奇异的迷恋

东松照明 / Shomei Tomatsu 

b. 1930, d. 2012Japan

 

东松照明是日本战后重要摄影师,被称为“战后写真之巨人”。他是先锋摄影团体VIVO (1957-1961) 成员,代表作《Skin  of  the   Nation》。作为这一组织的核心人物,他严格地界定了“主观纪实”的表达范畴,也就是在纯粹的描述和个人化风格的语言之间找到合适的突破口,包括在技术技巧上,选择戏剧化的角度,小心翼翼地植入象征化的符号结构。

As an important postwar photographer in Japan, Shomei Tomatsu is known as the "giant of postwar portraits" and is a member of the pioneer photography group VIVO (1957-1961) with his magnum opus Skin of the Nation. As the core figure of the organization, he strictly defined the expressive scope of "subjectivity documentary", i.e. to seek out a suitable breakthrough between pure description and personal style of language, including the selection of dramatization angle in technical skills to carefully implant the symbolic structure.

 

东松照明的创作在1968年采访冲绳时达到顶峰。当时的冲绳并不在日本的掌控之下,直到1972年才 被日本政府所收复。东松照明的拍摄断断续续,包括《占领区》,《嚼树胶》以及《巧克力》等系列,一直回旋在美国文化和传统的日本风俗之间,包括两者间产生的摩擦力。尤其是这些作品中所呈现的美国士兵对一代日本人的影响力,构成了对日本社会不可置疑的深刻转变,用东松照明的话 说:“可口可乐的全球化,尤其是在日本”。在寻找“没有被美国化的日本”的过程中,他以独特的纪实空间揭示了战后一代日本人的内心痛苦,在日本摄影界产生重要影响。

Shomei Tomatsu 's creation reached the peak in the 1968 interview in Okinawa,, which was not under Japanese control until 1972, when it was recaptured by the Japanese government. Shomei Tomatsu 's intermittent shooting, including Occupied Areas, Chewing Gum and Chocolate, has been swirling between American culture and traditional Japanese customs, including the friction between them. Especially the influence of American soldiers on a generation of Japanese in these works constitutes an undoubtedly profound transformation of Japanese society. In the words of Shomei Tomatsu, "Coca-Cola's globalization, is especially prominent in Japan". In the process of searching for "Japan without being Americanized", he reveals the inner suffering of the post-war generation of Japanese with his unique documentary space, which has an important impact on Japanese photography.

 

从战后的长崎到东京,他以敏感的视角一路拍过去,调动了生活的全部积累,正如后来东松所言:“某个人的生命整体在按下快门的瞬间凝聚起来。如果他活了50年,那么凝聚的就是这50年的时间。”

From Nagasaki to Tokyo in the postwar years, he photographed the past from a sensitive perspective and mobilized all the accumulation of life. As Shomei Tomatsu said later, "The whole life of a person condenses at the moment of pressing the shutter. If he lived for 50 years, it would be those 50 years that would agglomerate.

 

 

细江英公 / Eikoh Hosoe

b. 1933, Japan

 

细江英公,日本现代摄影教父,国宝级艺术家。12岁到东京,14岁开始以相机记录社会底层生活。   18岁获国内大奖。1950-60年代持续创作系列《男人与女人》、《蔷薇刑》等,曾与东松照明等组建摄影团体VIVO 。1970年,到世界各地旅行,受欧洲中世纪风格影响。1981年任日本写真家协会副会长。为美国国家艺术俱乐部终身成就金奖的首位日本人,获英国皇家摄影学会勋章及多个国际荣誉。

Eikoh Hosoe, the godfather of modern photography in Japan, is a national treasure-class artist. From the arrival in Tokyo at 12, he began to record the life of the bottom of society with the camera at the age of 14. At the age of 18, he won the national prize. From 1950 to 1960s, he continued to create series "Men and Women" ,"Barakei" etc. He had established a photographic group VIVO with Shomei Tomatsu. In 1970, he traveled around the world  and has been influenced by the medieval European style. In 1981, he was elected as the vice president of JPS. He is the first Japanese to win the Lifetime Achievement Gold Award of American National Arts Club and has won the medal of British Royal Photographic Society and many international honors.

