Tag Archives: William Klein + Daido Moriyama

William Klein + Daido Moriyama @ Tate Modern

テートモダンの「William Klein + Daido Moriyama」(10月10日〜2013年1月20日)展は、アメリカ人フォトグラファーで映像作家のウィリアム・クラインと、1960年代の「プロヴォーク」ムーブメントで名を上げた森山大道という二人の写真家の、1950年代〜現代までの作品を展示。スナップショット、ブレやボケの意図的使用、粒子の粗いモノクロ写真といったヴィジュアル的に似た作風、そして、都市の貧困やグローバリゼーション、反戦デモやゲイ・パレードといった、人々の日常生活や政治的抗議行動を作品対象とするなど、共通点の多い二人の作品が同時に鑑賞できる。また、写真のみならず、グラフィックデザインを取り入れた、パイオニア的作品も展示されている。



→写真上はクライン、下は森山作品。森山氏のインタビュー記事。参照写真:BBC / Telegraph

Tate Modern’s “William Klein + Daido Moriyama (Oct 10 – Jan 20, 2013)” is double retrospective of the influential American photographer and filmmaker William Klein and Japanese photographer Daido Moriyama who merged from Japanese Provoke movement of the 1960s. With work from the 1950s to the present day, the exhibition demonstrates the visual affinity between their urgent, blurred and grainy style of photography and also their desire to convey street life and political protest, from anti-war demonstrations and gay pride marches to the effects of globalisation and urban deprivation. The exhibition explores not only photography itself but also pioneering use of graphic design to their works.

First seven rooms showcase Klein’s street shots in his native New York as well as Tokyo and Rome, fashion shoots, early paintings incorporating typography, photograms, satirical films of Mister Freedom and Who Are You Polly Maggoo?, and painted contact sheets, to prove his diverse talent as abstract painter, filmmaker, documentarian and graphic designer. Unlike Klein’s wide-ranging works, Moriyama’s 6 rooms after Klein’s focus more on photography, especially his well-known cityscapes of Tokyo, as well as scenes from the various routes and highways throughout Japan, close-ups of everyday objects, slideshow of northern island of Hokkaido, and the issues of Provoke magazine in which Moriyama and his contemporaries showcased their works.

Both photographers captured the ordinary people and lives in grainy black & white photos. But impressions from their works are quite different. Klein wanted the viewer to be aware of his own presence at the scene and interacted with his subjects to provoke a response. His photos are vibrant and powerful. On the other hand, Moriyama emotionally detaches from his subjects, and his photos of urban life often provocative and sensational, disclosing darker side of the city that you don’t want to see. The scenes of the isolated countryside are sad and depressing, instead of peaceful or picturesque. Overall, I have to say that I prefer Klein to my fellow Japanese, Moriyama in this exhibition.

→above photos: Klein’s / below: Moriyama’s. More photos: BBC / Telegraph