Taka Ishii Gallery Kyoto and Tomio Koyama Gallery Kyoto are pleased to co-present the first joint exhibition “Daido Moriyama x Mika Ninagawa.”
For this occasion, Taka Ishii Gallery will exhibit 20 photographic works (all modern prints) from “How to Create a Beautiful Picture 6: Tights in Shimotakaido,” representative of Daido Moriyama’s ‘80s. Since Farewell Photography (1972), Moriyama had fallen into a slump in which he spoke of his own excruciatingly physical separation from photography, ‘as if the muscle had disconnected from the bone.’ He discovered an answer to his questions regarding what defines photography through the “Light and Shadow” series beginning in SHASHINJIDAI magazine’s September 1981 issue, and once again returned to taking photographs on a daily basis.
The works featured in this show are one of the many series that evidence the brilliantly revived Moriyama’s insatiable passion for taking photographs in the ‘80s, and compare with his “Memory of Dog” series (serialized since the April 1982 issue of ASAHI CAMERA), “A Journey to Nakaji” series (serialized since August 1984 issue of SHASHINJIDAI), and “DOCUMENTARY” series (first published in the August 1985 issue of SHASHINJIDAI).
Tomio Koyama Gallery will exhibit works from Mika Ninagawa’s upcoming photo book, Gekkan MEN SPECIAL Kubozuka Yosuke NOWHERE, to be released on July 20 (Pony Canyon, 3,200 yen sales tax incl.). This series is an expression of the ‘photographic world created by these two accomplices,’ (excerpt from press release) features Yosuke Kubozuka, an actor active in many other fields, as taken by Mika Ninagawa.
The various emotions contained in Ninagawa’s works and the unique coloring give rise to a surreal world. The shadows that rise through the strengthening of the light and the depth of color. Whether enclosed in light or wrapped in shadow, the subject of Ninagawa’s work is seen as an exuberance of life, an instantaneous special beauty able to be shown only within the particular world she creates.
…Then, towards the end of my tour, I encountered Mika Ninagawa’s huge panel, a flood of primary-colored flowers. The aura of Mika’s work was strong. In contrast to the dim exhibition hall and masterpieces which seemed to have dulled with the passage of time, it was replete with an almost grotesque brilliance, dazzle and ominousness. In other words, it was a clear visual scandal, which made me grin secretly. Daido Moriyama, excerpted from Apr. 2009 issue of high fashion, p.55
… As I delve deeper into the world of photography, as I take more and more photographs, my appreciation of Moriyama’s photographs grows. … Of recent works, Hawaii (2007) was particularly shocking. I’ve never seen that Hawaii before. I shivered at the density of the shadows in the photographs. I completely understand that the frame changes depending on the photographer, but the fact that these could only be his photographs is communicated to me so directly. …
Mika Ninagawa, excerpted from Nov. 2008 issue of Bijutsu Techo, pp.86-87.
We hope that you enjoy Kyoto’s first presentation of the joint exhibition of two photographers who provoke this generation.