Keywords
Photography
Aesthetics
New Documentary Photography
How to Cite
Abstract
This article explores the similarities and differences between the photographic production of Naito Masatoshi (from the mid-1960s to 2012) and the contemporary work of Shiga Lieko. Said exploration will reveal the importance that the Tohoku region has for the projects of both photographers, as well as the exploration of the relationship between the visible and the invisible in photography. In parallel, the main thematic concerns and visual strategies of his photographic productions will be detailed, as well as the impact they have on the history of photography in Japan and the possibilities they open up for a new documentary photography.
References
Bergson, H. (2004). Matter and memory. Nueva York: Dover Publications.
Didi-Huberman, G. (2012). Arde la Imagen. Oaxaca: Ediciones Ve.
Furumaya, T. (1997). A reconsideration of modern Japan through the lens of Ura Nihon. Tokio: Iwanami Shoten.
Gordon Guerrero, J.B. (julio 2018). Entrevista del autor con Arai Takashi. Tokio.
______. (2018). Entrevista del autor con Lieko Shiga. Sendai.
Hourquet, P. (2016). Provoke: Between protest and performance [Fotografía]. Steidl.
Hidemichi, K. (2016). Tōhoku: Japan ‘s Constructed Outland. Países Bajos: Brill.
Iizawa, C. (2003). The evolution of postwar photography. En The history of Japanese photography (209-259). Yale University Press.
Ishida, T. (2018). Another World Unveiled: A discourse on Naito Masatoshi. En Naito Masatoshi: Another world unveiled (170-180). Tokio: Tokyo Photographic Art Museum.
Miyazaki, M. (2013). Miyazaki Manabu: The pencil of nature [Fotografía]. Izu photo museum.
Merleau-Ponty, M. Lefort, C. y Lingis, A. (1992). The visible and the invisible. Illinois: Northwestern University Press.
Naito, M. (1966). Japan Discovered. En Camera Jidai.
______. (1983). Tono Monogatari. Shunju-sha.
______. (2005). Interview: Converging and Expanding Cosmology. En Journal
of Tohoku Culture Research Center (Mandala 25). Tokio: Tohoku
University of Art and Design.
______. (2009). Photography and Folklore. En Photography and Folklore:
Mesmerizing Tohoku. Tokio: Kichijoji Art Museum.
______. (2015). Interview: Photographing the unseen nature. Asahi Camera.
______. (2016). 古代金属国家論. Rittōsha.
______. (2018). The camera Behind the camera: Photography and Folklore
Studies. En Naito Masatoshi: Another world unveiled (165-169). Tokio: Tokyo Photographic Art Museum.
Nomura, H. (1994). Time-Space 1968 to 1993. Kornisha.
Oguma, M. (2016) The Study of Japan through Japanese Folklore Studies. Japanese Review of Cultural Anthropology, 16, 237-250.
Oparin, A. (2020). El Origen de la Vida. Ediciones Akal.
Shiga, L. (2007). Lilly. Japón: Akakasha.
______. (2007). CANRY. Japón: Akakasha.
______. (2009). CANARY-MON. Japón: Akakasha.
______. (2012). “志賀理恵子インタビュー。ある分からない確実な何か”.
En 芸術批評誌 凶区 創刊号.
______. (2012). Rasenkaigan: notebook. Japón: Akakasha.
______. (2013). Rasenkaigan: Album. Japón: Akakasha.
Yamazaki, H. (2017). Yamazaki Hiroshi Concepts and Incidents. Musashino Art University.
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
Copyright (c) 2023 HArtes