Nobuyoshi Araki: All Women are Beautiful

Nobuyoshi Araki: All Women are Beautiful

September 7 to October 23, 2011 Galerie Steph Ooi Botos

Moreover. In the Sixties. Araki developed his practice in a milieu in which professional photography was significant and highly visible. albeit differently amongst themselves. At the same time.” The image of people included illicit encounters between men and women. Their aim was. Expo ’70 marked the end of an era that had seen the rise of an extraordinary group of photographers. he has produced more than three hundred and fifty photography books over the past forty years. This became palpable in the character and tempo of modern life in Japan. exceptional. as stated in the first issue of Provoke. such as the Subway series that.1 We should also consider the environment of rapid industrialization and a developing mass culture. They were not pornographic but. as a photographer. depict the everyday life of ordinary people. he is barely given reference. Araki can be credited as one of the first of the generation of the Nineteen Seventies to develop the idea of ‘personal photography. In fact. emanated a form of innocent delight in the portrayal of women. both Takuma Nakahira and Daido Moriyama and the group around the magazine Provoke were of critical importance because of their visceral engagement with their subject matter.’ in which the photographer and subject were inextricably linked. if we survey the histories of postwar or contemporary art in Japan or that of Japanese photography. In particular. A number of photographers had published photo essays in many of the popular photography magazines of the era.’ he places Araki amongst others. And yet. who had explored and captured the rise of Tokyo from the ashes of the Atomic Bomb. he grew up in the midst of older artists and photographers who had a profound influence on him. As a young man.the love of life by Charles Merewether The photography of Nobuyoshi Araki is. This is partially reflected in the early Araki photographs. and both the visual and performing artists.from the dictates of urban living. especially the subject of the street and the expressive character of individual lives.as if in their nudity . Both of these factors converge in the figure of Araki. made between 19631972. In his essay ‘The Evolution of Postwar Photography. the work of Moriyama and others had opened a path for Araki in regard to the subject of nakedness. There was something here that resonated with the Western idea of the ‘counter-culture’ movement of the period. as exponents of a more personal style of photography. This idea is explored succinctly by Iizawa Kōtarō.3 The Seventies then marked a turn to more personal subjects in the face of an increasingly anonymous city and the human subject retreated behind the industrial fabric and repressive State – controlled structures of a mass culture. In fact. liberated .2 The year Nineteen Seventy was a turning point that was captured by the contradictory politics of Expo ’70 in Osaka. This was not least due to the rampant commercialization that was made of the event and the consequent abandonment by some of the leading architects.4 This was reflected in the work of both Nakahira and Moriyama who depicted the grim and almost soulless urbanscape of people living especially on the bleak and barren edges of the city or the semi-industrial wastelands. in a number of respects. alongside others across all fields of the arts. to capture and confront “the world in its naked state. One of the most powerful series of 4 5 . rather. By the mid Sixties. the world around them was rapidly and violently changing.

