Press Release

The City—The Countryside Japanese photography of the 1960s and 1970s from the collection of the Museum der Moderne Salzburg June 20―September 13, 2020 Rupertinum Atrium, [1] & [2]

Press In The City—The Countryside, the Museum der Moderne Salzburg revisits its globally unrivaled collection of Japanese photography of Mönchsberg 32 5020 Salzburg the 1960s and 1970s. The selection in the new exhibition puts the focus Austria on the interrelations between city, countryside, and society. T +43 662 842220-601 F +43 662 842220-700 Salzburg, June 1, 2020. The breathtaking work produced by Japanese photographers in the 1960s and 1970s no doubt constitutes a key chapter in [email protected] www.museumdermoderne.at the country’s more recent art history. The novel visual language they developed signals a radical departure from the traditional conception of the image. Thanks to the personal dedication of Otto Breicha, the Museum der Moderne Salzburg’s founding director, the museum has a collection of around six hundred vintage prints from the period—a body of work that is without parallel in Austria. More than four decades after these pictures were taken, we presented a first selection under the title I-Photo, a coinage borrowed from the literary genre known as I-novel. Titled The City—The Countryside, our second exhibition of Japanese photography now puts the focus on the interrelations between city, countryside, and society. “Salzburg owes this extraordinary treasure to Otto Breicha’s vision and collecting zeal. I am delighted that, in continuing the series on Japanese photography we initiated in 2018, we also once again demonstrate our expertise as a center for fine art photography in Austria,” says Thorsten Sadowsky, director of the Museum der Moderne Salzburg. Christiane Kuhlmann, curator of photography and media art, argues that the pictures on display in the show are “singular documents of their time. Due to its geographical situation, Japan was able to maintain autochthonous cultural, artistic, and photographic traditions until 1945. The country’s opening to the outside world—with the Olympic Summer Games in 1964, the 1970 World’s Fair in Osaka, and the construction of Tokyo’s international airport—paved the way for an unprecedented economic boom, but it also shattered the entire nation’s long-held self-image. The photographs reflect not so much the bright sides of this golden age as rather the process of transformation with its darker edges.”

The exhibition The City—The Countryside illustrates how photographers perceived the country’s urban and rural topographies. Their style has been described as “are, bure, boke,” or “rough, blurry, out of focus.” With these pictures, the new Japanese photography—like the visual art of the postwar years before it—created a consciousness of the changing political and social reality. The two outstanding series Toshi-e / Towards the City (1974) by Yutaka Takanashi and To the Village (1973–76) by Kazuo Kitai stand at the center of the exhibition, which also brings the Salzburg debuts of the surreal pictures of Ikkō Narahara and works by Kikuji Kawada and Chōtoku Tanaka, who lived in Vienna in the 1970s and taught at the Salzburg College. All in all, the presentation will feature ca. two hundred works by twelve photographers, which, together with a look back at highlights in I-Photo, will limn a comprehensive portrait of this singular division of the Museum der Moderne’s collections. Among the photographers represented in the Museum der Moderne – Rupertinum Betriebsgesellschaft mbH 1/3 Press Release The City—The Countryside. Japanese Photography of the 1960s and 1970s from the collection of FN 2386452 the Museum der Moderne Salzburg Firmenbuchgericht Salzburg

Press museum’s holdings are celebrities like Nobuyoshi Araki, of whom we have more than 120 works, Daidō Moriyama, Masahisa Fukase, and the recently T +43 662 842220-601 F +43 662 842220-700 deceased Issei Suda. [email protected] After the exhibition in Salzburg closes, a selection of fifty pictures from www.museumdermoderne.at the museum’s collection will be on view at the renowned Japanese Cultural Institute in Cologne from September until late November of 2020.

With works by Nobuyoshi Araki (Tokyo, JP, 1940), Takashi Hanabusa (Kobe, JP, 1949–Tokyo, JP), Tetsuya Ichimura (Nagasaki, JP, 1930–Tokyo, JP), Yoji Jikihara (Shizuoka, JP, 1950–Yokohama, JP), Kikuji Kawada (Tsuchiura, JP, 1933– Tokyo, JP), Kazuo Kitai (Anshan, Manchukuo, CN, 1944–Tokyo, JP), Jun Morinaga (Nagasaki, JP, 1937–Tokyo, JP, 2018), Daidō Moriyama (Osaka, JP, 1938–Tokyo, JP), Ikkō Narahara (Fukuoka, JP, 1931–Tokyo, JP, 2020), Shinzō Shimao (Kobe, JP, 1948–Tokyo, JP, 2020), Issei Suda (Tokyo, JP, 1940–2019), Chōtoku Tanaka (Tokyo, JP, 1947), Hajime (Gen) Tokura (Okayama, JP, 1950), Matsutoshi Takagi (Tokyo, JP, 1948), Yutaka Takanashi (Tokyo, JP, 1935), Shuji Yamada (Nishinomiya, JP, 1939–Minami-Awaji, JP)

Curator: Christiane Kuhlmann with Andrea Lehner-Hagwood

2/3 Press Release The City—The Countryside. Japanese Photography of the 1960s and 1970s from the collection of the Museum der Moderne Salzburg

Press Press contact Martin Moser T +43 662 842220-601 F +43 662 842220-700 T +43 662 842220-601 M +43 664 8549 983 [email protected] [email protected] www.museumdermoderne.at

Visitor information Museum der Moderne Salzburg Rupertinum Wiener-Philharmoniker-Gasse 9 5020 Salzburg, Austria T +43 662 842220 [email protected] www.museumdermoderne.at

Opening Hours Tue―Sun 10 a.m.―6 p.m. Wed 10 a.m.―8 p.m. During festival season also Mon 10 a.m.―6 p.m.

Admission fees Rupertinum: Regular € 6 Reduced € 4,50 Groups (10 pax) € 4,50 Children/Teens (6–18) € 3,50 Families 2 adults + children € 12 1 adult + children € 9

3/3 Press Release The City—The Countryside. Japanese Photography of the 1960s and 1970s from the collection of the Museum der Moderne Salzburg

Press Images

The City―The Countryside Japanese photography oft he 1960s and 1970s from the collection of the Museum der Moderne Salzburg June 20―September 13, 2020 Rupertinum [1] & [2] Press The use of visual material is permitted exclusively in connection with coverage of the exhibition and with reference to the cited picture Mönchsberg 32 captions and copyright. No work may be cut nor altered in any way. 5020 Salzburg Austria Download: http://www.museumdermoderne.at/en/press/ T +43 662 842220-601 Username: press F +43 662 842220-700

