Embrace #60
stock nr:
1017
artist(s):
EIKOH HOSOE
title:
Embrace #60
medium:
gelatin silver print
date created:
1970 — date printed: 1980s
dimensions:
height 365mm x width 540mm — height 14.37inch x width 21.26inch
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Untitled from Woman (Sunset Mieko)
stock nr:
2140
artist(s):
AKIRA SATO
title:
Untitled from Woman (Sunset Mieko)
medium:
Gelatin Silver Print
date created:
1960 — date printed: later
dimensions:
height 280mm x width 360mm — height 11.02inch x width 14.17inch
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Where time has vanished - plate 16
stock nr:
1920
artist(s):
IKKO NARAHARA
title:
Where time has vanished - plate 16
medium:
selenium-toned gelatin silver print
date created:
1972 — date printed: 1975
dimensions:
height 275mm x width 400mm — height 10.83inch x width 15.75inch
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Tiger, Kigure Circus
stock nr:
1830
artist(s):
AKIRA TANNO
title:
Tiger, Kigure Circus
medium:
ferrotyped gelatin silver print
date created:
1957 — date printed: 1957
dimensions:
height 183mm x width 271mm — height 7.20inch x width 10.67inch
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Zeno & Kiki, from the Last Cosmology
stock nr:
1998
artist(s):
KIKUJI KAWADA
title:
Zeno & Kiki, from the Last Cosmology
medium:
selenium-toned gelatin silver print
date created:
1995 — date printed: 1995
dimensions:
height 220mm x width 272mm — height 8.66inch x width 10.71inch
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Kamaitachi #35
stock nr:
1817
artist(s):
EIKOH HOSOE
title:
Kamaitachi #35
medium:
gelatin silver print
date created:
1968 — date printed: late 60s
dimensions:
height 207mm x width 303mm — height 8.15inch x width 11.93inch
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Kamaitachi #5
stock nr:
1569
artist(s):
EIKOH HOSOE
title:
Kamaitachi #5
medium:
gelatin silver print
date created:
1968 — date printed: late 70s-early 80s
dimensions:
height 387mm x width 575mm — height 15.24inch x width 22.64inch
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Untitled from 'I am King'
stock nr:
1213
artist(s):
SHOMEI TOMATSU
title:
Untitled from 'I am King'
medium:
gelatin silver print
date created:
1967 — date printed: 1975
dimensions:
height 246mm x width 347mm — height 9.69inch x width 13.66inch
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Untitled from Woman (Mayumi)
stock nr:
2145
artist(s):
AKIRA SATO
title:
Untitled from Woman (Mayumi)
medium:
Gelatin Silver Print
date created:
1962
dimensions:
height 280mm x width 360mm — height 11.02inch x width 14.17inch
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Where time has vanished - plate 7
stock nr:
1919
artist(s):
IKKO NARAHARA
title:
Where time has vanished - plate 7
medium:
selenium-toned gelatin silver print
date created:
1972 — date printed: 1976
dimensions:
height 270mm x width 400mm — height 10.63inch x width 15.75inch
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Circus Tent
stock nr:
1829
artist(s):
AKIRA TANNO
title:
Circus Tent
medium:
ferrotyped gelatin silver print
date created:
1956-1957 — date printed: 1956-1957
dimensions:
height 194mm x width 298mm — height 7.64inch x width 11.73inch
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Embrace #62
stock nr:
1997
artist(s):
EIKOH HOSOE
title:
Embrace #62
medium:
gelatin silver print
date created:
1971 — date printed: c1971
dimensions:
height 85mm x width 125mm — height 3.35inch x width 4.92inch
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Untitled, from the series 'Simmon: A Private Landscape'
stock nr:
1367
artist(s):
EIKOH HOSOE
title:
Untitled, from the series 'Simmon: A Private Landscape'
medium:
gelatin silver print
date created:
1971 — date printed: 1975
dimensions:
height 342mm x width 268mm — height 13.46inch x width 10.55inch
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Untitled from Oh Shinjuku!!
stock nr:
1211
artist(s):
SHOMEI TOMATSU
title:
Untitled from Oh Shinjuku!!
medium:
gelatin silver print
date created:
1969 — date printed: 1980
dimensions:
height 230mm x width 310mm — height 9.06inch x width 12.20inch
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Untitled from Woman (Cyclopean Eye with Kyoko)
stock nr:
2141
artist(s):
AKIRA SATO
title:
Untitled from Woman (Cyclopean Eye with Kyoko)
medium:
Gelatin Silver Print
date created:
1962 — date printed: later
dimensions:
height 280mm x width 360mm — height 11.02inch x width 14.17inch
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Devil's Bridge, Segovia, Spain
stock nr:
1369
artist(s):
IKKO NARAHARA
title:
Devil's Bridge, Segovia, Spain
medium:
gelatin silver print
date created:
1964 — date printed: 1980s
dimensions:
height 232mm x width 340mm — height 9.13inch x width 13.39inch
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Embrace #59
stock nr:
1028
artist(s):
EIKOH HOSOE
title:
Embrace #59
medium:
gelatin silver print
date created:
1971
dimensions:
height 243mm x width 162mm — height 9.57inch x width 6.38inch
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Boxing, Kigure Circus
stock nr:
1828
artist(s):
AKIRA TANNO
title:
Boxing, Kigure Circus
medium:
ferrotyped gelatin silver print
date created:
1957 — date printed: 1957
dimensions:
height 180mm x width 270mm — height 7.09inch x width 10.63inch
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Kamaitaci #34
stock nr:
1583
artist(s):
EIKOH HOSOE
title:
Kamaitaci #34
medium:
gelatin silver print
date created:
1968 — date printed: late 70s-early 80s
dimensions:
height 591mm x width 394mm — height 23.27inch x width 15.51inch