s1950-1970. disappearing. This is precisely the point of the photographs. pp. Araki has developed a continuous exploration of women in the privacy of their own home and in his city Tokyo. This book along with a book Winter Journey made just before her death in 1990 and in her memory. their exposure to another. 222-225. of its uncertainty. nothing extraordinary about the images. edited by Anne Wilkes Tucker and others. evoking a wistful sense of melancholy. they are what Araki often refers to as ‘my Tokyo. Edited Charles Merewether with Rika Hiro. These photographs are neither pornographic nor sexual. a space in which to dream and the promise of desire and of death meet. 4 For extensive discussion. nonetheless. He has rarely made photographs outside of Tokyo. There is. in essence. was a series of a naked woman in an apartment and on her bed waiting for a customer. This approach – a personal event he notes – belongs to the present or constitutes the present. a moment that is transient. the domain of the spirit. Notes 1 See Iizawa Kōtarō. to the outside. at this moment: that is all. As with women. They are neither photographs of the street nor of bars or public places yet. become melancholic eulogies of her life and their relationship. Rather. (New Haven: Yale University Press in association with The Museum of Fine Arts. This event will haunt Araki’s life and shape his sensibility. 3. see Fn. The photographic work of Araki begins with The Sentimental Journey (1971). this space is as Araki suggests. a kind of poetry to the generosity that they offer to the photographer. (Los Angeles: Getty Research Institute) 2007. The photographs of clouds. 3 See Art Anti-Art Non-Art: Experimentations in the Public Sphere in Postwar Japan. the neighbor. In this space the imagination is set free. This moment is precious and a fragile moment. the vitality of life today. even though at the same time.work that was produced for Provoke 2 by Moriyama. This personal exchange counters what we can refer to as the growing solitude of a culture becoming anonymous. begin to appear after his wife’s death in a number of his photo-books. The clouds appear to offer a form of life that symbolizes transience as they pass across the fathomless sky above. 2003). the photographs of flowers offer a sense of frailty as to their beauty and transience that intimates their death. each other. nothing provocative but rather a picture of the everyday. This resonates with the death of Yoko. It allows us to appreciate better Araki’s photographs of flowers that are often associated with women. Araki photographs every day in a manner that is diaristic. Nakahira Takuma. It is not the disclosure of death to come – as of Roland Barthes – but the very opposite. ‘The Evolution of Postwar Photography’ in The History of Japanese Photography. appearing. There is a beauty to their face and their expression. two important books followed. nonetheless. losing a sense of the individual.’ The photographs are about individual woman. After they stopped the magazine. their bodies. they are intimate portraits and one can feel a kind of intoxication that comes from this contact. an account of his honeymoon with his newly wed wife the essayist Yoko Araki. Throughout his years as a photographer. he has noted that the camera for him displaces memory and becomes associated with death. Often they occur as a result of requests from the women themselves. and of what he refers to as skyscapes. 6 7 . Moriyama joined them in the second issue. now. 2 Provoke existed for only three issues (between November 1968 – August 1969) and was edited by Taki Koji. Jean Genet understood this association and sentiment. In interviews with Araki. Okada Takahiko and Takanashi Yukata. it falls as an interregnum between the past that has passed and the future that is to come. first by the Provoke group ‘First Discard the World of Pseudo-Certainty’ (1970) and by Nakahira For a Language to Come (1970). And yet. Houston.

8 x 60 cm 8 9 . 20 x 24 inches / 50. Fuji Crystal RP Print.“Novel Photograph” 1995.

20 x 24 in / 50. RP Direct Print.8 x 60 cm 1 0 1 1 .“67 Shooting Back” 2007.

1 2 1 3 .

1 4 1 5 .

1 6 1 7 .

19.“Lewd Painting” 2011. RP Direct Print.7 cm 1 8 1 9 .7 x 18 in / 56 x 45.

2 0 2 1 .

4.8 cm 2 2 2 3 . Polaroid. unique.8 x 8.“Pola Eros” 2006-2009.5 in / 10.3 x 3.

2 4 2 5 .

2 6 2 7 .

unique.“Sky” 2006-2009.8 x 8. Polaroid.3 x 3.5 in / 10.8 cm 2 8 2 9 . 4.

Polaroid. unique.8 cm 3 0 3 1 .3 x 3.“Pola Nostalgia” 2011.8 x 8. 4.5 in / 10.