Password: 456789 [email protected] www.museumdermoderne.at

Takashi Hanabusa Untitled, around 1975 Gelatin silver print on baryta

Museum der Moderne Salzburg © Takashi Hanabusa

Tetsuya Ichimura Nagasaki, 1971―72 Chromogenic print

Museum der Moderne Salzburg © Tesuya Ichimura

Yoji Jikihara Untitled, around 1970 Gelatin silver prints on baryta

Museum der Moderne Salzburg © Yoji Jikihara

Museum der Moderne – Rupertinum Betriebsgesellschaft mbH 1/4 Press Images The City―The Countryside. Japanese photography of the 1960s and 1970s from the collection of FN 2386452 the Museum der Moderne Salzburg Firmenbuchgericht Salzburg

Kikuji Kawada Untitled, 1960―62 From the series Youth Gelatin silver print on

baryta Museum der Moderne Salzburg © Kikuji Kawada

Kazuo Kitai Inbanuma, Chiba prefecture―river fishing, 1975 From the series To the Village Gelatin silver print on baryta Museum der Moderne Salzburg © Kazuo Kitai

Jun Morinaga Untitled, 1972 From the series Japanese Cities Gelatin silver print on baryta Museum der Moderne Salzburg © Daidō Moriyama

Ikko Narahara Two Garbage Cans, Indian Village, New Mexico, 1972, From the series Where time has vanished

Gelatin silver print on baryta Museum der Moderne Salzburg © Ikko Narahara

2/4 Press Images The City―The Countryside. Japanese photography of the 1960s and 1970s from the collection of the Museum der Moderne Salzburg

Shinzo Shimao Untitled, 1977 Gelatin silver print on baryta Museum der Moderne

Salzburg © Shinzo Shimao

Matsutoshi Takagi Untitled, undated Gelatin silver print on baryta

Museum der Moderne Salzburg © Matsutoshi Takagi

Yutaka Takanashi Untitled, 1974 From the series Toshi-e (Towards the City) Gelatin silver print on baryta Museum der Moderne Salzburg © Yutaka Takanashi

3/4 Press Images The City―The Countryside. Japanese photography of the 1960s and 1970s from the collection of the Museum der Moderne Salzburg

Chotoku Tanaka Untitled, 1973–77 From the series Vienna, Japan Gelatin silver print on baryta Museum der Moderne Salzburg © Chotoku Tanaka

Hajime Tokura Untitled, around 1970 Gelatin silver print on baryta

Museum der Moderne Salzburg © Gen Tokura

Shuji Yamada Landscape, Shinjuku Station West, Part 2 , 1969 Gelatin silver print on baryta Museum der Moderne Salzburg © Shuji Yamada

4/4 Press Images The City―The Countryside. Japanese photography of the 1960s and 1970s from the collection of the Museum der Moderne Salzburg

Exhibition Views

The City―The Countryside Japanese Photography of the 1960s and 1970s from the collection of the Museum der Moderne Salzburg June 20―September 13, 2020 Rupertinum [1] & [2] Press

All: The City―The Countryside. Japanese Photography of the 1960s and 1970s Mönchsberg 32 from the collection of the Museum der Moderne Salzburg 5020 Salzburg Austria Exhibition view, Museum der Moderne Salzburg, 2020 © Museum der Moderne Salzburg, Photo: Rainer Iglar T +43 662 842220-601 F +43 662 842220-700 Download: www.museumdermoderne.at/en/press/ [email protected] Username: press www.museumdermoderne.at Password: 456789

The City―The Countryside. Japanese Photography of the 1960s and 1970s from the collection of the Museum der Moderne Salzburg

Exhibition view Museum der Moderne Salzburg, 2020 © Museum der Moderne Salzburg, Photo: Rainer Iglar

The City―The Countryside. Japanese Photography of the 1960s and 1970s from the collection of the Museum der Moderne Salzburg Exhibition view Museum der Moderne Salzburg, 2020 © Museum der Moderne Salzburg, Photo: Rainer Iglar

The City―The Countryside. Japanese Photography of the 1960s and 1970s from the collection of the Museum der Moderne Salzburg Exhibition view Museum der Moderne Salzburg, 2020 © Museum der Moderne Salzburg, Photo: Rainer Iglar

Museum der Moderne – Rupertinum Betriebsgesellschaft mbH 1/4 Exhibition Views The City―The Countryside. Japanese Photography of the 1960s and 1970s from the collection FN 2386452 of the Museum der Moderne Salzburg Firmenbuchgericht Salzburg

Press

The City―The Countryside. T +43 662 842220-601 Japanese Photography of the F +43 662 842220-700 1960s and 1970s from the [email protected] collection of the Museum der www.museumdermoderne.at Moderne Salzburg

Exhibition view Museum der Moderne Salzburg, 2020 © Museum der Moderne Salzburg, Photo: Rainer Iglar

The City―The Countryside. Japanese Photography of the 1960s and 1970s from the collection of the Museum der Moderne Salzburg

Exhibition view Museum der Moderne Salzburg, 2020 © Museum der Moderne Salzburg, Photo: Rainer Iglar

The City―The Countryside. Japanese Photography of the 1960s and 1970s from the collection of the Museum der Moderne Salzburg

Exhibition view Museum der Moderne Salzburg, 2020 © Museum der Moderne Salzburg, Photo: Rainer Iglar

The City―The Countryside. Japanese Photography of the 1960s and 1970s from the collection of the Museum der Moderne Salzburg

Exhibition view Museum der Moderne Salzburg, 2020 © Museum der Moderne Salzburg, Photo: Rainer Iglar

2/4 Exhibition Views The City―The Countryside. Japanese Photography of the 1960s and 1970s from the collection of the Museum der Moderne Salzburg

Press The City―The Countryside. T +43 662 842220-601 Japanese Photography of the F +43 662 842220-700 1960s and 1970s from the collection of the Museum der [email protected] www.museumdermoderne.at Moderne Salzburg

Exhibition view Museum der Moderne Salzburg, 2020 © Museum der Moderne Salzburg, Photo: Rainer Iglar

The City―The Countryside. Japanese Photography of the 1960s and 1970s from the collection of the Museum der Moderne Salzburg

Exhibition view Museum der Moderne Salzburg, 2020 © Museum der Moderne Salzburg, Photo: Rainer Iglar

The City―The Countryside. Japanese Photography of the 1960s and 1970s from the collection of the Museum der Moderne Salzburg

Exhibition view Museum der Moderne Salzburg, 2020 © Museum der Moderne Salzburg, Photo: Rainer Iglar

The City―The Countryside. Japanese Photography of the 1960s and 1970s from the collection of the Museum der Moderne Salzburg

Exhibition view Museum der Moderne Salzburg, 2020 © Museum der Moderne Salzburg, Photo: Rainer Iglar

3/4 Exhibition Views The City―The Countryside. Japanese Photography of the 1960s and 1970s from the collection of the Museum der Moderne Salzburg

Press The City―The Countryside. T +43 662 842220-601 Japanese Photography of the F +43 662 842220-700 1960s and 1970s from the collection of the Museum der [email protected] www.museumdermoderne.at Moderne Salzburg Exhibition view Museum der Moderne Salzburg, 2020 © Museum der Moderne Salzburg, Photo: Rainer Iglar

4/4 Exhibition Views The City―The Countryside. Japanese Photography of the 1960s and 1970s from the collection of the Museum der Moderne Salzburg

The City—The Countryside Japanese Photography of the 1960s and 1970s from the collection of the Museum der Moderne Salzburg June 20–September 13, 2020 Rupertinum Atrium, [1] & [2]

Introtext

In the 1960s and 1970s, Japan evolved into a global leader in technology. The nation’s meteoric economic rise went hand in hand with urbanization and the concomitant depopulation of rural regions. Tokyo grew into the world’s largest city, surpassing ten million inhabitants in 1962. Two years later, the capital hosted the Olympic Games, an organizational feat that was celebrated as a national achievement. This transformation not only entailed changes in the country’s working environments, it also precipitated a radical upheaval in all domains of life.