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Embrace #8
stock nr:
1561
artist(s):
EIKOH HOSOE
title:
Embrace #8
medium:
gelatin silver print
date created:
1971 — date printed: later
dimensions:
height 124mm x width 83mm — height 4.88inch x width 3.27inch
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Untitled from I am King
stock nr:
1212
artist(s):
SHOMEI TOMATSU
title:
Untitled from I am King
medium:
gelatin silver print
date created:
1969 — date printed: 1978
dimensions:
height 267mm x width 393mm — height 10.51inch x width 15.47inch
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Embrace #23
stock nr:
1560
artist(s):
EIKOH HOSOE
title:
Embrace #23
medium:
gelatin silver print
date created:
1971 — date printed: later
dimensions:
height 240mm x width 172mm — height 9.45inch x width 6.77inch
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Untitled from Woman (Kyoko)
stock nr:
2142
artist(s):
AKIRA SATO
title:
Untitled from Woman (Kyoko)
medium:
Gelatin Silver Print
date created:
1962
dimensions:
height 280mm x width 360mm — height 11.02inch x width 14.17inch
editions:
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Ordeal by Roses # 34
stock nr:
1368
artist(s):
EIKOH HOSOE
title:
Ordeal by Roses # 34
medium:
gelatin silver print
date created:
1961/2 — date printed: 1960s/70s
dimensions:
height 298mm x width 202mm — height 11.73inch x width 7.95inch
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Man and Woman #24
stock nr:
1054
artist(s):
EIKOH HOSOE
title:
Man and Woman #24
medium:
gelatin silver print
date created:
1960 — date printed: 1970s
dimensions:
height 180mm x width 319mm — height 7.09inch x width 12.56inch
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Bird's Shadow in Venice, from 'Where time has stopped'
stock nr:
1033
artist(s):
IKKO NARAHARA
title:
Bird's Shadow in Venice, from 'Where time has stopped'
medium:
gelatin silver print
date created:
1964 — date printed: 1975
dimensions:
height 332mm x width 213mm — height 13.07inch x width 8.39inch
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Sad Eyes, Kigure Circus
stock nr:
1824
artist(s):
AKIRA TANNO
title:
Sad Eyes, Kigure Circus
medium:
ferrotyped gelatin silver print
date created:
1957 — date printed: 1957
dimensions:
height 302mm x width 215mm — height 11.89inch x width 8.46inch
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Ordeal by Roses #7
stock nr:
1794
artist(s):
EIKOH HOSOE
title:
Ordeal by Roses #7
medium:
gelatin silver print
date created:
1961-62 — date printed: later
dimensions:
height 290mm x width 205mm — height 11.42inch x width 8.07inch
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Kamaitachi #31
stock nr:
1581
artist(s):
EIKOH HOSOE
title:
Kamaitachi #31
medium:
gelatin silver print
date created:
1968 — date printed: late 70s-early 80s
dimensions:
height 387mm x width 584mm — height 15.24inch x width 22.99inch
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Untitled from Woman (Kyoko)
stock nr:
2144
artist(s):
AKIRA SATO
title:
Untitled from Woman (Kyoko)
medium:
Gelatin Silver Print
date created:
1961
dimensions:
height 360mm x width 280mm — height 14.17inch x width 11.02inch
editions:
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Where time has vanished - plate 1
stock nr:
1918
artist(s):
IKKO NARAHARA
title:
Where time has vanished - plate 1
medium:
selenium-toned gelatin silver print
date created:
1972 — date printed: 1975
dimensions:
height 275mm x width 400mm — height 10.83inch x width 15.75inch
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Elephants
stock nr:
1826
artist(s):
AKIRA TANNO
title:
Elephants
medium:
ferrotyped gelatin silver print
date created:
1956-1957 — date printed: 1956-1957
dimensions:
height 183mm x width 270mm — height 7.20inch x width 10.63inch
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Kamaitachi #23
stock nr:
1816
artist(s):
EIKOH HOSOE
title:
Kamaitachi #23
medium:
gelatin silver print
date created:
1965 — date printed: c1970
dimensions:
height 239mm x width 300mm — height 9.41inch x width 11.81inch
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Kamaitachi #20
stock nr:
1576
artist(s):
EIKOH HOSOE
title:
Kamaitachi #20
medium:
gelatin silver print
date created:
1968 — date printed: late 70s-early 80s
dimensions:
height 575mm x width 387mm — height 22.64inch x width 15.24inch
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Untitled from Woman (Kyoko)
stock nr:
2143
artist(s):
AKIRA SATO
title:
Untitled from Woman (Kyoko)
medium:
Gelatin Silver Print
date created:
1962 — date printed: later
dimensions:
height 360mm x width 280mm — height 14.17inch x width 11.02inch
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Kamaitachi #19
stock nr:
1815
artist(s):
EIKOH HOSOE
title:
Kamaitachi #19
medium:
gelatin silver print
date created:
1965 — date printed: c1970
dimensions:
height 239mm x width 300mm — height 9.41inch x width 11.81inch
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Untitled, from Simmon
stock nr:
1586
artist(s):
EIKOH HOSOE
title:
Untitled, from Simmon
medium:
gelatin silver print
date created:
1971 — date printed: late 70s-early 80s
dimensions:
height 256mm x width 267mm — height 10.08inch x width 10.51inch
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Kamaitachi #26
stock nr:
1577
artist(s):
EIKOH HOSOE
title:
Kamaitachi #26
medium:
gelatin silver print
date created:
1968 — date printed: late 70s-early 80s
dimensions:
height 381mm x width 571mm — height 15.00inch x width 22.48inch
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artists