Life. Rat Hole Gallery. Yoshii Gallery. Amsterdam “From Winter to Spring”. Singapore “Wanted: Dead and Alive . New York “Kaori”. Nobuyoshi Araki”. Tokyo “KOSHOKU PAINTING”. Taka Ishii Gallery. Tokyo “SHIKI IN ME”. Taka Ishii Gallery.“B/W bondage”. Tokyo “Painting Flower”. EPSON IMAGING GALLERY. Venice “Shosetsu Seoul” Artium. Tampere. Fukuoka “Tokyo Still Life” Ikon Gallery. Taka Ishii Gallery. epSITE. Art Galleries. Death”. Jablonka Galerie Berlin. l’Istituto Nazionale per la Grafica Palazzo Fontana di Trevi. Tokyo “Hana-Jinsei” Tokyo Metropolitan Museum of Photography “Tokyo Still Life” Tampere Art Museum. Taka Ishii Gallery. Roma “67 Shooting Back”. London “Nobuyoshi Araki Tokyo Nude”. Low. Birmingham. Japan 1940 2005 Selected solo exhibitions 2011 2010 “Film Nostalgia”. Taka Ishii Gallery. Edo Tokyo Museum. Galeria Enrique Guerrero. Barbican Centre. Tokyo “Hana Kinbaku”. Berlin 2007 “ARAKI GOLD”. Mexico Life Like – the World of Photography by Nobuyoshi Araki: “Flowers by Araki”. Tokyo “Ai no Jikan”. Nanyang Academy of Fine Arts (NAFA) Singapore “NOBUYOSHI ARAKI: Self. Taka Ishii Gallery. EPSON IMAGING GALLERY. Köln “Suicide in Tokyo” Italian Pavilion.Works by the Genius Photo-maniac. Tokyo “The Faces of Japan” Project HIROSHIMA by Nobuyoshi Araki”. Hiroshima City Museum of Contemporary Art. Los Angeles 2006 Nobuyoshi Araki b. Tokyo “TOKYO JINSEI”. Taka Ishii Gallery. my Ender”. Mexico D.F. Tokyo “Koki No Shashin : Photographs of A Seventy Year Old”. Tokyo “ARAKI BY ARAKI” Taka Ishii Gallery. Finland “Nobuyoshi Araki” Jablonka Galerie. Taka Ishii Gallery. Tokyo 2004 2003 2009 2002 2008 3 2 2001 3 3 . Reflex New Art Gallery. Tokyo “Nobuyoshi Araki “. epSITE. Hiroshima “69YK”. UK “Pola”. Tokyo “2THESKY.. Leica Ginza Salon. Tokyo.