 

《蔷薇刑》是日本出版商“讲谈社”的一项拍摄任务。1961年9月细江被指派去拍摄三岛由纪夫,为其第一本评论集的封套和卷首配图。他先是给三岛由纪夫拍摄了一些肖像,随后在复杂的、精心安排的摄影布景中逐渐深入,通过三岛由纪夫的身体与肉欲去探讨生与死的主题。1970年11月25日,三岛由纪夫切腹自杀,这部作品声名大噪。

" Barakei " is a shooting task of the Japanese publisher "Kodansha". In September 1961, Xijiang Eikoh Hosoe assigned to shoot Yukio Mitshima and illustrate the photo for the envelope and preface of his first collection of reviews. He firstly shot some portraits of Yukio Mitshima, and then gradually went deeper into exploring the theme of life and death through Yukio Mitshima's body and flesh desire in the complex and carefully arranged photographic settings. On November 25th  1970, Yukio Mitshima committed suicide by abdominal incision and his creation rocketed to the stratosphere. 

 

细江英公说:“如何用摄影表现自己的记忆,是一个有趣的问题 摄影无法拍摄过去,但它可以拍

摄事物在时间中的变化,这种事物中存在的变化可以引起一种回忆 再现一种历史氛围。”

"How to use photography to express one's memory an interesting question. Photography can't shoot the past, but it can shoot the changes of things in time. The changes in things can cause a kind of memory and reappear a kind of historical atmosphere," said Eikoh Hosoe.

 

作为一个生活在东方的摄影大师,其作品中所体现出的超现实主义意味,也含藏了许多细江自己与生活和解的方式:生活与虚幻、鲜活与死亡,二元并不对立,就像生活本身,他们并存于细江英公的作品里。

As a master photographer living in the East, the surrealist meanings reflected in his works also contain many ways of reconciliation between himself and life: life and illusion, life and death, being dual but not  antagonistic to each other, just like life itself,  which coexist in his works.

 

 

 

深濑昌久 / Masahisa Fukase

b. 1934 d. 2012, Japan

 

深瀬昌久是日本战后摄影中非常重要的代表人物,活跃于上世纪六七十年代的日本摄影界。Masahisa Fukase is a very important representative figure in Japanese post-war photography, active in the Japanese photography world in the 1960s and 1970s.

 

七十年代深濑与细江英公、森山大道和荒木经惟一同设立WORKSHOP  摄影学校,1986  年与东松照明、细江英公和森山大道等四人联展的《Black Sun: The Eyes of Four》在英国展出,并从此确定了他们四人在国际上的知名度与地位。

In the 1970s, Masahisa Fukase set up WORKSHOP Photography School together with Eikoh Hosoe, Daido Moriyama and Nobuyoshi Araki. In 1986, Black Sun: The Eyes of Four, which was jointly exhibited with Shomei Tomatsu Eikoh Hosoe, and Daido Moriyama in the UK, has, from then on, determined their international popularity and status.

 

深濑昌久曾多次参与展览并出版过多本重要的摄影集,其代表作包括《游戏》、《洋子》、《鸦》、《父亲的记忆》、《家族》等。2010年他的摄影作品集《鸦》被英国《British Journal of Photography》杂志评为近25 年来最好的摄影集,并最终战胜美国女摄影家南·戈丁的代表作,排名第一,被称为“灰暗的杰作”。事实上,《鸦》系列作品是深濑昌久摄影风格最集中的体现,也为摄影史留下了一批弥足珍贵的影像。

Masahisa Fukase has repeatedly participated in exhibitions and published many important photographic collections, including Game, Yoko, Raven, "Father's Memory", "Family" , etc.. In 2010, his collection of photographs, Raven, was awarded the best collection of photographs in the past 25 years by British Journal of Photography, and eventually defeated the representative works of American female photographer Nan Goldin, which ranked first and was called "Grey Masterpiece". In fact, the Raven series is the most concentrated reflection of the photographic style of Masahisa Fukase and also leaves a lot of precious images for the photographic history.