Around the same time, Japan saw the emergence of a new artistic avant- garde in which the photographers of the period, such as those associated with the photography magazine Provoke, played leading roles. One member of this influential group, Yutaka Takanashi (Tokyo, JP, 1935), scrutinized the boundaries between urban and rural spaces and the traces of Western and especially American influence in the city in the famous series Toshi-e (Towards the City). Photographers like Kazuo Kitai (Anshan, CN, 1944) moved in the orbit of the student revolt of 1968, which was primarily fueled by opposition to the construction of the international airport at Narita and the expropriation of farmland for the project. These experiences led Kitai to take a sustained interest in the countryside, which resulted in an award-winning series he titled To the Village. In these two sets of masterpieces, the Museum der Moderne Salzburg has central works that reflect the revolutionary ferment of the period.

The exhibition surveys Japanese perceptions of urban and rural scenes of life in the mid-twentieth century. The style of the works has been described as are, bure, boke, or “rough, blurry, out-of-focus,” qualities that constitute their particular charm.

Works by Nobuyoshi Araki, Takashi Hanabusa, Tetsuya Ichimura, Yoji Jikihara, Kikuji Kawada, Kazuo Kitai, Jun Morinaga, Daidō Moriyama, Ikkō Narahara, Matsutoshi Takagi, Yutaka Takanashi, Chōtoku Tanaka, Gen Tokura, Shinzō Shimao, Issei Suda, Shuji Yamada

Mönchsberg 32 5020 Salzburg Austria

T +43 662 842220-101 F +43 662 842220-700

1/10 Walltexts The City—The Countryside. Japanese Photography of the 1960s and 1970s from the collection of the [email protected] Museum der Moderne Salzburg www.museumdermoderne.at

Worktexts

Nobuyoshi Araki (1940 Tokyo, JP)

Nobuyoshi Araki enrolled at Chiba University in 1959 to study film and photography. After graduating in 1963, he took a job with an advertising agency, complementing his work as a commercial photographer with his first personal photography projects.

In 1970, the artist proclaimed the “First Year of Araki.” Dis-satisfied with what he perceived as the stagnation of conventional photography, he launched a series of creative experiments. Accusing those of his colleagues who churned out popular and commercial images of mystification and dishonesty, he set out to devise a new form of photography that would paint an unflinching portrait of a society in rapid transformation.

After his wedding in 1971, he published a documentary series about his honeymoon trip with his wife Yoko in the small photo book Sentimental Journey. The travelogue—several of the pictures and a first edition of the book are in the Museum der Moderne Salzburg’s photography collection— marked the beginning of a career that would make Araki arguably the most famous Japanese photographer. He himself regarded the photo book as a new way of reporting from life: to his mind, taking pictures and living were synonymous. In a statement accompanying Sentimental Journey, he wrote: “The I-novel comes closest to photography,” referring to a literary genre in which the author’s own experiences, rendered as faithfully to reality as possible, are the materials out of which fiction is made.

In 1992, Camera Austria, Graz, mounted Araki’s first solo exhibition in Europe. In recent years, his shots of bondage scenes have become increasingly controversial, a debate that took on new urgency in 2018 in connection with the #MeToo movement.

Takashi Hanabusa (1949 Kobe, JP—Tokyo, JP)

After graduating from Kuwasawa Design School in Tokyo, Takashi (Lyu) Hanabusa worked for the publisher of the magazine Nippon Camera. In 1971, the photographer Yutaka Takanashi, who recorded Tokyo’s transformation and the development of a modern metropolitan society in the series Tôshi-e (Towards the City), hired him as an assistant. Taking inspiration from the older photographer’s work, Hanabusa renders the city as a place of mystery where tradition and modernity, high tech and nature clash. Deliberately leaving some details vague, as when faces are obscured by shadows, he frames his pictures such that human figures remain fragmentary or focuses on particulars of their attire that emblematize cherished Japanese traditions.

Hanabusa, who has worked as a freelance photographer since 1973, is a member of the Japan Professional Photographers Society.

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Tetsuya Ichimura (1930 Nagasaki, JP—Tokyo, JP)

Studying at Tokyo’s Nihon University, Tetsuya Ichimura was inspired to take up the camera by the work of Shōtarō Akiyama, and more specifically by Akiyama’s portraits of famous movie actresses like Yoshiko Kuga and his erotica. For a while, Ichimura pursued the same direction. In 1956, he participated in the first International Exhibition of Subjective Photography (Kokusai Shukanshugi Shashinten) in Tokyo, where he received an award for his work. Ichimura was influenced by the German avant-garde group fotoform and its three-part exhibition series subjektive fotografie I–III, which was featured at photokina, the world’s leading trade fair for photography technology in Cologne, in 1951, 1953, and 1958. The movement’s objective was to create abstract pictures, to be realized solely with the technical possibilities offered by the camera and the development and printing processes. Ichimura’s works in the Museum der Moderne Salzburg’s photography collection reveal his close affinity with the group’s photographic vision. In 1956, he established himself as a freelance photographer. By the late 1970s, he was devoting him-self to Japanese iconography, landscape photography, and his native Nagasaki.

Yoji Jikihara (1950 Shizuoka, JP—Yokohama, JP)

Yoji Jikihara studied photography at Nihon University, Tokyo, graduating in 1973. He had started publishing his work in 1970 in popular photography magazines of the period such as Asahi Camera. His first solo exhibition, titled Things that are difficult to name, was shown at the Shinjuku Nikon Salon in 1972. It was not until thirty years later, in 2001, that Jikihara presented his photographs from the 1970s, in a solo exhibition at the Doi Photo Plaza, Tokyo. A solo show at Salon Ginza in 2010 titled Throwing Clouds was dedicated to his work in color.