Tokyo “Nobuyoshi Araki” Gallery Starmach. Prague.“Shosetsu Seoul” Spiral Hall. SpiraI Hall. Tokyo “Shadows of Flowers/ Gallery Eve Tokyo “Bokuju-kitan” Jablonka Galerie. Los Angeles “Shashin Shijyo Shugi” Taka Ishii Gallery. 1997 “A’s Life” Kachimai HaIl. Taiwan. Belgium “Arakinema: A’s Paradise” Museum of Contemporary Art. Gent. Bangkok. Tokyo “Winter Love” Toru Maeshima Gallery. Tokyo “Shikijo kyo” Taka Ishii Gallery. Vienna. Prato. Poland “Nobuyoshi Araki” Studio Guenzani. Germany “FIowers: Life and Death” Nishimura Gallery. Prato “Polaevacy” Nadiff. Tokyo “Arakinema: Faces vs Bodies/ Spiral Hall. Austria “Arakinema: Love Secession” Wiener secession. Austria “Arakinema: Tokyo Paradise” Wiener Secession. Austria “Arakinema: Vienna and Tokyo Paradise” Hara Museum of Contemporary Art. Gallery. Muenster. Tokyo “Death Reality” Taka lshii Gallery Tokyo “The Past 1972-1973” Stadtsparkasse. Galerie Bob van Orsouw. Köln “Arakinema: Novel Photography” Studio Mouris Roppongi. Tokyo “Tokyo Comedy” Wiener Secession. Germany “Portraits and Flowers” Photographers Gallery. Taiwan “Arakinema: Erotic Woman in Color” Taipei. Tokyo “Arakinema: Taipei” Yomiuri Culture Salon Aoyama. Yokohama. New York “RYUSEKI” Taka Ishii Gallery. Milan “Faces vs Bodies” SpiraI Garden. Taipei. Sentimental Life” Museum of Contemporary Art. Laforet Museum Harajuku Tokyo “Nobuyoshi Araki” Galerie Bob van Orsouw. Tamagawa Takashimaya SC. Tokyo “Nobuyoshi Araki” Low. Zurich “Shikijyo” Scalo Book Store. Tokyo “ALive” Taipei Fine Arts Museum. Thailand “A’s Paradise” Shinjuku Takashimaya Concourse (outdoor instaIIation) . Tokyo “Arakinema: Retro-Ero” Hara Museum of Contemporary Art. Tokyo “Nobuyoshi Araki” Stedellik Museum voor Actuelle Kunst. Grand Gallery. Tokyo “A World of GirIs” II Tempo. Vancouver. Tokyo “Nobuyoshi Araki” Scalo Art Space. Thailand “Cosmosco” Taka ishii Gallery “Story portraits” Chulalongkorn University. Zurich “Flower Rondo” J. Wakayama “Tokyo Shijyo” Diechtorhallen. Tokyo “Tokyo Novel” Egg Gallery. Bruxelle. Paris “Nobuyoshi Araki” Damasquine Art Gallery. Tokyo Tokyo 1999 1996 1998 3 4 3 5 . Zurich “Araki Nobuyoshi” Il Tempo. Tokyo “ARAKI Nobuyoshi Sentimental Photography. Bangkok. Tokyo “Flower Shadow” Gallery Artgraph. Vienna. Paris “Nobuyoshi Araki” Galerie Kamel Mennour. Hamburg “The Past= Photographs 1972-1973” Stadtisches Museum Leverkusen. Belgium “Nobuyoshi Araki” Galerie Almine Rech. London “Tokyo Nostalsia” GaIleria Photology. Vienna. Taipei Fine Arts Museum. Tokyo 2000 “Viaggio Sentimental” Centro Perl’arte Contemporanea Luigi Pecci. M. Germany “Nobuyoshi Araki= Tokyo” Stadtisches Klinikum Fulda. Obihiro. Krakow. Contemporary Art Gallery. Tokyo “Arakinema: Flower Rondo ll” Areana Hall. Italy “Arakinema: Kurumado” Pecci. Sapporo and Fukuoka “Arakinema: Tokyo Comedy in Vienna. Milan “A’s Life” traveling to Toyama. Tokyo “Araki Retrographs” Hara Museum of Contemporary Art.