 

评论家饭泽耕太郎在《私写真论》中提到,深濑的摄影有种“奇妙的魔力”:“观其摄影作品,绝非一 件令人舒服、神经松弛的事。相反,若是一味“深读”的话,就会感到脚下有一池深不见底的黯黑泥沼,人好像被一个劲儿地往里拽。一种让人的视线无法离去的不可思议的魅力,一幅一幅的摄影——那些带着粘液的影像,似乎要侵入人的逐渐丧失的记忆,直让你发狂。”

In his Private Photography, the critic Iizawa Kotaro mentioned that Masahisa Fukase 's photography has a "magic power": "It is not a comfortable and relaxing thing to look at his photographs. On the contrary, if you go deeper and deeper, you will feel a dark pool of bottomless mud beneath your feet, into which people seemed to be dragged all the time. An incredible charm that keeps people's eyes from moving, one photograph after another, and those images with mucus, seem to invade people's gradually lost memories and drive you crazy.

 

 

 

森⼭大道 / Daido Moriyama

b. 1938, Japan

 

森山大道与石内都、荒木经惟等人同时崛起于20世纪六七十年代,曾是日本传奇性先锋摄影团体

PROVOKE(挑衅)的旗手人物。

Daido Moriyama, together with Ishiuchi Miyako and Nobuyoshi Araki

, rose in the 1960s and 1970s and uses to be the flag-bearer of the legendary pioneer photography group PROVOKE in Japan.

 

森山大道曾任自由平面设计师,因受美国摄影师威廉·克莱因 (William Klein)作品《纽约》启发而投

身摄影。1959年跟随岩宫武二任助手学习摄影,1961年转到东京发展,原欲参加摄影师组成的团体VIVO,但VIVO刚巧解散,森山转而担任摄影师细江英公的助理。1966年,于东京涩谷与中平卓马共同开设事务所。1968年参与摄影团体PROVOKE (挑衅),同年出版摄影集《日本剧场写真帖》.

Daido Moriyama was a freelance graphic designer inspired by the works New York of American photographer William Klein. In 1959, he studied photography with Iwamiya Takeji  as an assistant. In 1961, he moved to Tokyo for personal development and wanted to join the group VIVO composed of photographers. But VIVO just dissolved. Daido Moriyama turned to be the assistant of photographer Eikoh Hosoe. In 1966, a joint office was established with Nakahira Takuma in Shibuya, Tokyo. In 1968, he joined the photography group PROVOKE and in the same year, he published the photo album "Photographs of Japanese Theatre".

 

森山大道已是获得世界性承认的日本重要摄影家,作为细江英公弟子,他以其风格凌厉的黑白摄影 著称于世,擅长以特别角度,粗糙、模糊、高反差及粗微粒的黑白照片,加上暗房后期制作技巧,表达强烈的效果。其作品主要以轻便相机Ricoh    GR21拍摄。曾于其自传作品《犬的记忆》中自称流浪狗,自我形容为“像一条狗,在路上像排泄似地在街头各处拍摄照片”。 

Daido Moriyama has been recognized worldwide as an important Japanese photographer. As a disciple of Eikoh Hosoe, he is well noted for his fierce black-and-white photography, especially good at using black-and-white photographs with special angles, rough, blurred, high contrast and coarse particles, plus darkroom post-production techniques to express strong effects. His works were mainly shot with a portable camera Ricoh GR21. In his autobiography the Dog's Memory, he claimed to be a stray dog, and describing himself as " a dog, taking pictures like excreting everywhere on the street ".

 

荒木经惟 / Nobuyoshi Araki

b. 1940, Japan

 

1959年荒木进入国立千叶大学主修摄影与电影。1963年,从工学系摄影专业毕业,进入日本著名的电通广告公司任广告摄影师。1964年获得日本摄影界的殊荣——第一届“太阳奖”。 Nobuyoshi Araki

entered National Chiba University in 1959, majoring in photography and film. In 1963, he graduated from the Photography Specialty of Department of Engineering and became an advertising photographer in Dentsu-the famous Japanese advertising company. In 1964, he won the first "Sun Award" in Japanese photography.