Jikihara records singular moments in everyday life, primarily in the Japanese capital. The Museum der Moderne Salzburg’s photography collection contains more than fifty of his works, which speak to the photographer’s interest in the whimsical and surreal.

Kikuji Kawada (1933 Tsuchiura, JP—Tokyo, JP)

Kikuji Kawada rose to renown with photographs that recorded the traces of the Second World War in Japan. The photographic cycle Chizu (1960– 1965), in which he documented the country’s wounds, was published in a book titled Chizu. The Map on August 6, 1965, the twentieth anniversary of the nuclear bombing of Hiroshima. Standing out not only for Kawada’s photographs, but also for its multifaceted design, it is now one of the most sought-after Japanese photo books.

The printed image in photo books and magazines has pre-occupied Kawada since his studies at Rikkyo University in Tokyo. In 1955, he was hired by Shinchosha Publishing, where he was involved in putting together the first

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issue of the weekly magazine Shukan Shincho and oversaw the production of glamour and portrait photography. In 1959, he cofounded the group VIVO with Eikoh Hosoe, Ikkō Narahara, Akira Satō, Akira Tanno, and Shōmei Tōmatsu. The VIVO photographers initiated a discourse on the fundamental questions of photographic practice: on its role in a possible social and political revolution, its ambiguous function as both documentary evidence and art, and its structural dialectic between subjective and objective realism. Although they also found inspiration in contemporary American and European photography, their work was primarily informed by the existential and radical ideas that Japan’s intellectual cultural avant-garde of the postwar years had proposed.

Kawada was among the photographers whose work was on view in the exhibition New Japanese Photography at the Museum of Modern Art, New York, in 1974. The show sparked Otto Breicha’s enthusiasm for contemporary Japanese photography. The works in the Museum der Moderne Salzburg’s photography collection exemplify Kawada’s later oeuvre, in which he turned to themes from art history or motifs from astronomy and nature. In 1998, he collected these works in three books: Los Caprichos (1969–1981), Rasuto kosumoroji. The Last Cosmology (1979– 1997), and Car Maniac (1991–1998).

In 1996, Kawada was given the annual award of the Photo-graphic Society of Japan, and in 2003, the Tokyo Metropolitan Museum of Photography dedicated a retrospective to his oeuvre under the title Theatrum Mundi. In 2011, the Photographic Society of Japan honored him with its Lifetime Achievement Award.

Kazuo Kitai (1944 Anshan, Mandschurei, CN—Tokyo, JP)

Kazuo Kitai, who was raised in Kōbe, dropped out of the fine art program at Nihon University after half a year to take photographs of the student revolts that rocked Tokyo in the 1960s. The protesters rejected expropriations of farmland and the trade agreement with the United States. In 1965, the young photographer published Resistance, his first photo book on this subject, which captured the 1964 demonstrations near the U.S. Navy base in Yokosuka. In 1966 and 1967, he dedicated all his energy to his work for political student groups. The following year, Kitai moved to Sanrizuka, a village east of Tokyo, where protests against the construction of the new airport often erupted in violent clashes between villagers and the authorities. His experiences led him to undertake extensive studies of the countryside and the living conditions and autochthonous traditions of the rural population. “The Country” is an unusual theme in the canon of Japanese photography, and so the works in the Museum der Moderne Salzburg’s photography collection are arguably rare treasures.

In 1975, Kitai was honored with the inaugural Kimura Ihei Award, Japan’s most prestigious prize for a young fine art photographer, which is given out by the magazine Asahi Camera in memory of the photographer Kimura Ihē (Tokyo, JP, 1901–1974). As part of the award, the magazine underwrote the

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publication of a mono-graphic special edition of his work. Released in 1976, the volume is dedicated to Kitai’s series To the Village. This initial publication of pictures from the series was followed by two more books on the same subject in 1980 and 2001. The first photo book on Kitai’s countryside series produced outside Japan came out in 2018.

Jun Morinaga (1937 Nagasaki, JP—2018 Tokyo, JP)

Jun Morinaga studied photography at Nihon University, Tokyo, graduating in 1960. In 1963, he received the Photographic Society of Japan’s emerging photographer award.

He began his career as an assistant to the American photographer William Eugene Smith, who had arrived in Japan in 1945 as a war photographer for the American magazine LIFE and witnessed the Battle of Okinawa. Smith saw himself as a neutral observer, and after the war, he turned to stories that we would now describe as investigative journalism. With his wife, Aileen Mioko, an American with Japanese roots, he lived in the Japanese city of Minamata from 1971 to 1973, where they produced a long-term reportage on the effects of mercury poisoning caused by the dumping of heavy metals. Morinaga started working for Smith around this time, and subsequently adopted water as his central theme. The works in the Museum der Moderne Salzburg’s photography collection, however, are deftly delineated urban views that must date from an earlier time.

Morinaga’s work garnered awards from the Japan Critics Association and the Photographic Society of Japan.

Daidō Moriyama (1938 Osaka, JP—Tokyo, JP)

Daidō Moriyama is one of Japan’s leading contemporary photographers. He studied design and photography in Kōbe before moving to Tokyo in 1961 and deciding to focus all his energy on photography. After a stint as Eikō Hosoe’s assistant, he went freelance as a photographer in 1964.

With the art critic Kōji Taki and the photographers Yutaka Takanashi, Shōmei Tōmatsu, and Takuma Nakahira, Moriyama was a member of the group around the influential magazine Provoke. Although no more than three issues appeared in 1968 and 1969, Provoke changed the course of the history of photography. The magazine championed the idea that photographic images can express what cannot be put into words. The photo- graphers associated with Provoke aspired to a visual style they described as are-bure-boke, or “rough, blurry, out-of-focus”—an aesthetic that still defines Moriyama’s work. Tokyo is the in-exhaustible subject of Moriyama’s pictures. In an interview, he has said: “For me cities are enormous bodies of people’s desire.” Day after day, he roams the metropolis’s streets, taking photo- graphs of whatever attracts or affects him—but without peering through his small compact camera’s viewfinder. Shots of street traffic, of pedestrians, shop windows, posters, and details such as lips, eyes, or plants are

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recurrent motifs. All pictures are printed with harsh black-and-white contrasts that lend them an eerie and otherworldly air, as though they had floated up from the world of dreams. Moriyama has published several hundred photo books that are distinguished by a novelistic quality. Japan: A Photo Theater (1968) was the first book in which he devised this anecdotal form.

In 1983, the Photographic Society of Japan, an organization dedicated to the promotion of photography in Japan, elected him its photographer of the year. In 2012, the International Center of Photography, New York, honored him with its Infinity Award for Lifetime Achievement, given in recognition of outstanding con-tributions to photography and visual art.

