[ 分享 ] 荒木經惟・須田一政獲美國《Aperture》雜誌大篇幅報導
Araki Nobuyoshi・Suda Issei at “Aperture” Magazine

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美國專業攝影雜誌《Aperture 》最新一期2015夏季號特別企劃了<Tokyo 東京特輯>,其中大篇幅介紹荒木經惟和須田一政,並刊出荒木經惟最新創作「結界」和須田一政經典系列「風姿花傳」。

以下分享完整報導:

aperture 2015aperture 2015 Araki Nobuyoshi-1aperture 2015 Araki Nobuyoshi-2
《Aperture》2015 Sum.夏季號 – 荒木經惟 Nobuyoshi Araki
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荒木經惟−結界

十年前,荒木經惟在倫敦的回顧展中被比喻為暴風雨般的存在。比起一般的攝影家,荒木確實就像是場暴風雨。他豐沛的創作量已然自成廣大的資料庫:自1960年代作說是暴風雨班至今,他已出版超過五百本的攝影集。在他的創作生涯中,荒木以既銳利又帶有性慾的眼光吸引了全世界的注目;在代表系列<緊縛>中,穿著和服的女子被麻繩以特殊方式綑綁著,這些作品替荒木激起了爭議。介於愛與死之間的張力正是他創作的核心−而隨著荒木年紀漸長,作品中死亡的意味也逐漸加深。荒木經惟現年七十四歲,右眼失明,然而他卻沒有因此減少創作。對荒木來說,攝影和生活是相互依賴的。一段不幸的命運將成就另一個創意的發展。<左眼之戀>(2013-14)中,每件作品都被用麥克筆塗去了半邊,而去年十二月他在東京SM藝術中心發表最新系列<結界>(2014),作品以寶麗來拼貼而成。「結界」這個名稱受佛教的概念啟發,就像是保護聖地不被侵擾的屏障。荒木拼接裸體和花朵的影像,組合兩個他長期拍攝的主題。「當你失去某樣東西,你也獲得另一樣」,荒木經惟對他衰退的視力如此回應。「我告訴我自己,我可以開始從不同角度看事情。」
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aperture 2015 Suda Issei-3aperture 2015 Suda Issei-4aperture 2015 Suda Issei-7

《Aperture》2015 Sum.夏季號 – 須田一政 Issei Suda
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須田一政

不論是爬上門沿令人感到不安的蛇、慶典中微醺男子的狡黠一瞥、或是光和影交互奇妙映照的街景-這些都是須田一政捕捉到的奇異瞬間,他的作品總保留了某種不安定、異世界般的特質。他選擇的6×6底片,對觀者來說多少有些不習慣,這似乎也添加了幾分不舒適感。須田一政與Diane Arbus的作品在某些層面上是可以一起比較的,因為後者的作品同樣探討人類生活中的黑暗面。然而某種日本獨有的元素卻只存在於須田的作品中,深植在日本那格外感性的風景及其美學裡。

須田一政出生在1940年,成長於東京神田區,那裡至今仍保有舊時期古老文化的痕跡,充滿著「粹」(Iki)的精神。「粹」是江戶時代流行於商人階級的美學,提倡簡潔、美麗、智慧、成穩−如直線般的明白了斷。如同大多數都市小孩,須田是早熟的,在青少年時期便踏進了攝影的世界。從周遭大人身上,他不只習得了攝影的技巧,也徹底認識了「粹」的精髓。他和同時代的攝影師一同經歷了1960、70年代戰後的混亂和學生抗議運動,但在照片中的那份「粹」卻使他與別人格外不同。須田並沒有追隨拍攝大眾和政治事件的潮流,相反的,他專注於揭開日常時刻中那些細微的變化。

須田著迷於探索介於日常生活和特別場合間的縫隙−如當地慶典、風土民俗,這些十分具有日本精神性的事件。他捕捉節日和平凡日子間充滿張力的剎那,紀錄這兩個場域中滿溢的情緒和感情-包括參與者和旁觀者。從須田最著名的攝影集《風姿花傳》(1976)可以見得他創作思想的痕跡,書名取自十五世紀能劇演員及劇作家世阿彌的經典理論著作《風姿花傳》。世阿彌說:「隱匿則成花,裸露則不可謂美。」須田拍攝的正是隱匿在表面之下的瞬間,將我們拉至另一個不同於眼前所見的世界。