 

荒木经惟出道以来出版了超过350本出版物,且数量每年仍在增长,因此他被认为是日本乃至全世界最多产的艺术家之一,也是日本最具国际影响的摄影家之一。在他的作品中有不少是性爱题材的,甚至有些被称为色情图片。荒木经惟最受欢迎的摄影作品出版物有《多愁之旅》、《东京幸运洞》(Tokyo Lucky Hole)和《Shino》。Nobuyoshi Araki has published more than 350 publications since his debut, and the number is still growing every year. Therefore, he is regarded as one of the most prolific artists in Japan and even in the world, and one of the most influential photographers in Japan. Many of his works are about sex, and some are even called pornographic pictures. The most popular photographic publications of Nobuyoshi Araki are "A Journey Full of Sadness ", "Tokyo Lucky Hole" and "Shino".

 

用荒木自己的话来说,“我把女人们的身体绑住,因为我知道我不能绑住她们的灵魂。能被绑住的,只有现实中的身体。”In Nobuyoshi Araki 's own words, "I tie women's bodies because I know I can't tie their souls. The only thing that can be tied up is the body in reality.

 

 

须⽥一政 / Issei Suda

b. 1940, Japan

 

须田一政1962年毕业于东京摄影专科学院。1971年开始自由摄影师生涯。1976年摄影集《风姿花传》获得日本摄影协会新人奖。1985年摄影展「日常的断片」获得第一届东川奖。1997年摄影集「人间的记忆」获得第16届土门拳奖。另有摄影集《关东风谭》和《民谣山河》。Issei Suda graduated from Tokyo College of Photography in 1962. He began his career as a freelance photographer in 1971. In 1976, the photographic album " Gestures Of Flowers" helped him win the Newcomer Award of JPS. In 1985, "Daily Fragments" won the first Higashikawa Award. In 1997, the photographic album "Terrestrial Memory" won the 16th Domon Ken Award. There are also photo albums "Kanto Folk and "Folk Songs of Mountains and Rivers".

 

须田一政是日本摄影界的财富。自20世纪末第一次亮相以来,他以独特视角捕获而来的民族志摄影风格持续影响着世界范围的日系摄影,时至今日依然如此。然而这样的定义并不能完全揭示他摄影的真正意图,任何一种单一的表达方式都不能有效地描述他的摄影作品,因为构成他的风格是如此多样,如果用语言来描述的话,会是怪异、情色、戏剧或者怀旧,不过这些词语可能会让你在尝试理解他的摄影作品的时候产生混淆。尽管他的摄影作品给我们带来强劲、深刻和坚实的印象,然而他拍摄方式却是自由、即兴和随意的,须田一政坦言,“我不希望我的摄影作品被理论和批判所包围。” Issei Suda is the treasure of Japanese photography. Since his first appearance at the end of the 20th century, his ethnographic photography style captured from a unique perspective has continued to influence Japanese photography worldwide, and it continues to do so up to this day. However, such a definition does not fully reveal the true intentions of his photography. No single way of expression can effectively describe his photographic works, because the style that constitutes him is so diverse that it would be weird, erotic, dramatic or reminiscent if described in words, but these words may make you confused when you try to understand his photographs. Although his photographs give us a strong, profound and solid impression, his shooting methods are free, improvised and random. Issei Suda straightly said, "I don't want my photographs to be besieged by theory and criticism."

 

 

沢渡朔 / Hajime Sawatari

b. 1940,Japan

 

沢渡朔以时尚和广告摄影以及拍摄女孩和女人的裸体而闻名。他在日本大学艺术学院获得了摄影专业的学位。在日本大学艺术学院本科学习期间开始在摄影杂志上发表作品,同时在日本设计中心工作,自1966年起他成为一名自由摄影师。Hajime Sawatari is renowned for fashion and advertising photography as well as for photographing the naked girls and women. He received a degree in photography from the Academy of Art, Nihon University. During his undergraduate study at the he Academy of Art of Nihon University, he began publishing works in photographic magazines and working at the Japanese Design Center. He has been a freelance photographer since 1966.

