La photographie japonaise (1960-1970) - Museum der Moderne, Salzbourg

Bishin Jumonji
Untitled, 1971, Gelatin silver print on Baryt, © Bishin Jumonji 

Japanese Photography 1960-1970 from the Collection
Museum der Moderne, Salzbourg, jusqu'au 7 juillet 2018

Daidō Moriyama
Lips from a Poster, 1975, Gelatin silver print
on Baryt, © Daidō Moriyama 

Daidō Moriyama
Stray Dog, Misawa, 1971 from the series „Hunter“, Gelatin silver print on Baryt, © Daidō Moriyama 

Masaaki NakagawaSelfportait, Against Wall of My Home, undated, Gelatin silver print on Baryt, © Masaaki Nakagawa    

Masahisa Fukase

untitled, 1961−1970, from the series„Yoko“, Gelatin silver print on Baryt
© Masahisa Fukase, Courtesy Michael Hoppen Gallery London    

Nobuyoshi Araki
Yoko, my Love, undated Gelatin silver print on Baryt (Vintage print),
© Nobuyoshi Araki 

Shin Yanagisawa
untitled, 1972, from the series „In the Street, Toyama“, Gelatin silver print on Baryt,
© Estate of Shin Yanagisawa 

Shunji Ōkura
untitled, undated, Gelatin silver print on Baryt,
© Shunji Ōkura 

Takashi Hanabusa
untitled, undated,
Gelatin silver print on Baryt, © Takashi Hanabusa 

Yoshihiro Tatsuki
untitled, around 1970, Gelatin silver print on Baryt, © Yoshihiro Tatsuki 

Akihide Tamura
Yokohama, 1966, from the series „Base“, Gelatin silver print on Baryt,
© Akihide Tamura 

I-Photo
Japanese Photography 1960―1970 from the Collection 21 April―8 July 2018
Rupertinum [1] & [2]

Diverse and controversial, sometimes mysterious and often at odds with stereotypical ideas about Japan: there is much to discover in Japanese photography from the 1960s and 1970s. The Museum der Moderne Salzburg now presents its extensive and singular collection in a two-part exhibition series.

Salzburg, 17 April, 2018. For the first time in many years, the Museum der Moderne Salzburg puts its collection of ca. 600 original prints of Japanese photography from the 1960s and 1970s, which was purchased in the museum’s early years, on display. The series of two shows begins with I- Photo. Japanese Photography 1960–1970 from the Collection, which presents works that focus on the depiction of the human being and the changes in postwar Japanese society. “In this exhibition, my vigorous efforts to undertake a thorough review of our collections are bearing fruit, and so I am especially pleased that we are able to present our holdings of Japanese photography—a sizable ensemble of outstanding works—which have not been seen by the public in a long time. The show also spotlights a chapter in the history of the museum, which started collecting and conserving photography early on. Otto Breicha, the museum’s first director, personally traveled to Japan to meet many of the artists and select works for the projected exhibition,” Sabine Breitwieser, Director of the Museum der Moderne Salzburg, observes. Curator of Photography and Media Art Christiane Kuhlmann emphasizes that “this effort to champion Japanese culture and acquire Japanese art for the nascent collection constitutes a pioneering achievement.” “At the time, the primary media in which Japanese photographers presented their pictures were photobooks and magazines,” Kuhlmann notes, “so that vintage prints in the quality and form at our disposal are now hard or impossible to come by. Breicha’s initiative to build a center for contemporary photography in Austria was in part motivated by his experiences in Japan.”

In the early 1960s, Japan enters a period of fast-paced economic growth, becoming a leading technology manufacturer. A quarter-century after the end of the war and the nuclear bombs over Hiroshima and Nagasaki, Japan hosts Expo’70, the first world’s fair to be held in an Asian country. Tokyo grows into an enormous megalopolis; construction on an international airport that will connect it to the entire world begins in 1971. These developments mark the definite end of the island nation’s decades-long isolation from the West, bringing rapid changes that affect Japanese society as well. In the 1960s, millions of Japanese citizens rally to protest against educational and land reforms and the security treaty with the former enemy, the United States of America. The Japanese photography scene devises a new and dynamic visual language that reflects the country’s more expansive self- image. Distinctive features include the reflection on perception, the quest for novel ways to express the self, and a revised definition of the photographic medium. Hard black-and-white contrasts and lacerated abstract structures are characteristic of the aesthetic of these pictures.

The idea of the “I-photo” is an adaptation of the term “I-novel,” which designates a genre of first-person narrative fiction in Japanese literature. Conceiving of themselves as authors, the photographers understand the “I- photo” as the instrument of an exploration of reality. Japan’s photography scene is often highly controversial, with themes ranging from erotic depictions of bodies to political statements. Western observers are bound to find some pictures enigmatic and unsettling; they run counter to how Japan is generally imagined abroad. Yet it was Western art institutions that, in the 1970s, first included Japanese contemporary photography in their programming. Neue Fotografie aus Japan (New Photography from Japan) was the title of the first exhibition in Europe that Otto Breicha mounted in Graz in 1977; with I-Photo. Japanese Photography 1960–1970 from the Collection, the Museum der Moderne Salzburg brings back the exhibits from that historic show, though with different emphases. The presentation includes works by the photographers associated with the magazine Provoke (1968–1969) in which reality seems to be dismantled into its constituent elements, as well as by artists such as Nobuyoshi Araki and Masahisa Fukase who pursued their own highly individual creative agendas. Also on display are pictures by the members of the Kompora group, who sought to render a lucid and accurate portrait of everyday life in a clinical visual idiom.

With works by Nobuyoshi Araki, Masahisa Fukase, Takashi Hanabusa, Bishin Jumonji, Daidō Moriyama, Masaaki Nakagawa, Shunji Ōkura, Issei Suda, Akihide Tamura, Yoshihiro Tatsuki, Shin Yanagisawa

Director: Sabine Breitwieser

Curator: Christiane Kuhlmann, Curator of Photography and Media Art; with Andrea Lehner-Hagwood, Curatorial Assistant, Museum der Moderne Salzburg 

(Source : Communiqué de presse)

I-Photo
Japanese Photography 1960―1970 from the Collection
Museum der Moderne, Salzburg, 21 April―8 July 2018