Ikkō Narahara (1931 Fukuoka, JP—2020 Tokyo, JP)

Ikkō Narahara took up the camera while studying law and art history at Chūō and Waseda Universities in Tokyo. His first solo exhibition, titled Ningen no tochi (Human Land), presented pictures he had taken on the islands of Hashima and Sakurajima. In 1958, his show Okuko (Kingdom) earned him the Japan Photography Critics’ Association’s emerging photographer award. With Eikoh Hosoe, Kikuji Kawada, Akira Satō, Akira Tanno, and Shōmei Tōmatsu, he founded the artists’ group VIVO in 1959; they had a laboratory and studio just outside Ginza, a well-known district of Tokyo. From 1962 until 1965, Narahara lived in Europe and the United States, creating the series Europe: Where Time Has Stopped and Where Time Has Vanished, which he published in photo books that have become iconic. Back in Japan, he won the Geijutsu Senshō Prize of the Agency for Cultural Affairs and the Mainichi Art Award in 1968, followed, in 1986, by the annual award of the Photographic Society of Japan. Retrospectives of his oeuvre were shown at the Maison Européenne de la Photographie, Paris, in 2002 and at the Tokyo Metropolitan Museum of Photography in 2004. Numerous international museums hold works by Ikkō, as he was generally known.

In addition to the three large-format photographs on display, the Museum der Moderne Salzburg boasts first editions of the photo books Japanesque (1970) and Celebration of Life (1972).

Shinzō Shimao (1948 Kobe, JP—2020 Tokyo, JP)

Shinzō Shimao grew up in Kōbe and on the island of Amami Ōshima. He studied photography at Tokyo Zokei University, graduating in 1974. China Town, his first solo show, which was displayed at Galleria Grafica, Tokyo, in 1975, presented a series of pictures from an extended tour of Southeast Asia in the early 1970s. Among them were the sixty works now in the Museum der Moderne Salzburg’s photography collection. As our research during the preparations for this exhibition has revealed, they are rare handmade prints, of which only a small number survives.

Shimao had numerous solo shows, including Life 1990–1995 at the Tokyo Metropolitan Museum of Photography, with pictures for which he trained his

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lens on his family’s private life. Asia, however, remained his central theme. Beginning in 1981, he and his wife, the photographer Tokuko Ushioda, traveled several times a year to China, where Shimao studied the country’s diverse ethnic groups and their way of life. The photographs from these trips were published in 2008 in the photo book Wandering in China. It was edited by the Japanese photography expert Yoko Sawada, who also assisted the Museum der Moderne Salzburg’s efforts to categorize and date this important photographer’s output. In addition to his photography, Shimao is a noted writer and essayist.

Issei Suda (1940–2019 Tokyo, JP)

Issei Suda was trained at the Tokyo College of Photography, from which he graduated in 1962. From 1967 until 1970, he worked as a stage photographer for the avant-garde theater ensemble Tenjō Sajiki, which was led by the writer and filmmaker Shūji Terayama.

In the late 1960s, Suda and others opposed to the style championed by the magazine Provoke founded the group Kompora. The label is a typical Japanese compound, a contraction of the English terms “contemporary” and “photography.” The group’s key point of reference was Contemporary Photographers: Toward a Social Landscape, an exhibition held at the George Eastman House in Rochester, N.Y., in 1966. Their goal was to create lucid and accurate portrayals of everyday life in a clinical visual idiom. Despite the aspiration to cool objectivity, however, some of their pictures strike beholders as no less enigmatic and unsettling.

That is certainly the impression one gets from the works presented here, a selection from the series Fûshi Kaden (1975−1976), which was published as a photobook—Suda’s first—by Asahi Sonorama in 1978. The series proposes a visual discourse on tradition and modernity. The enormous tension between Japan’s hypermodern cities and the deep-rooted traditions lingering in rural areas is a theme that preoccupies Suda throughout his life. For Fûshi Kaden, he crisscrossed the country; many pictures were taken at the traditional festivals known as matsuri. The title is difficult to translate. It is a tribute to a theoretical disquisition on Nō theater penned in the early fifteenth century by one of its leading practitioners, the grand master Zeami Motokiyo. Sketching his vision of the beauty and style of drama, the author compares it to a flower that has not yet fully blossomed. But he also examines questions of inward perception and outward expression in theatrical performance. Issei Suda translates this vision into his mode of photography. The figures in his pictures sometimes seem to be involved in some kind of stage action and yet utterly unaware of it, as though only the photographer knew the director’s script.

Suda was a professor at the Osaka University of Arts and received the Domon Ken Award in 1997.

7/10 Walltexts The City—The Countryside. Japanese Photography of the 1960s and 1970s from the collection of the Museum der Moderne Salzburg

Matsutoshi Takagi (1948 Tokyo, JP)

Matsutoshi Takagi studied photography at Tokyo’s Nihon University. Upon graduating in 1971, he went to work for the Nippon Design Center, still one of the country’s leading advertising agencies. His series Another One, which he presented in his first solo exhibition at the Shinjuku Nikon Salon in 1972, earned Takagi the Semi Grand Prize of the Taiyo Award, which has been given out by the Japanese culture and society magazine Taiyo since 1964. For his series Under Clouds, begun in the mid-1970s, Takagi picked up a 4×5 large-format camera, which is used to take composed individual photographs rather than several shots in rapid succession. The pictures in the Museum der Moderne Salzburg’s photography collection are staged landscape and architecture photographs, which stand out primarily for their distinctive choices of detail and inscrutable compositions. Interweaving the motifs of city and countryside, Takagi’s work limns a singular somber aesthetic.

In 1995, he founded the photography studio Kimella in Tokyo. The retrospective Shade in Shadows mounted by the Canon Gallery in Tokyo and Osaka in 2009 surveyed his oeuvre between 1973 and 1985. Takagi’s most recent exhibition, titled Paris 1995, was shown in Kōbe in 2014.

Yutaka Takanashi (1935 Tokyo, JP)

Together with the art critic Kōji Taki and the photographers Takuma Nakahira, Shōmei Tōmatsu, and Daidō Moriyama, Yutaka Takanashi founded the legendary photography magazine Provoke. The no more than three issues of the magazine they produced in 1968 and 1969 proved enormously influential, paving the way for the new Japanese photography.

Takanashi studied photography at Nihon University and, from 1959 until 1961, at the Kuwasawa Design School in Tokyo. He received the Photographic Society of Japan’s 8th annual new-comer award in 1964, followed, in 1967, by the Paris Biennale’s emerging fine-art photographer’s award. Working as a freelance photographer for advertising agencies, he used his free time to undertake extensive photographic studies of Tokyo. The trans-formation of the metropolis propelled by social changes, techno- logical innovations, and economic reforms became his central theme. He captured the city in the characteristic Provoke style, called are-bure-boke (rough, blurry, out-of-focus) in Japan, publishing the results in a series of photo books, including Tôshi-e (Towards the City), released in 1974, which is now regarded as a masterwork of the Provoke era; Machi (Town), which came out in 1977; Tokyoites 1978–1983 (1983); and Chimeiron: genius loci, Tokyo (2000).

