon., National Holidays
Akio Nagasawa is glad to announce the exhibition by Daido Moriyama at Akio Nagasawa Gallery Aoyama.
While searching for 'a minimum media for immediately printing photos taken in everyday life and showing them by hand to those around himself,' Daido Moriyama launched a self-published photograph magazine RECORD in1972. Although the publication of this magazine was temporarily suspended in the following year when No.5 issue was published, it was revived in 2006 and is continuously published even today.
This exhibition will display his latest works from RECORD No.42 and during the exhibition there will be the chance to purchase all past issues (No.9~) of RECORD signed by the artist.
Born 1938 in Osaka. After working as an assistant for photographers Takeji Iwamiya and Eikoh Hosoe, he went independent in 1964. He has been publishing his works in photography magazines among others, and received a New Artist Award from the Japan Photo Critics Association for Japan: A Photo Theater in 1967. Between 1968 and ’70 he was involved in the photo fanzine Provoke, and his style of grainy, high-contrast images that came to be referred to as “are, bure, boke” (grainy, blurry, out-of-focus) made an impact on the realm of photography. Solo shows at New York’s Metropolitan Museum of Art and the Fondation Cartier pour l'Art Contemporain in Paris solidified Moriyama’s worldwide reputation, and in 2012, he became the first Japanese to be awarded in the category of Lifetime Achievement at the 28th Annual Infinity Awards hosted by the International Center of Photography (ICP) in New York. The “William Klein + Daido Moriyama” exhibition together with William Klein at London’s Tate Modern in 2012-13 was a showdown of two immensely popular photographers that took the world by storm.
The camera that I used for shooting my first ever photograph was a Bakelite toy camera called “Start.” The guy at the model toy shop in he shopping street near Okamachi station (in Toyonaka) had talked me into buying it, and I had in fact vaguely sensed some kind of mystery in that little black box, so without any particular interest in photographing, I was just taken by the charm of that thing. It was a camera though, so I took it home with me just in case, and with no particular ideas in mind I began to shoot the flowers in our garden, our dog, the big, shiny silver water tanks in the fields next to our house, the white paths on the ground along those tanks, and my siblings sitting on the veranda, after which my interest in taking pictures vaporized, and that was about it. I was a 6th-grader in elementary school at the time.
Anyway, all the various photographs I’ve talked about above, they are all gone, vanished altogether, disappeared to who knows where. There are neither negatives nor prints left of them, so it’s all only in my memory. I have no words to express what a useless guy I am. However, when I think about it this way, it appears to me that most of the images that I have captured in the countless photographs I’ve shot up to this day may in fact be objects of reminiscence and obituary about vanished sights and sceneries. In other words, my basic inclination, the essence of my work – these things haven’t changed a bit!
– Afterword (Excerpt) by Daido Moriyama