info

IBASHO proudly presents the exhibition VIVO, a group show with work by the founders of the renowned Japanese photographer’s collective VIVO, Eikoh Hosoe, Kikuji Kawada, Ikko Narahara, Akira Sato, Akira Tanno and Shomei Tomatsu. Although VIVO was active only from 1959 until 1961, it culminated a movement in postwar Japanese photography called ‘the image school’ with roots dating back to the early 1950s and anticipated and profoundly influenced Japanese photographic style of the 1960s and 1970s. 


The VIVO photographers forged a discourse on the fundamental questions of photography as praxis—its relationship to social and political revolution, its ambiguous function as both documentary evidence and art, and its structural dialectic between subjective and objective realism. Drawing on the prewar history in Japan of both photojournalism and surrealist art photography, and inspired by contemporary American and European photography, VIVO arose in response to the existential and radical ideas that shaped Japan’s postwar intellectual and cultural vanguard.


The VIVO artists all were born in the 1930s and raised under Japan’s imperialist regime, and came of age amid war, defeat, and devastation. They emerged in the mid-1950s as youths who, disappointed in institutionalised politics and resisting the postwar Americanisation, were dedicated to the possibility of art to transform Japan’s socially entrenched statism. Most of all, their subject was postwar Japan—its modernity, its identity, and its wartime past, which was silenced but not gone. 


What distinguishes their work from that of the earlier generation of documentary photographers is their obsession with how to describe immediate experience: their images are not comments on experience, but experience itself. The VIVO artists aimed to express, rather than merely document, the visual and existential discord that pervaded everyday life. They accomplished this through their clear concepts, a meticulous sense of composition and framing, coupled with a heavy emphasis on the symbolic.