In 2012, the Fondation Henri-Cartier Bresson, Paris, mounted a major solo exhibition of Takanashi’s important oeuvre that introduced him to wider European audiences. His success in Europe subsequently also led to a rediscovery of his work in Japan.

8/10 Walltexts The City—The Countryside. Japanese Photography of the 1960s and 1970s from the collection of the Museum der Moderne Salzburg

Chōtoku Tanaka (1947 Tokyo, JP)

Chōtoku Tanaka was one of the few Japanese photographers who took an interest in Europe—in his case, more specifically in Austria—in the early 1970s. He was trained at Nihon University, Tokyo, graduating in 1970. The year before, he had had an exhibition at the newly established Nikon Salon in the Tokyo district of Shinjuku. As a freelance photographer, he published work in the Japanese magazines Camera Mainichi and Asahi Camera, but also in the Swiss Camera. In 1973, he left Tokyo for Vienna, and the following year, Otto Breicha wrote a profile of him for the literary journal Protokolle. He became Breicha’s research assistant and accompanied the curator on his trip to Japan in 1975. Thanks to Tanaka’s connections in Japan’s young photo-graphy scene, photographers like Shinzō Shimao and Yoji Jikihara were included in Breicha’s exhibition Neue Fotografie aus Japan and Junge Fotoszene Japan 1976. Tanaka stayed in Vienna until 1980, practicing a participant observation of city life, before moving to New York and then Prague, where he lived until 2014. In 1979, Tanaka gave a workshop at the Salzburg College and taught at the International Summer Academy of Fine Arts. He holds a visiting professorship at the University of Osaka.

Hajime (Gen) Tokura (1950 Okayama, JP)

Hajime (Gen) Tokura was trained in industrial design at the Technical University of Okayama. Afterwards he moved to Tokyo to study photography. Around the time of his graduation from Nihon University in 1973, he started publishing his work in various magazines, including Asahi Camera and Camera Mainichi. His first solo exhibition, Phenomenon on the Edge of Light, was held at the Shinjuku Nikon Salon in 1971. Tokura adopted the artist’s name Gen early in his career, presumably because it would be more easily remembered by international audiences. After his studies, he was employed at a printing shop and a photography agency in Tokyo for several years. It is not known whether and how he pursued fine art photography after that. The Museum der Moderne Salzburg’s photography collection has fifty-eight works by Tokura, mostly portraits and scenes from a historic city, likely Okayama, where he lives and runs a photography studio today.

Shuji Yamada (1939 Nishinomiya, JP—Minami-Awaji, JP)

Shuji Yamada, who received a degree from the Kuwasawa Design School, Tokyo, in 1960, specialized in architecture photography. The distinctive vision of urban photography he began to develop in the mid-1960s is evident in the works in the Museum der Moderne Salzburg’s photography collection, which date from that time. He was less interested in the details of the buildings he photographed than in their overall dimensions and the enormous crowds they accommodated. In rendering the face of the city, Yamada sought to visualize the impact that a decades-long economic boom had had on society.

9/10 Walltexts The City—The Countryside. Japanese Photography of the 1960s and 1970s from the collection of the Museum der Moderne Salzburg

In 1972, the March issue of the architecture journal SD ran several of his pictures, printed in an experimental layout. He pursued the project of urban photography for a decade, presenting the fruits of his efforts in 1979 in the exhibition Japan Village: Nihonmura 1969–79 at the Minolta Photo Space, Tokyo, and a photo book of the same title. Yamada’s works were also included in group shows such as Fifteen Photographers Today, on view at the National Museum of Modern Art, Tokyo, in 1975, where the artist drew Otto Breicha’s attention. In 1978, he contributed work to Ma, Espace-Temps du Japon, a presentation at the Musée des Arts Décoratifs, Paris, curated by the architect and urban designer Arata Isozaki.

In 1982, Yamada abandoned photography and moved to the island of Awaji in the Seto Inland Sea to learn the craft of “kawara,” the manufacture of traditional Japanese clay roof tiles.

10/10 Walltexts The City—The Countryside. Japanese Photography of the 1960s and 1970s from the collection of the Museum der Moderne Salzburg

The City—The Countryside Japanese Photography of the 1960s and 1970s from the collection of the Museum der Moderne Salzburg June 20 – September 13, 2020 Rupertinum [1] & [2]

Works in the exhibition

Works are listed alphabetically and chronologically. Descriptive titles are not set in italics. Dimensions are given in height and width in both inches and centimeters. The photographs are vintage prints.

Nobuyoshi Araki 1940 Tokyo, JP

Untitled, 1969–1976 From the series “Yoko My Love” 9.84 x 7.08 in. (25 x 18 cm) each 3 7.95 x 10.15 in. (20,2 x 25,8 cm) 6.10 x 9.52 in. (15,5 x 24,2 cm) each 4 11.41 x 7.48 in. (29 x 19 cm) 9.05 x 11.33 in. (23 x 28,8 cm) GB 1_1-45_23,29,30 / GB 2_1-39_1,8,9,24,36 / GB 4_1-5_5 / GB 5_1-10_7

Untitled, ca. 1970 9.84 x 7.08 in. (25 x 18 cm) GB 1_1-45_2

Untitled, 1971 From the series “Sentimental Journey” 9.84 x 7.08 in. (25 x 18 cm) each 2 7.48 x 11.41 in. (19 x 29 cm) 12.99 x 19.68 in. (33 x 50 cm) each 3 10.11 x 10.11 in. (25,7 x 25,7 cm) GB 1_1-45_14 / GB 5_1-10_3 / GB 6_1-3_1 / GB 44_1-13_4,5,6

All: gelatin silver prints on baryta paper

Takashi Hanabusa 1949 Kobe, JP—Tokyo, JP

Untitled, ca. 1975 Gelatin silver prints on baryta paper 6.37 x 9.05 in. (16,2 x 23 cm) 6.85 x 6.85 in. (17,4 x 17,4 cm) each 4 GB 15_1-31_8 / GB 16_1-11_5,8,10,11

1/8 List of Works The City—The Countryside. Japanese Photography of the 1960s and 1970s from the collection of the Museum der Moderne Salzburg

Tetsuya Ichimura 1930 Nagasaki, JP—Tokyo, JP

Nijubashi, Imperial Palace, Tokyo, ca. 1965 9.96 x 7.20 in. (25,3 x 18,3 cm) GB 41

Kyoto Palace, Kyoto, 1968 8.03 x 10 in. (20,4 x 25,4 cm) GB 30_1-5_1

Untitled, ca. 1968 10.23 x 7.20 in. (26 x 18,3 cm) each 2 6.81 x 10.11 in. (17,3 x 25,7 cm) 7.87 x 10.35 in. (20 x 26,3 cm) GB 30_1-5_2,3,4,5

