Gallery hours: 11:00-19:00
Closed on Monday, Tuesday and 4.29-5.8
*Akio Nagasawa Gallery Ginza is temporary closed on Sunday, May 13th, 2018.
Akio Nagasawa Gallery is pleased to announces the opening of group exhibition of 8 artists.
Kenji ISHIGURO: from ≪A Heartless Room≫ series
Kou INOSE: from ≪Dogra Magra≫ series
Tenmei KANOH: from ≪Sanrizuka≫ series
Seiji KURATA: from ≪Flash Up≫ series
Issei SUDA: from ≪Fushikaden≫ series
Eikoh HOSOE: from ≪ Ordeal by Roses≫ series
Daido MORIYAMA: from ≪Tihts in Shimotakaido≫ series
Masao MOCHIZUKI: from ≪Television≫ series
Born in 1935 in Fukui Prefecture. Graduated from Kuwasawa Design School in 1959, and received a Best New Artist Award from the Photographic Society of Japan in the same year. Main exhibitions include “Fuko na wakamono-tachi,” Natural,” “Theater,” and “Fufu no shozo.” His works have been published in photo books such as Ken-san, HIROSHIMA NOW, and Natural, and in the photo-mystery book Sachiel-shi no passport. His broad-ranged activities further include taking charge of photography for Shohei Imamura’s film “A Man Vanishes,” and directing the movie “Muryoku no ou” (Toei Central Films) among others.
Born 1960 in Saitama. Started his career after studying photography under Seiryu Inoue while still enrolled at Osaka University of Arts. While having numerous devoted fans, he doesn’t present new works very often, as his extremely persistent approach is reflected in every single print that he finishes in up to one month of highly concentrated work. Charged with astonishing density and intensity, his works have been awarded a New Photographer Prize at the Higashikawa International Photo Festival in 1993. Photo books include deja-vu #11: Inose Kou (’93) and Inose Kou Visions of Japan (‘98). Solo exhibitions include the “Inose Kou Photo Exhibition” at Space Kobo & Tomo in 2001. He also participated in the group exhibition “Lonely Planet” at Art Tower Mito in 2004, and is presently one of those artists whose exhibitions are most anticipated.
Born 1942 in Aichi. Studied under Toichi Ogawa and Takashi Kijima after graduating from Nagoya City Industrial Arts High School, and later went independent as a freelance photographer focusing on advertising in particular. Taking mainly charge of centerfolds for Heibon Punch magazine, he produced a series of nude photographs, and established his own unique style of ”photography as a tool for ripping up and objecting against the times.” After traveling to the USA to work on a New York special for Heibon Punch in 1969, he stayed in NY to sneak in and photograph orgy parties with models and hipsters of all races, and instantly gained fame with the ”FUCK” series that precisely reflected the mood in New York at the time. After that he expanded his field of activity to appearances in TV and cinema. He published Monthly Tenmei in 1993, and the photo collection Kikuze in ’94, stirring up controversy with a string of radical nude photographs. He received several prizes including the Japan Advertising Artists Club Award, APA Award, Asahi Advertising Award, and Mainichi Advertising Award among others.
Born 1945 in Tokyo. Finished a photography workshop in 1976. In 1980, he won the Kimura Ihei Award for Street Photo Random Tokyo 1975-1979. His Flash Up series capturing Tokyo nightlife in the roaring ‘70s in pictures of biker gangs, yakuza, right-wing activists, cabarets and host clubs, made a big impact. He received the 42nd Annual Award from the Photographic Society of Japan for 80's Family in 1992, and in 1999, a Photography Award at the 30th Kodansha Publishing Culture Awards for Japan. Exhibitions include “Toshi no zokei (Urban Landscape)” (2008) and the “Toshi no kagami (Mirrors of Cities)” Nikon Salon special exhibition (2006).