SHOMEI TOMATSU (1930-2012) is the most widely known member of VIVO. He was also very active in the theoretical discussions around the function of photography that took place in 1960. He developed the richest personal realm of photography during the period of ‘the image school’. After becoming an independent photographer in 1956, he produced several series, taken with a critical eye, of people living in the postwar society of small towns. Tomatsu’s critical spirit was combined with a stronger symbolic expression in his series 'Occupation', in which he pointed his camera at American military bases and their surrounding towns. In 1961 Tomatsu began a paramount series of photographs of Nagasaki. His work was quite distinct from stereotyped photography of the aftermath of the bomb, implying an ambitious approach that involved layering images. His photographic activity, including his series Oh! Shinjuku (1969) and I am a King (1972) from which works are exhibited at IBASHO, continued to exercise a definitive influence on the younger generation of photographers that emerged in the 1960s and after. 


IKKO NARAHARA (1931) was the first photographer of this younger ‘image school’ generation who received much attention for his very first project as a photographer Human Land in a Tokyo gallery in 1956. Narahara’s sharp images, informed by a lucid consciousness of issues, had a strong impact on young photographers and critics, evoking a wide circle of response. Narahara’s work received such attention because it was the result of a clear intention to create a ‘personal document’. For him the pursuit of realism was ‘a process of laying bare the inner form by thoroughly depicting the exterior.’ Narahara’s work is distinguished by a sensibility that might be called otherworldly, severed from the emotionalism and damp climate of Japan. From 1962 Narahara spent three years in Europe where he created Where Time has Stopped, continuing his inquiry into ‘the sense of artificial construction that was distinctly at odds with the naturalist spirit of the Japanese’. He spent the years from 1970 to 1974 in the US, resulting in a collection entitled Where Time has Vanished. Works from these periods abroad can be seen at IBASHO. 


KIKUJI KAWADA’s (1933) work contained an even stronger antinaturalist orientation than Narahara’s images. Kawada’s photographs were coloured by a grotesque aesthetic sense and a fantastic obsession with tactility. Beginning with a November 1961 one-man show entitled The Map at the Fuji Photo Salon, Kawada produced a series of work in which he captured on high-contrast monochrome film scenes of places that were suffused with the memory of absolute violence, including the atomic-bomb dome in Hiroshima, the ruins World War II fortifications, and a crumpled Japanese flag. This orientation toward pitch-black, minute, and monomaniacal images carried through Kawada’s later work, including Sacre Atavism, 1971, Cosmos of the Dream King, 1979 and his long-lasting major work, The Last Cosmology from which work is shown in the VIVO exhibition. The Last Cosmology series was captured between 1980 and 2000. Originally published in parts in the 1980s, it was compiled into a publication and solo exhibition in 1995. The series seemingly ties together the dramas of the skies with the end of two historical eras on earth: the ‘Showa’ era with the death of the Emperor in Japan and the 20th century.


EIKOH HOSOE (1933) began as a student photographer and garnered attention for his rough, direct treatment of sexuality in his solo show Man and Woman (1960). Hosoe’s series, Embrace (1969-70) can be seen as the successor of Man and Woman as it depicts abstract, almost transparent male and female nudes, intended to symbolise the possibility of a dialogue between man and woman.

Hosoe’s photography is often linked with his artist acquaintances. His seminal series Ordeal by Roses was for example created in 1963 with the famous writer Yukio Mishima as a model, and the series Man and Woman and Kamaitachi (1969) were created with the founder of the experimental Butoh dance, Tatsumi Hijikata as the model. For the series Simmon: A Private Landscape (1971) Hosoe collaborated with Simon Yotsuya an artist and Situation Theater actor who eventually came to prominence for his dolls, which have been exhibited around the world.

Works from all the mentioned series are on exhibition at IBASHO.


AKIRA SATO (1930-2002) experimented with exploring deep psychology using the techniques of fashion photography, in which area he made his living. He is widely acclaimed for his iconic, graphic and experimental photographs of women in a series of images entitled Cyclopean Eye, published in Camera Mainichi in 1962 and his seminal book, entitled Women (1971), is an enigmatic collection of portraits subtly meshed with fashion. Both series are represented in the exhibition.


AKIRA TANNO (1925-2017) developed a technique for photographing the dynamism of stage performance in his best known series called Circus (1956-57), which combined documentary photography with lyrical expression. The series, shown at IBASHO, was shot in a short period of time towards the end of the 1950s. Within his long career it is of particular significance, representing the link between pre-war and post-war photography. So freely distinct from the major photographic movement of the time, the very personal and retrospective imagery helps us to see another aspect of post-war history.