Daido Moriyama
Daido Moriyama
Tokyo, 2011
4002-BK
vol.23 Daido Moriyama photographs Tokyo comprises thirty-one original photographs by Daido Moriyama. The photos are arranged in sequence and varying number over a total of twelve double pages, the majority of these photos published here for the first time. Their subject, the capital city of Tokyo, is treated with the photographer’s characteristic tormented lyricism. We encounter the same recurring motifs in his work for communicating his fascination for texture: here a gaping mouth, there the luster of a car body, an illuminated sign, a muddy sidewalk… Daido Moriyama A major figure in contemporary Japanese photography, Daido Moriyama is one of the founders of the selfcalled, avantgarde movement, « Provoke”, that came to life in the 1960s. He is at the core of what emerged as a new visual language, both nervous and frantic, that delighted in the out-of-focus, the grainy and deformity in general. He has had work exhibited in one-man shows worldwide most notably at the Metropolitan Museum (NY), the San Francisco MOMA and at the Cartier Foundation for Contemporary Art in Paris. Description: Solo project (#1) 31 original photographs (gelatin silver prints) glued to paper Japanese binding 21 x 33 x 1,7 cm Limited edition of 18 copies + 5 H.C November 2011 Graphic design: Olivier Andreotti
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Daido Moriyama
SOLITUDE DE L'OEIL, 2007
1835
VOL. 6 Daido Moriyama photographs Michel Bulteau text Olivier Andreotti case The six poems by Michel Bulteau are infused with the rumblings of Tokyo, poems that speak equally of its derelict side as its luster. The poet lines up specific details, fishing out odd fragments from Daido Moriyama’s photographs as he pulls us into his spectral universe, crawling with gangsters and clawed animals. Bathed in a melancholic light, the photographs share characteristics with the color work of the artist and describe a sensual and sorrowful Tokyo. The traycase takes its inspiration from the steep slopes that crown most buildings in Tokyo and its choice of material–painted plastic recalls contemporary Japanese architecture. The text follows the line drawing of a confused network of electric cables, evoking the complex urban tissue of the Japanese capital. Daido Moriyama A major figure in contemporary Japanese photography, Daido Moriyama is one of the founders of the selfcalled, avantgarde movement, « Provoke”, that came to life in the 1960s. He is at the core of what emerged as a new visual language, both nervous and frantic, that delighted in the out-of-focus, the grainy and deformity in general. He has had work exhibited in one-man shows worldwide most notably at the Metropolitan Museum (NY), the San Francisco MOMA and at the Cartier Foundation for Contemporary Art in Paris. Michel Bulteau Michel Bulteau was 21 years old when he published Le Manifeste électrique (the Electric Manifesto). In 1972 he had the decisive encounter of meeting William Burroughs and Brion Gysin in London. He settled in New York in 1976 where he soon became part of the punk movement, joining the circle around Warhol and the Beat writers. His memories of New York infuse his book, New York est une fête, brought out by the French publishers, La Différence. After returning to Paris a certain dandyism and fin-de-siècle aesthetic, which has always hovered in the background, finds its full expression in a number of books: Minuties (La Différence, 1989), L’exilé de Venise, essai sur Corvo (Le Rocher, 1990), Le club des longues moustaches (Quai Voltaire, 1988). Description: Tokyo Triptych 1/3 6 original signed photographs (chromogenic prints), mounted on cardboard Case made of painted plastic 51,7 x 42,5 x 5,2 cm Text in French and Japanese Limited edition of 40 copies May 2006 Graphic design: Olivier Andreotti
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Daido Moriyama
Calender Camp, 1982
1776
19 7/8 x 28 1/4 in. (50.6 x 72 cm)
Text de Moriyama Daido. This publication, the only one Moriyama produced with the editors of Camp, provided members of the Camp collective with an opportunity to pay homage to their mentor and inspiration: Daido Moriyama.
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Daido Moriyama
Karyudo (Hunter), 1972
1759
Hardcover with authors name printed on the dust jacket. Comes with bellyband. 104 black and white photographs with a text by Tanadori Yokoo. Most of Moriyama's cult images are featured in this special monograph of the photographer's work.
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Daido Moriyama
Shashin yo Sayonara (Bye Bye Photography), 1972
1760
7 1/4 x 9 in. (18.5 x 23 cm)
Tokyo: Shashin Hyoron-sha.
