"Departure - Travels of 6 Artists" Exhibition
This event has ended.
This exhibition presents the works of young photographers and video makers on the theme of "traveling". The scenes captured by them are diverse and include images from Japan and abroad, urban and rural areas and even imaginary landscapes. Their works attest for the fact that there exists a space that is different from the one we experience in everyday life. The exhibition is bound to mark a departure for the visitors on a journey of varied perception.
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[Image: Takeshi Dodo "Rishiri Island" 2003]
A bit of everything in this exhibition: large landscape shots of Fuji San, and small busy pictures of nondescript places in Japan. Interesting (though I preferred the Kimura/Cartier-Bresson show upstairs).
Contemporary photographers and a video maker present works on the theme of traveling in the latest installment of the Tokyo Metropolitan Museum of Photography’s; Views of the World by Japanese Photographers.
With the majority of the photographers on display documenting their travels within Japan and a video maker presenting animated computer-generated imagery then perhaps the viewer could be forgiven for thinking the title of the exhibition is greater than the sum of its parts.
Yet when confronted with Naoki Ishikawa’s dizzyingly large-scale images ‘mapping’ the surface of Mount Fuji, this minor quibble is forgiven. The landmark picture postcard is transformed into a poignant otherworldly place of beauty and wonderment.
The fleetingly populated Japanese archipelagos in Takeshi Dodo’s black and white photography, too, bring a touching perspective on the extremities of living at the furthermost reaches of not only Japanese soil but of humanity itself.
Rather disappointing, then, that the promise shown in Sayuri Naito’s stunning image of a red canopy flittering in the air of a French waterfront is not fulfilled by her other works on display. Koji Onaka’s ‘more is better’ approaches to photography display and a cute but obvious video installation by Hiraki Sawa confounded the impending sense of anticlimax.
Fortunately, Toshiya Momose’s moody and enigmatic images of India suffered no such problems. Drawing comparisons to Gregory Crewdson’s cinematic approach to stills photography, Momose’s desolate locations and attention to detail suggested narratives well beyond the frame: ‘…I became able to proceed with shooting through addressing something deeper than the subject before my eyes…this is how I, in my journeys to photograph cities, discover myself as a photographer, discovering a place uniquely my own.’