除了活跃于时尚摄影师之外,他还在众多杂志上展示他的作品,包括“Camera Everyday”。 他创作了许多杰作,其中包括“爱丽丝梦游仙境”的主题“少女爱丽丝”(1973)和拍摄意大利时装模特“纳迪亚”(1973),他始终活跃在第一线。

In addition to being active among fashion photographers, he also has displayed his works in many magazines, including "Camera Everyday". He has created many masterpieces, including the theme "Girl Alice" of "Alice's Adventures in Wonderland"  (1973) and the shooting of Italian fashion model "Nadia" (1973), and he has always been active in the front line.

 

 

鬼海弘雄 / Hiroh Kikai

b. 1945, Japan

 

高中毕业后,鬼海在山形县做了一年职员工作,之后考入日本政治大学哲学科,受他人影响,立志成为摄影记者。大学毕业后,他做过卡车司机、职员和金枪鱼渔船船员等各种各样的工作。他以自由摄影记者身份,以「印度」「东京的景象」「浅草的肖像」三个主题持续拍摄。

After graduating from high school, Hiroh Kikai worked as a clerk for one year in Yamagata Prefecture. After that, he was admitted to the Philosophy Department of Japan Political University. Influenced by others, Hiroh Kikai aspired to become a photographer. After graduating from college, he worked as a truck driver, clerk, tuna clipper crew, etc. As a freelance photographer, he continued to shoot on three themes: India, Tokyo Scene and The Portrait of Asakusa.

 

哲学对于鬼海弘雄的摄影创作之路产生了至关重要的影响。他大学时期的恩师福田贞子先生说:“人生最奢侈的事情是将自己内心所思考的事物表达出来。” 鬼海弘雄选择了摄影作为了自己表达思想的方式。Philosophy has exerted a vital influence on the way of Hiroh Kikai 's photography creation. "The most luxurious thing in life is to express what you think in your heart," said Mr. Fukuda Sadako, his mentor in college. Hiroh Kikai chose photography as his way of expressing his thoughts.

 

 

濑户正人 / Seto Masahito

b. 1953,Japan

 

濑户正人出生于泰国,后随父母移民到日本。凭借拍摄地铁和电车上女性肖像的系列作品《Silent Mode》获得1996年木村伊兵卫写真奖,后多次担任该奖评委。他擅长用相机直面被拍摄者,捕捉私密与公开之间的罅隙,展现让人坐立不安的尴尬感。在越来越多人面对镜头已更倾向于表演而非躲闪的当下,他的作品显得相当古典,也相当敏锐。Seto Masahito was born in Thailand and immigrated to Japan with his parents. Silent Mode, a series of female portraits on subway and trolley bus, won the 1996 Kimura Ihei Photography Award, and later served as the judge of the Award many times. He is good at using the camera to face the subject directly, capturing the gap between the privacy and openness, and showing the restless awkwardness. At a time when more and more people are more inclined to perform rather than dodge the camera, his works turn to be quite classical and sensitive.

 

濑户的作品形态呈现了复杂的多样性。如果说《曼谷 & 河内》系列是他对自我成长经历的追根溯源,之后获得木村伊兵卫赏的《Slient Mode》、《Living room,  Tokyo》等肖像系列,则更多地体现了他对于外部世界的探索和观照。

Seto Masahito 's works show complex diversity. If "Bangkok-Hanoi" series is the source of his experience of self-growth, then the "Slient Mode" and "Living Room, Tokyo" portrait series, which won Kimura Ihei Award, more reflect his exploration and observation of the outside world.

 

“寻找仍未见过的下一张照片”——这是濑户正人给自己创办的M PLACE画廊设定的标语,而这或也可以看作是他对于自己的创作要求。”

“Search for the next photo that hasn't been seen yet" - this is the slogan set by Seto Masahito for his own MPLACE Gallery, which may also be regarded as his creative requirement for his own.