137 double-page black-and-white photographs printed in rich gravure. Original wrappers, with printed dust jacket. Includes 32 pages of dialogue between photographers Takuma Nakahira and Daido Moriyama.
This is the most emblematic of Provoke photobooks, in which the aesthetic principles of the movement are best expressed. Moriyama pushes the boundaries of the medium: assembling images from a variety of sources, placing them in a discordant anti-sequence, with an array of full-page grainy, blurry, and sometimes indecipherable pictures. The images were further manipulated in the dark room, in a way that results in high contrast prints with a harsh coarse grain. This rough style became somewhat of a trademark and found wide appeal with a new Japanese generation.
Shashin yo Sayonara was produced as a result of a discussion Moriyama had with Takuma Nakahira in the Hilltop (Yamanoue) Hotel in Tokyo in August 1972. The two had been friends since 1964 and both had contributed to Provoke magazine. The argument centered on the function of photography to reflect reality.
“Shashin yo Sayonara (Bye Bye Photography) is the most extreme monument of the Provoke period, indeed it is one of the most extreme photobooks ever published. Daido Moriyama pushes both the form of the photographic sequence and the photograph itself to the limits of legibility, with a brilliant barrage of stream-of-consciousness imagery culled from his own pictures, found photographs—such as shots of car accidents—and images taken from the television set. Any notion of ‘good’ technique is thrown out the window. The pictures exhibit all the qualities of reject negatives discarded in the darkroom then retrieved from the bin. The photographic language is one of blur, motion, scratches, light leaks, dust, graininess and stains ... The pace is frenetic, the image bombardment never lets up, and we reach the book's end in a state either of breathless exhaustion or on an image-fuelled high.” (Parr & Badger)
[Ref. Martin Parr & Gerry Badger, The Photobook: A History, vol.I, pp. 298-299; Andrew Roth, The Book of 101 Books: Seminal Photographic Books of the Twentieth Century, pp. 218-220; Andrew Roth, The Open Book: A History of the Photographic Book from 1878 to the Present, pp. 290-291; M. Auer, 802 photo books from the M. + M. Auer collection, p. 543; Ryuichi Kaneko & Ivan Vartanian - Japanese Photobooks of the 1960s and ‘70s, p. 29]
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Daido Moriyama
Nippon Gekijo Shashincho (Japan - A Photo Theatre), 1968
1749
8 1/4 x 8 5/8 in. (21 x 22 cm)
Tokyo: Muromachi-Shobo
145 black-and-white photographs printed in offset. Text by Shuji Terayama. Original green velvet wrappers, with printed cardboard slipcase. This copy inscribed by Daido Moriyama in black felt-tip pen on the front free endpaper (in English and Kanji).
Moriyama's first printed work is a milestone of Japanese photography. It was published the year after he had received the New Artist Award from the Japan Photo Critics Association for his series of images of street performers published in the monthly photography magazine Camera Mainichi. The book contains these images, mixed with street scenes and other pictures, seemingly chosen at random. The book is divided into two sections, each with introductory poems by Shuji Terayama. In the photographs, Moriyama has laid the defining cornerstone for his work that was to come in the 1970s. He is already experimenting here with the technique of “are-buro-buke”, with its hard angles, and with photographs of photographs.
“He sought the world of the hipster, the freak, the “other”, from the avant-garde Terayama theatre group, which featured nude women, dwarfs, and burlesque characters of all kinds, to the more vernacular nightlife of the city, the strip joints, gangster bars, and backstreet Kabuki theatres, a fusion of the old and new, high and low, insider and outsider, freak and non-freak.” (Parr & Badger).
These photographs of Kabuki performances and other actors are mixed with snapshots of ordinary people: office workers become featureless components in the artificial glare of fluorescent lights and synthetic surfaces; or with photographs of embryos in test tubes printed at the end of the book. By combining these disparate subjects, Moriyama draws attention to the process by which a subject becomes a photograph, and how the act of photography is a theatrical event itself.
[Ref. Martin Parr & Gerry Badger, The Photobook: A History vol.I, p. 288; Ryuichi Kaneko & Ivan Vartanian, Japanese Photobooks of the 1960s and '70s, pp. 116-123]
Price Upon Request
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