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RECORD No.27
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This rare volume of Record is the first ever to feature both new color and black-and-white photographs, all of which were taken during Moriyama’s stay in Hong Kong last March.
The photographs featured in volume 27 of Record were taken during my stay in Hong Kong for an exhibition of my works that took place there last March.
Compared to "A Passerby's View," as an essay collection that was just published (Getsuyosha) is titled, these photos were taken from what I'd rather describe as 'a promenader's view." During my short stay of only four days, I roamed the streets of Hong Kong and shot whatever caught my attention whenever I had some time between opening reception, press interviews and other items on my agenda.
And now, just as I'm writing this down, TV footage of several major streets in Hong Kong jumps to my eye, showing exactly the places I photographed crowded with hordes of local people. As a matter of fact, the Hong Kong people suddenly started demonstrating against the government, and the pictures I'm seeing right now on TV show vehemently protesting democratic wingers occupying the streets. These demonstrations did occur out of the blue, but the truth is that the sense of disquiet and distrustfulness toward the policy-makers had been an underlying issue in the daily lives of the Hong Kong residents for quite some time, and now it must have reached boiling point and became obvious. Watching the footage on TV, I began to ask myself what would have been if I happened to be there. I would have taken pictures, of course, and now I can't help but imagine what exactly I would have pointed my camera at, and what kinds of images I would have eventually captured. Even though this is certainly something one can only know if one is actually there, and even if the resulting photographs would certainly be nothing more than pictures taken from a passerby's view, I had no choice but to think once again about myself, about photography, about the world, about the stance of photographing things, and about the significance of snapshots.
That's because it surely is easy to release the shutter button and take pictures, but that conscious sense of distance that hovers in the space between the photographer and the photographed always contains some severe and delicate issues beyond imagination.
– from afterwords by Daido Moriyama
- Book Size
- 278 x 220 mm
- Pages
- 90 pages
- Printing
- softcover
- Publication Date
- 2014
- Publisher
- Akio Nagasawa Publishing
Daido MORIYAMA
森山大道
Born 1938 in Osaka. After working as an assistant for photographers Takeji Iwamiya and Eikoh Hosoe, he went independent in 1964. He has been publishing his works in photography magazines among others, and received a New Artist Award from the Japan Photo Critics Association for Japan: A Photo Theater in 1967. Between 1968 and ’70 he was involved in the photo fanzine Provoke, and his style of grainy, high-contrast images that came to be referred to as “are, bure, boke” (grainy, blurry, out-of-focus) made an impact on the realm of photography. Solo shows at New York’s Metropolitan Museum of Art and the Fondation Cartier pour l'Art Contemporain in Paris solidified Moriyama’s worldwide reputation, and in 2012, he became the first Japanese to be awarded in the category of Lifetime Achievement at the 28th Annual Infinity Awards hosted by the International Center of Photography (ICP) in New York. The “William Klein + Daido Moriyama” exhibition together with William Klein at London’s Tate Modern in 2012-13 was a showdown of two immensely popular photographers that took the world by storm.
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Prints of Daido MORIYAMA