 

 

尾仲浩二 / Onaka Koji

b. 1960, Japan

 

尾仲浩二出生于福冈,16岁时便在家里做了自己的暗房,并开始放印照片。他1982年毕业于东京写真专校 (现东京视觉艺术学员),22岁他成为一名自由摄影师,并加盟了位于东京新宿由森山大道创立的CAMP摄影画廊,1983年CAMP为其举办了第一次个展。上世纪70年代末到80年代初,许多摄影师聚集在新宿,他们有各自的团体和画廊,1988年尾仲浩二在东京开设了画廊KAIDO。

Born in Fukuoka, Onaka Koji made his own darkroom at the age of 16 and began to print pictures. He graduated from Tokyo Photography School in 1982 (now Tokyo Visual Arts college). At the age of 22, he became a freelance photographer and also joined the CAMP Photography Gallery founded by Daido Moriyama in Shinjuku, Tokyo. In 1983, CAMP held his first solo exhibition for Onaka Koji. From the late 1970s to the early 1980s, many photographers gathered in Shinjuku, where they had their own groups and galleries. In late 1988, Onaka Koji opened the KAIDO Gallery in Tokyo.

 

尾仲浩二的Slow  Boat  (悠航)  系列作品,拍摄于1983年至1999年间,是他在日本各地旅行时的记录,这段时间也是尾仲浩二艺术生涯中至关重要的转折时期,在Slow  Boat之后,他的创作重心转向为彩色摄影。对于这段摄影经历,尾仲浩二有着自己诗意的理解,他希望自己的生活和摄影,像一条小船一样悠然的航行,无拘无束,自然而然。

Onaka Koji 's series of works- Show Boat, filmed from 1983 to 1999, is a record of his travels in various parts of Japan. This period is also a crucial turning point in his artistic career. After Show Boat, his creative focus shifted to color photography. For this photographic experience, Onaka Koji has his own poetic understanding. He hopes that his life and photography will sail as leisurely as a boat, free and unconstraint, natural and involuntary.

 

尾仲浩二善于使用廉价的胶片,乍一看,这些作品似乎都只是些无聊的场景,充满随机性又缺乏大气远见,然而细细品味后,你便发现这其中别有趣味。作为摄影行者,他的作品不是故作肃穆庄严的产物,没有惊人的场面,也不是决定性瞬间,不传达神秘,也不是过目难忘,没有治愈的效果,也不会排斥观众,他们不难理解,也不给予明确答案,更不是一个故事或者一部纪录片。

Onaka Koji is good at using cheap films. At first glance, these works seem to be just boring scenes, full of randomness and lack of greatness and foresight. However, after careful savoring, you will find that they are interesting. As a photographer, his works is not a product of solemnity, without amazing scenes, decisive moments, conveying mystery, retentive memory, and healing effect, but it will neither  reject the audience, be difficult to understand, and give clear answers, nor is it a story or a documentary. 

 

 

Photographer HAL

b. 1971, Japan

 

大学毕业后,HAL加入了东京一家广告制作公司,这使他能够获得更广泛的摄影技巧。他说:这是我技术能力的熔炉,我工作的重点很快就对准了人。

 HAL joined an advertising company in Tokyo after graduating from college, which enabled him to acquire more extensive photographic skills. He mentioned: "this is the furnace for my technical ability, and the focal point of my work soon shifts to human”.

 

浴缸,情侣,爱情和挑战是HAL拍摄的主题,其他关键元素包括个性,风格,沟通和亲密。他将完全陌生的人带到狭窄,坩埚般的空间,只是为了表达他对“情侣之爱”的持续主题。最初的名称是Pinky&Killer,使用了一个小空间或房间来捕捉自愿的情侣,其后又进入了Lady Jam的标题,这使得焦点更加接近于放在浴缸中的对象。

Bathtubs, couples, love and challenges are the themes of HAL's shooting. Other key elements include personality, style, communication and intimacy. He takes black strangers to narrow, and crucible-like spaces just to express his continuing theme of "the love of the couple". The original name was Pinky & Killer, in which a little space or room was used to capture freewill couples. Later, it entered into the title of Lady Jam, which brought the focus closer to the object in the bathtub.

 

HAL的最新系列为Fresh Love,它采用真空密封包装捕捉了许多各种新鲜的情侣。 “我正在通过挑战人类雄伟的主题,通过爱来定义,从而在人像摄影方面寻求新的方面。”

HAL's latest collection is Fresh Love, which uses vacuum sealed package to capture many unsalted couples. "I am challenging the magnificent theme of human beings and defining it through love so as to seek for new aspects of portrait photography. ."

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