All: gelatin silver prints on baryta paper

Nagasaki, 1971–1972 Chromogenic prints 12.20 x 16.14 in. (31 x 41 cm) each 2 16.14 x 11.73 in. (41 x 29,8 cm) GB 50_1-3_1-3

Yōji Jikihara 1950 Shizuoka, JP— Yokohama, JP

Untitled, 1973–1975 Gelatin silver prints on baryta paper 5.82 x 8.50 in. (14,8 x 21,6 cm) each 23 8.50 x 5.82 in. (21,6 x 14,8 cm) each 2 GB 24_1-36_2,3,5,7,9,10,11,13,14,15,16,19,20,21,22,23,25,27,29,30,31,33,34/ GB 26_1-15_13,14

Kikuji Kawada 1933 Tsuchiura, JP—Tokyo, JP

Untitled, 1960−1962 From the series “Youth” 39.62 x 58.42 in. (15,6 x 23 cm) GB 39

Untitled, 1970−1976 From the series “Los Caprichos” (The Whims) 8.42 x 8.42 in. (21,4 x 21,4 cm) 10.62 x 7.08 in. (27 x 18 cm) 7.08 x 10.62 in. (18 x 27 cm) each 2 7.12 x 9.37 in. (18,9 x 23,8 cm) each 2 7.08 x 11.41 in. (18 x 29 cm) 7.10 x 10.82 in. (18,4 x 27,5 cm) 6.14 x 9,05 in. (15,6 x 23 cm) GB 38_1-19_1,2,3,4,6,7,12,16,19

2/8 List of Works The City—The Countryside. Japanese Photography of the 1960s and 1970s from the collection of the Museum der Moderne Salzburg

All: gelatin silver prints on baryta paper

Kazuo Kitai 1944 Anshan, CN—Tokyo, JP

Kijishi, 1973 (Woodworker) 9.77 x 14.79 in. (25 × 37,8 cm) GB 52_1-16_16 GB 9_1-10_1

Matagi, 1973−1976 (Hunter) 9.76 x 14.72 in. (24,8 x 37,4 cm) 14.76 x 9.77 in. (25 × 37,2 cm) each 2 GB 49_1-5_3 / GB 52_1-16_9,12

Shokatan, Hokkaido, 1974 11.14 x 7.48 in. (28,3 x 19 cm)

Kume, Okayama prefecture, 1974 7.51 x 11.11 in (19,1 x 28,3 cm) 14.76 x 9.76 in. (37,5 x 24,8 cm) GB 9_1-10_5,8

Inbanuma, Chiba district, river fisherman, 1975 14.76 x 9.77 in. (25 x 37,5 cm) GB 52_1-16_5

Goshogake-onsen, Akita prefecture, Tojiba (medical thermal bath), 1975 9.77 x 14.77 in. (25 × 37,5 cm) GB 52_1-16_10

Ohgo, Gunma district, Kuwabata (mulberry field), 1975 9.77 x 13.50 in. (25 × 34,3 cm) GB 52_1-16_14

Taue, 1976 (Rice farmers) 9.77 x 14.75 in. (25 x 37,3 cm) GB 52_1-16_7

Mogamigawa, Yamagata district, 1976 7.51 x 11.10 in. (19,1 x 28,2 cm) GB 9_1-10_6

All: from the series “To the Village” All: gelatin silver prints on baryta paper

3/8 List of Works The City—The Countryside. Japanese Photography of the 1960s and 1970s from the collection of the Museum der Moderne Salzburg

Jun Morinaga 1937 Nagasaki—2018 Tokyo, JP

Untitled, 1972 From the series “Japanese Cities” Gelatin silver prints on baryta paper 6.53 x 9.72 in. (16,6 x 24,7 cm) each 10 GB 32_1-10

Daidō Moriyama 1938 Osaka, JP—Tokyo, JP

Untitled, ca. 1960 6.49 x 9.72 in. (16,5 x 24,7 cm) each 3 GB 31_1-10_4,5,8

National Highway 1 AT, Dawn 1, Asahi-cho, Kuwana City, Mie Prefecture, 1968 6.49 x 9.72 in. (16,5 x 24,7 cm) GB 31_1-10_10

Untitled, ca. 1970 From the series “Tales of Tono” 6.49 x 9.72 in. (16,5 x 24,7 cm) GB 31_1-10_6

Stray Dog, Misawa, Aomori, 1971 11.02 x 16.14 in. (28 x 41 cm) GB 46_1-2_2

All: gelatin silver prints on baryta paper

Ikko Narahara 1931 Fukuoka, JP—2020 Tokyo, JP

Side of Pool, Lake Powell, Utah, 1971 64.77 x 86,36 in. (22,5 × 34 cm) GB 51_1-3_1

Long Fence, Illinois, 1972 64.77 x 86.36 in. (22,5 × 34 cm) GB 51_1-3_2

Two Garbage Cans, Indian Village, New Mexico, 1972 57.40 x 85.43 in. (22,6 × 33,6 cm) GB 51_1-3_3

All: from the series “Where Time Has Vanished” All: gelatin silver prints on baryta paper

4/8 List of Works The City—The Countryside. Japanese Photography of the 1960s and 1970s from the collection of the Museum der Moderne Salzburg

Shinzō Shimao 1948 Kōbe, JP—2020 Tokyo, JP

Hong Kong, 1970 8.03 x 11.18 in. (20,3 x 28,4 cm) each 2 GB 3_1-43_2,22

Nathan Road, Hong Kong, 1970 8.03 x 11.18 in. (20,3 x 28,4 cm) each 2 GB 3_1-43_9,10

Lunar New Year, Taipei, 1970 8.03 x 11.18 in. (20,3 x 28,4 cm) GB 3_1-43_32

Manila, 1970−1975 6.41 x 9.64 in. (16,3 x 24,5 cm) each 2 6.41 x 9.68 in. (16,3 x 24,6 cm) 6.22 x 9.52 in. (15,8 x 24,2 cm) 8.03 x 11.18 in. (20,3 x 28,4 cm) each 5 GB 3_1-43_6,14,17,34,40 / GB 12_1-43_1,6,8,10

Wedding, Manila, 1973 7.99 x 11.18 in. (20,3 x 28,4 cm) GB 3_1-43_16

Bangkok, 1973 6.25 x 9.64 in. (15,9 x 24,5 cm) 7.99 x 11.18 in. (20,3 x 28,4 cm) GB 12_1-43_16 / GB 3_1-43_41