Tokyo “Sky” Gallery Eve. Kunsthal Rotterdam. Graz. Bozen. Tokyo “Satchin in Summer” Laforet Museum Harajuku Tokyo “Arakinema: Passion in Okinawa” Ryubo Hall. Daccho-kun” Space Link. Los Angeles 1995 “Erotos” Gallery lndex. Bregenzer Kunstverein. New Castle. Germany. Tokyo “State of Things: A Thousand Photographs Exhibited Day by Day” P3 Art and Environment. Machida. Austria “Akt-Tokyo: Nobuyoshi Araki 1971-1991” traveling to Zone Gallery. Galerie Chantal CrouseI. Paris “Naked Novel” Egg Gallery. Nordliga Fotocentret. Tokyo (drawings) “Tokyo Novelle” Kunstmuseum Wolfsburg. Tokyo “Skyscapes” Gallery Verita. Naha “Pictures by A Virgin Boy. Tokyo “Car Photographs” Egg Gallery. Galerie Bob van Orsouw. Kanagawa 3 7 1991 1994 1990 1989 3 6 1993 . Los Angeles “A moment in Time” espace TAG Heuer. France “Nobuyoshi Araki: A-Diary/Sachin and His Brother Mabo”. Tokyo “Angel’s Festival” Parco Gallery. Tokyo 1992 “Love interrogations: Tokyo Fax. Tokyo “Chiro./Facks” Apt Gallery. GalIery Bang. Amsterdam “Journal intime” Fondation Cartier pour I’art contemporain. Wolfsburg.traveling to Galerie Fotohof. Oulu Finland “Private Photography” Yurakucho Asahi Gallery. Germany “Bokuju-kitan” Jablonka Galerie. Munich. Athens Gallery. Paris “The First Year of Heisei” Le Garage. A City Heading for Death” Egg Gallery Tokyo “Nobuyoshi Araki ‘89: Selected Photographs” Gallery Kosai. Hamamatsu “From Close-range: Yamorinskies like Flower and Nude”. Tokyo “Arakinema: Sentimental Journey/Winter Journey” Sogetsu Hall. Tokyo “Tokyo Lucky Hole” apt Gallery. Austria “Photo-maniac Diary” Egg Gallery. Tokyo “Winter Journey” Egg Gallery Tokyo “A’s Nude Exhibition: Lovers” Apt Gallery. Austria. Norway. London “Obscene Photographs” Taka Ishii Gallery Tokyo “Akt-Tokyo: Nobuyoshi Araki 1971-1991” traveling to Galerie Museum. Austria “Fine Tokyo Days” Gallery Verita. Tokyo “Towards Winter : Tokyo. England. The Dead” Pace Wildenstein and MacGill. Tokyo “Foto Tanz” Shinjuku Konica Plaza. Portugal “Akt-Tokyo: Nobuyoshi Araki 1971-1991” traveling to Museet for Fotokunst. Tokyo “From Close-range” Hosomi Gallery. Zurich “Araki Nobuyoshi” Torch. Tokyo “In the Move: The sky where Butterflies Flitter Around” Egg Gallery Tokyo “Arakinema: Springscapes” Cinema Rise Shibuya.Odense. Sweden. Köln “Nobuyoshi Araki: Diario lntimo” Encontros de Fotografia. Tokyo “The Face. Mirabellpark. Graz. Italy. the Netherlands. Osaka “Colorscapes” Seed Hall. Oslo. Tokyo “Jeanne” Shinchosha Art Space. Tokyo “Tokyo Nude/Private Diary” Luhring Augustine. Fotomuseum im Munchener Standmuseum. Heartland. Tokyo “Erotos”Parco Gallery. Salzburg. New York “Unconscious Tokyo : Tokyo Cube” White Cube. Coimbra. Tokyo New World of Love” La Camera. Reims. Tokyo “From Close-range” BIum & Poe. Stockholm. My Love” Ikebukuro Book Center Libro. Bregenz. Denmark. Forum Stadtpark.“Fake Love” Ginza Komatsu. Tokyo “Akt-Tokyo: Nobuyoshi Araki 1971-1991” Forum Stadtpark.

