- Exposition
Deux univers en un à la Maison Européenne de la Photographie
La Maison Européenne de la Photographie présente deux univers bien différents.
© Shoji Ueda Office. Collection MEP, Paris. Don de la société Dai Nippon Printing Co., Ltd.
© Eikoh Hosoe. Collection MEP, Paris. Don de la société Dai Nippon Printing Co., Ltd
L'exposition Mémoire et Lumière rassemble 540 photographies japonaises s'étendant de 1950 à 2000 sur l'ensemble des quatre niveaux de la MEP. Dédiée à la mémoire de Keiichi Tahara (1951-2017) et de Hiroshi Yamazaki (1946-2017), cette « collection dans la collection » révèle la place essentielle de la photographie japonaise. Ces photographes, rassemblés par l'engagement dans... - Exposition
Exhibition : « The Solitude of Ravens » by Masahisa Fukase
Masahisa Fukase’s Karasu (Ravens) was made between 1976 and 1982 in the wake of his wife Yōko Wanibe divorcing him. The visual narrative of the series revolves around the anthropomorphic form of the raven. Dead and alive the birds punctuate the work; lone birds reduced to shadow puppetry against the snow or dislocated flocks that mimic the grain of the photographs themselves.
© Masahisa Fukase archive, Kanazawa,1977
Although interjected with other subjects such as blizzard streaked streets or the fleshy form of a nude masseuse, it is the recurrent presence of the ravens that sets
the ominous and cinematic tone of the work. Akira Hasegawa in her poetic afterword to the book summarises Ravens with the following: “In the case of Masahisa Fukase, the subject of his gaze became the raven. For hi... - Exposition
FOR A LANGUAGE TO COME Japanese Photobooks
Carolina Nitsch is pleased to present FOR A LANGUAGE TO COME - Provoking Change in Japanese Postwar Photography at Carolina Nitsch Project Room in Chelsea. This exhibition of photographers and their seminal books in postwar Japan surveys a highpoint in the history of photography books. On display are vintage editions of some 35 rare Japanese photobooks from the late 1950s to the early 1990s and complete page by page media presentations of selected titles.
In no other country have photographers created so many publications and numerous Japanese photographers continue to prefer books as the ultimate presentation for their projects. Many photographers featured in this show were at the forefront of a postwar cultural movement in Japan. At its core was the iconoclastic magazine Provoke (1968-69), which had a vital influenc...
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La Maison Européenne de la Photographie présente deux univers bien différents.
© Shoji Ueda Office. Collection MEP, Paris. Don de la société Dai Nippon Printing Co., Ltd.
© Eikoh Hosoe. Collection MEP, Paris. Don de la société Dai Nippon Printing Co., Ltd
L'exposition Mémoire et Lumière rassemble 540 photographies japonaises s'étendant de 1950 à 2000 sur l'ensemble des quatre niveaux de la MEP. Dédiée à la mémoire de Keiichi Tahara (1951-2017) et de Hiroshi Yamazaki (1946-2017), cette « collection dans la collection » révèle la place essentielle de la photographie japonaise. Ces photographes, rassemblés par l'engagement dans...
Masahisa Fukase’s Karasu (Ravens) was made between 1976 and 1982 in the wake of his wife Yōko Wanibe divorcing him. The visual narrative of the series revolves around the anthropomorphic form of the raven. Dead and alive the birds punctuate the work; lone birds reduced to shadow puppetry against the snow or dislocated flocks that mimic the grain of the photographs themselves.
© Masahisa Fukase archive, Kanazawa,1977
Although interjected with other subjects such as blizzard streaked streets or the fleshy form of a nude masseuse, it is the recurrent presence of the ravens that sets
the ominous and cinematic tone of the work. Akira Hasegawa in her poetic afterword to the book summarises Ravens with the following: “In the case of Masahisa Fukase, the subject of his gaze became the raven. For hi...
Carolina Nitsch is pleased to present FOR A LANGUAGE TO COME - Provoking Change in Japanese Postwar Photography at Carolina Nitsch Project Room in Chelsea. This exhibition of photographers and their seminal books in postwar Japan surveys a highpoint in the history of photography books. On display are vintage editions of some 35 rare Japanese photobooks from the late 1950s to the early 1990s and complete page by page media presentations of selected titles.
In no other country have photographers created so many publications and numerous Japanese photographers continue to prefer books as the ultimate presentation for their projects. Many photographers featured in this show were at the forefront of a postwar cultural movement in Japan. At its core was the iconoclastic magazine Provoke (1968-69), which had a vital influenc...