Jai Alai Building, Manila, 1974 7.99 x 11.18 in. (20,3 x 28,4 cm) GB 3_1-43_18

Movie theatre, Hong Kong, 1974 7.99 x 11.18 in. (20,3 x 28,4 cm) GB 3_1-43_26

Rizal Park, Manila, 1974 7.99 x 11.18 in. (20,3 x 28,4 cm) GB 3_1-43_28

All: gelatin silver prints on baryta paper

Issei Suda 1940 Tokyo, JP—2019 Tokyo, JP

Enoshima Island, Kanagawa district, 1975 6.06 x 6.22 in. (15,4 x 15,8 cm) GB 27_1-8_1

5/8 List of Works The City—The Countryside. Japanese Photography of the 1960s and 1970s from the collection of the Museum der Moderne Salzburg

Meigetsuin Temple, Kamakura, Kanagawa district, 1975 6.06 x 6.22 in. (15,4 x 15,8 cm) GB 27_1-8_4

Kamakura, Kanagawa district, 1975 6.06 x 6.22 in. (15,4 x 15,8 cm) each 2 6.06 x 6.06 in. (15,5 x 15,4 cm GB 27_1-8_6,7,8

Annaka, Gunma district, 1976 6.06 x 6.22 in. (15,4 x 15,8 cm) each 2 GB 27_1-8_2,3

Jokanji Temple, Matsuzaki, Shizuoka district, 1976 6.07 x 6.22 in. (15,5 x 15,8 cm) GB 27_1-8_5

All: from the series “Fûshi Kaden” All: gelatin silver prints on baryta paper

Chōtoku Tanaka 1947 Tokyo, JP

Untitled, 1973−1977 From the series “Vienna, Japan” Gelatin silver prints on baryta paper 6.23 x 8.81 in. (15,3 x 22,4 cm) each 10 8.97 x 6,23 in. (22,8 x 15,3 cm) each 3 4.84 x 7.16 in. (12,3 x 18,2 cm) each 2 4.33 x 6.69 in. (11 x 17 cm) each 2 GB 13_1-28_1,2,5,8,10,14,16,19,20,21,23,25,27 / GB 14_1-16_1,4,5,7

Hajime (Gen) Tokura 1950 Okajama, JP

Untitled, ca. 1970 Gelatin silver prints on baryta paper 5.51 x 50.61 in. (14 x 14,3 cm) each 16 5.11 x 7.48 in. (13 x 19 cm) 5.70 x 5.70 in. (14,5 x 14,5 cm) GB 10_1-54_3,8,10,12,13,14,15,16,17,18,22,30,31,32,35,39,51 / GB 25_1-4_4

6/8 List of Works The City—The Countryside. Japanese Photography of the 1960s and 1970s from the collection of the Museum der Moderne Salzburg

Yutaka Takanashi 1935 Tokyo, JP

Untitled, 1974 From the series “Tôshi-e” (Towards the City) Gelatin silver prints on baryta paper 49.53 x 72.64 in. (19,5 × 28,6 cm) each 9 72.64 x 49.53 in. (28,6 x 19,5 cm) 10,62 x 16,08 in. (27 x 40,8 cm) GB 34_1-10 / GB 48

Matsutoshi Takagi 1948 Tokyo, JP

Untitled, 1974−1975 From the series “Under Clouds” Gelatin silver prints on baryta paper 7.00 x 8.97 in. (17,8 x 22,8 cm) each 3 7.28 x 9.25 in. (18,5 x 23,5 cm) each 2 8.07 x 7.99 in. (20,5 x 25,3 cm) GB 19_1-13_10,11 / GB 20_1-17_7,8,16,17

Shuji Yamada 1939 Nishinomiya, JP— Minami-Awaji, JP

Landscape, Toshimaen-theme park in Tokyo, summer, 1969 7.67 x 11.14 in. (19,5 x 28,3 cm) GB 33_1-10_2

Landcape, Shinjuku Station West, part 2, 1969 7.65 x 11.14 in. (19,3 x 28,3 cm) GB 33_1-10_10

Untitled, ca. 1970 7.28 x 9.96 in. (18,5 x 25,3 cm) 7.67 x 12.00 in. (19,5 x 30,5 cm) 7.87 x 11.61 in. (20 x 29,5 cm) GB 33_1-10_1,5,7

Landscape, Shinjuku, 1971 11.50 x 7.87 in. (29 x 20 cm) GB 33_1-10_3

Landscape, line 7, winter, 1971 11.90 x 11.81 in. (20,7 x 30 cm) GB 33_1-10_4

Landscape, apartment complex, spring, part 1 and 2, 1971 9.44 x 11.81 in. (24 x 30 cm) 8.66 x 11.81 in. (22 x 30 cm) GB 33_1-10_8,9

7/8 List of Works The City—The Countryside. Japanese Photography of the 1960s and 1970s from the collection of the Museum der Moderne Salzburg

Yokkaichi (Mie prefecture), summer, 1972 4.88 x 11.88 in. (12,4 x 30,2 cm) GB 33_1-10_6

All: from the series “Japanese Villages” All: gelatin silver prints on baryta paper

Documentary in the exhibition

Tokyo arises from the ashes, 2016 Film (color, sound) German Directed by Julien Olivier Edited by ARTE France 1:30 min.

Books in the exhibitions

From Otto Breicha’s library: Japanesque. Ikko Narahara. Tokyo, 1970.

From Otto Breicha’s library: Nobuyoshi Araki, Sentimental Journey. Tokyo, 1971. (original version)

From Otto Breicha’s library: Nobuyoshi Araki, Sentimental Journey, Okinawa. Tokyo, 1971. (on the book cover: „Dr. Breicha, Araki Nobuyoshi, in Japan”)

Aus der Bibliothek Otto Breichas / From Otto Breicha’s library: Celebration of Life. Ikko Narahara. Tokyo, 1972.

From Otto Breicha’s library: Nobuyoshi Araki, Tokyo. Tokyo, 1973.

From Otto Breicha’s library: New Japanese Photography. Exh.cat. Museum of Modern Art, New York. New York, 1974.

Protokolle− Wiener Jahresschrift für Literatur, bildende Kunst und Musik. Ed. Otto Breicha, 1974/76. With article about Chotoku Tanaka.

Kazuo Kitai. To the Village. Asahi Camera magazine, Tokyo, special issue, october, 1976.

Neue Fotografie aus Japan. Exh.cat. Kulturhaus Graz. Vienna, Graz, 1977.

Chotoku Tanaka. Graz, 1977..

Issei Suda. The work of Liftime. Photographs 1968-2006. Berlin, 2011.

Daido Moriyama.Tales of Tono. London, 2012.

Daido Moriyama.Tokyo. Exh.cat. Fondation Cartier pour l’art contemporain, Paris. Paris, 2016.

Kazuo Kitai. To the Village. Berlin, 2017.

Daido Moriyama. A Diary. Exh.cat., Hasselblad Center, Göteborg. Köln, 2019.

8/8 List of Works The City—The Countryside. Japanese Photography of the 1960s and 1970s from the collection of the Museum der Moderne Salzburg