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」。
《Aperture》2015 Sum.夏季號 – 荒木經惟 Nobuyoshi Araki
《Aperture》2015 Sum.夏季號 – 須田一政 Issei Suda
《Aperture》2015 Sum. / Nobuyoshi Araki
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.”
《Aperture》2015 Sum. / 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 iki. Iki 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.