Born 1940 in Tokyo. Graduated from the Tokyo College of Photography in 1962. Was hired as house photographer for Shuji Terayama’s experimental theater troupe Tenjo Sajiki in ’67, before commencing his work as a freelance photographer in ‘71. A Newcomer's Award from the Photographic Society of Japan for Fushi Kaden catapulted him into the limelight in 1976. He further received the Photographic Society of Japan’s Annual Award for the exhibition of the “Monogusa Syui” series in 1983, followed in ’85 by the 1st Domestic Photography Award at Higashikawa for “Nichijo no danpen”. In 1997, his book Human Memory received several awards including the Domon Ken Prize. In 2013, his large-scale retrospective exhibition “Nagi no hira – fragments of calm” was shown at the Tokyo Metropolitan Museum of Photography. His works capturing moments between reality and non-reality have lately earned a high reputation also outside Japan. Main photo collections include Fushi Kaden (’78), Waga Tokyo 100 (’79), Akai hana – scarlet bloom (2000), Fushi Kaden (definitive edition, 2012), Anonymous Men and Women (’13) and Rei (’15)
Born 1933 in Yamagata. Entered the Tokyo College of Photography (now Tokyo Polytechnic University) in 1952. Developed his own artistic concept while deepening exchange with Ei-Q, leader of the Democratic Artists Association dismissing the existing art system. The solo exhibition ”An American Girl in Tokyo” was held in 1956. In ’59, he established the self-managed photo agency VIVO with the likes of Kikuji Kawada, Shomei Tomatsu and Ikko Narahara, and became a driving force of Japanese photography with his personal creative work. In 1960, he won the Japan Photo Critics Association Newcomer's Award for Man and Woman, and continued to produce a number of outstanding works including his depiction of the aesthetic world of Yukio Mishima in Barakei (Ordeal by Roses), and Kamaitachi, containing photos of Butoh dancer Tatsumi Hijikata shot in rural Akita. In addition to his works as a photographer, Hosoe has been contributing to the popularization and development of photography, and received several awards including the Arts Encouragement Prize from the Ministry of Education, Science and Culture in 1970; the Medal with Purple Ribbon in 1998; and in 2008, the Mainichi Art Award. His most well-known books are Barakei (‘63), Kamaitachi (‘69), Eikoh Hosoe (’86) and Simon: A Private Landscape (’12).
Together with the likes of Issei Suda, Masao Mochizuki belongs to the fourth generation of students of the Tokyo College of Photography, a school that has produced numerous prominent photographers. Even though he hadn’t made particularly noteworthy achievements in the 1970s-80s, a time when Japanese photographers were celebrated around the world, his one-man exhibition “Television” in 1998 received a lot of attention also in the West, and a book with the same title that was published in 2001 finally catapulted him to international fame.
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.
TIGHTS IN SHIMOTAKAIDO
The second series following PANTOMIME of silk screen printing & hand binding.
Enjoy the world of dazzling world of mesh woven "tights", one of the motifs representing Moriyama.
In 1975, Issei Suda faced a big snake in Kanagawa. He decided to compose a beautiful and astonishing sequence of pictures which has been gathered in a gatefold design book.
Masao Mochizuki systematically documented a year of Japanese television between 1975-1976, creating an archive of random broadcasts that had been unceasingly consumed over the twelve month period. Using a modified camera, Mochizuki captured multiple images in a single photographic frame and the resulting photo-constructions contain 35-600 single images.
These elaborate montages mirror the erratic fusion of culture, drama and news that the medium transmits on an endless cycle and also the arbitrary way they are consumed by viewers. The details of the stories and events portrayed are lost in a mass of fleeting moments and the narratives are presented with no indication to their significance or gravity. Important international news events are depicted alongside frivolous entertainment, as the medium constantly dispatches its content with a detached rationality.
It seems appropriate that with Japan’s voracious appetite for modern technology, it is a Japanese photographer who has created a document that focuses on the very mechanism that has had such a pivotal role in our perception of the world around us. Television is an intelligently executed body of work and a wonderfully produced title.
Simmon: A Private Landscape
Eikoh Hose stages the artist of situation Simon Yotsuya in the urban sites of Tokyo, making its performance in front of the camera like a meditation about the question of genre and a metaphoric introspective journey.