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RECORD No.46

Daido MORIYAMA

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Even though it hadn’t been all that long since I last went on a prowl in Shinjuku, when I grabbed my camera and took to the streets of Kabukicho on that day, for some reason the scenery evoked in me a certain sense of nostalgia. Nothing was supposed to change in the neighborhood in less than half a year, but I just couldn’t deny that rather strange feeling. Anyway, I did go out there again with the desire to shoot photographs.
It all started sixty years ago, when I arrived in Tokyo with my Canon 4Sb camera, and took my first picture on the square in front of Shinjuku Station’s east exit. Since that day, I have been taking an endless chain of photograph of that place called “Shinjuku,” which became for myself an irreplaceable “hometown of photography,” and an inescapable ”metropolis of photography.” It is a very real and actual, wild and erotic, and at once also a quite charming kind of labyrinth. As described above, the pictures in this volume of Record were all shot in the Kabukicho/Shinjuku area.
When I was a young dude living in Osaka, above all else, “Tokyo” was for me all about Ginza, Yurakucho and Akasaka. That’s because those were the places that appeared in popular songs of the day, and the images those songs had engraved on my mind were not images of Shinjuku or Shibuya. However, shortly after I eventually moved to Tokyo, I got totally immersed in all things Kabukicho/Shinjuku without turning a hair. It was my own nature and temperament that made me a hopeless captive who involuntarily surrendered to the fascination of Shinjuku. That was the time when the songs I warbled away were naturally replaced, one by one, with the likes of “Shinjuku no onna” and “Shinjuku blues”...
After all, that place called Shinjuku is essentially my second hometown, and in my book, it is in fact the hometown of photography itself.

– Afterword by Daido Moriyama

Size
280 x 210 mm
Binding
Softcover
Pages
104
Publication Date
2021.3
Publisher
Akio Nagasawa Publishing

Daido MORIYAMA

森山大道

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.

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