Tokyo “Private Tokyo ‘76” Kinokuniya Gallery.”Zoo” Mitsubishi Denki Gallery. Tokyo “The 3rd Arakism Maanifesto” Asahi Seimei Hall. Kinokuniya Gallery. Osaka “A World of Girls” Zeit-Foto Salon “I am Photography”. videos. Tokyo “Pseudo-documentary: Photographs of Polluted by Silver-Halogen Compound : Chirring Cicadas in Chorus”. Tokyo 1982 1970 Tokyo 1967 1980 “The Arakism Manifesto” New York Theatre. Tokyo “Zigeunerweisen : Fictitious Truth” Kinokuniya Gallery. Tokyo “Araki-s-m 1967-1987” Zeit-Foto Salon. Tokyo “My Scene : 1940-1977” Ginza Cannon Salon. Munich Hara Museum of Contemporary Art Tokyo IZU PHOTO MUSEUM Kunstmuseum Wolfsburg 1977 3 8 1976 3 9 . Denmark Art Collection Neue Borse Centre Pompidou. Tokyo “Yoko. Tokyo “Tokyo Blues” Ginza Nikon Salon.1987 “A Part of Love” Art Space Mirage. Tokyo “Actress: A Sentimental Ero-Roman” Horindo Art Space Tokyo “Eizo: portraits of descendants” Camp. Kinokuniya Gallery Tokyo “Flowers in Ruins” Shimizu Gallery. and Films”. Tokyo “The 2nd Arakism Manifesto” Yamaha Hall. Tokyo “Wet dreams on midsummer Night and the Anniversary of the End of the War”.”Middle-aged Women” Mitsubishi Denki Gallery. Tokyo “This years Photos” Shirakaba Gallery. Tokyo “First Visit to New York” MINOLTA Photo Space.2 : The Truth About Carmen Marie” Kunugi Gallery. Tokyo “Shibuya Street” Doi Photo Plaza Shibuya. My Love” Ginza Nikon Salon Tokyo 1966 1965 “Sur-sentimentalist Manifest No. 1981 “Ginza”. Tokyo 1986 1984 1970-76 “Kitchen-Ramen : Erotic-Realism” Kitchen-Ramen. Centre National des Arts Plastiques Fotomuseum Wintherthur Sammlung Goetz. Tokyo “Subway”. Tokyo “A’s Erotomania Diary” Zito-Foto Salon “A Balthus Summer” Picture Photo Space. Tokyo “Puppet Prince” Spiral Hall. Tokyo Slide show “Arakinema : Tokyo-Story” Cinema Rise. Tokyo “Actresses: with Photos. Tokyo “Satchin and Mabo” Shinjuku Station Gallery. Tokyo “Last years Photos” Shirakaba Gallery. Paris Deutsche Bank Fondation Cartier pour l’art contemporain Fonds National d’Art Contemporain. Gallery Matto Grosso. Tokyo 1975 1974 1973 “Actress: Kisaki Sekimura” Minolta Photo Space. Tokyo 1979 1978 PUBLIC COLLECTIONS ARKEN Museum for Moderne Kunst.”Araki’s Storm of Love” Doi Photo PlazaShibuya.

After all. Jerusalem The Museum of Contemporary Art. As for ‘Beauty’ spoken. Montréal Museum für Moderne Kunst Frankfurt am Main Museum of Contemporary Art Tokyo Museum Moderner Kunst. lives full of faults and with a dirty side. PRIZES 2008 1994 1991 1990 1964 Austrian Decoration of Honor for Science and Arts Japan Inter-Design Forum Grand Prix 7th Higashikawa Prize Shashin-no-kai Prize from the Photographic Society of Japan First Taiyo Prize for “Satchin” . and nothing more exciting. Munich San Francisco Museum of Modern Art Sammlung Hoffman The Israel Museum. That’s why I have been taking such women for a long time. Los Angeles The Museum of Fine Arts. this is like a fixed illusion that someone has developed. I want to take photographs of ‘real women’. Houston The UBS Art Collection Tokyo Metropolitan Museum of Photography Yokohama Museum of Art Kunsthalle Winterthur There is nothing more interesting than women.Nobuyoshi Araki 4 0 4 1 . Vienna Telenor Foundation. Norway Peter Norton Collection (Tate UK) Pinakothek der Moderne.Maison de la photographie. Paris Musée des beaux-arts de Montréal.

photocopy. 4 2 . film or video recording. including the right to reproduce this catalogue or portions thereof in any form. Singapore 089065. 2011 to October 23. or any other information storage system without the permission of Nobuyoshi Araki and the publisher. “Nobuyoshi Araki: All Women are Beautiful” exhibition presented by Galerie Steph and Ooi Botos Gallery in Singapore from September 7. internet posting. or stored in a retrieval system and/or transmitted in any form or by any means. 2011 at Galerie Steph.Copyright © 2011 Galerie Steph. including illustrations. All Rights Reserved. 01-05. Artspace@Helutrans. electronic mediaor mechanical. This catalogue may not be reproduced in whole or in part. Tanjong Pagar Distripark. Hong Kong. 39 Keppel Road. Singapore and Ooi Botos Gallery. Catalogue Design by Paulina León. Edited by Lisa Botos and Stephanie Tham. Edition of 500 published by Galerie Steph and Ooi Botos Gallery.

4 4 Galerie Steph steph@galeriesteph.com www.galeriesteph.com www.com Ooi Botos lisa@ooibotos.ooibotos.com .

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