身為旅行者,須田探測介於平凡和超現實間的瞬間和空隙,鑿出現實中的寂靜。須田不到太遙遠的地方旅遊,就像他另一本攝影集的標題「街角菸草店之旅」一樣,都是些不打擾日常生活步調、能愜意安排的短程旅行。時至今日,須田依舊旅行著,發掘那些平凡中的不平凡,和那些不陌生中的陌生。
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aperture 2015aperture 2015 Araki Nobuyoshi-1aperture 2015 Araki Nobuyoshi-2
《Aperture》2015 Sum. / Nobuyoshi Araki
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Nobuyoshi Araki – Kekkai

At his retrospective in London a decade ago, Nobuyoshi Araki’s presence was likened to a tornado. Indeed, as photographers go, Araki is something of a storm. His voluminous output now forms a library unto itself: more than five hundred books of his photographs have been published since the 1960s. Over the course of his career, Araki’s sharp and libidos eye has garnered a global cult following; he has incited controversy for his signature kinbaku (a Japanese form of bondage) images of kimono-draped models bound with rope. A tension between Eros and Thanatos is at the center of his work – the weight shifting to the latter as Araki ages. He is seventy-four and recently lose sight in his right eye, but in his work he shows no sign of slowing down. For Araki, photography and living are mutually dependent. An unfortunate fate becomes an area of creative exploration. His series Love on the Left Eye(2013-14) features photographs half-obscured with marker, and last December he presented the works seen on these pages, a new series of Polaroid collages titled Kekkai(2014), at Tokyo’s Art Space SM. The title invokes the Buddhist concept of a barrier cordoning off a sanctum. Araki splices together nudes and flowers, reanimating two of his long-standing preoccupations. “When you lose something, you gain something else,” Araki recently remarked about his reduced version. “I say to myself that I believe I should be able to see things differently.”
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aperture 2015 Suda Issei-3aperture 2015 Suda Issei-4aperture 2015 Suda Issei-7

《Aperture》2015 Sum. / Issei Suda
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Issei Suda

The ominous sight of a snake slithering up a doorframe, the sly glance of an intoxicated man at a festival, a street scene with an interplay of light and shadow hinting at the fantastic – these are all particular moments captured by Issei Suda, whose work invariably contains an element of something unsettling and otherworldly. His chosen format of 6 by 6 inches, somehow unnatural to the viewer, heightens the sense of unease. Aspects of Suda’s photographs invite comparison with Diane Arbus, whose pictures probe the darker side of human life. However something distinctively Japanese, grounded in a particularly Japanese emotional landscape and aesthetic, runs through Suda’s work.

Suda was born in 1940 and raised in the Kanda district of Tokyo, a place that still had vestiges of an old-fashioned culture derived from earlier, “better,” times, one imbued with the spirit of ikiIki is an aesthetic that is thought to have emerged among the merchant classes in Edo times and that prizes simplicity, beauty, wit, sophistication – an unabashed directness, a striping of things down to their bare bones. Like many children who grow up in urban settings, Suda was precocious, steeping himself in photography from his early teens. From the adults around him he was able not only to learn about photographic skills but also to gain a thorough appreciation of iki. The clear difference in his work from that of other photographers of his generation – and they all lived through the turmoil immediately after the war and the turbulence of student protests in the 1960s and 1970s – is largely due to the presence of this aesthetic in his pictures. It meant that Suda didn’t get caught up in capturing the larger drama of public and political events, but concentrated instead on revealing the more subtle drama that inhabits everyday moments.

Suda is especially interested in exploring the interstices between ordinary life and extraordinary occasions – local festivals and other customs and practices rooted in a peculiarly Japanese spiritual world. His photographs seek to capture split-second moments born in the tension between the festive (hare) and the mundane (ke), to capture the fleeting emotions and moods experienced by people – participants and observers – as they come and go between these two zones. An indication of Suda’ motivation is suggested by the title of his best-known work, Fushi Kaden (The transmission of the flower art, 1976), a collection of photographs that references a classic fifteenth-century book on the craft of acting by the Noh actor and playwright Zeami Motokiyo. “If hidden – a flower,” Zeami wrote. “Unless hidden, no flower at all.” Suda photographs the moments that lie hidden beneath the surface, drawing us into an “other” world that lies just beyond – or behind – the one that we see with our eyes.

With the heightened awareness of a traveler, Suda probes moments and spaces between the mundane and the surreal – chiseling out the stillness of reality. Suda’s travels are not to far-off places, but rather, as the title of another of his collections, Journey to the Tobacco Shop Around the Corner, suggests, they are short trips that one might make time and again in the course of daily life. And Suda continues to make his journeys, revealing the extraordinary in the ordinary, the unfamiliar in the familiar, even today.