Record n°30

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Record n°30

Daido Moriyama

Akio Nagasawa Publishing

2016
45.00€

280x210x6 mm
couverture souple, 124 pages, texte de Daido Moriyama en japonais & anglais
signé

Record
est le magazine personnel dont Daido Moriyama publia les premiers numéros à compte d'auteur en 1972-1973, avec l'intention d'un rythme de parution mensuel, avant la reprise du projet en 2006. Avec les années, Record est devenu tout à la fois le journal de bord et le carnet de note de l'artiste. Ou, comme il se plaît à le répéter, sa  « ligne de vie » qui court en-deçà de ses multiples projets qui ponctuent son existence.

"I went there mainly to attend a reception party for my solo exhibition at a refurbished former royal palace that currently houses the Museum for Photography and Visual Arts (MMPVA); talk with students at a local art university, and do several press interviews.

Although my eyes seemed to detect a certain changeover in the city of Marrakesh that I hadn't seen for half a century, borrowing the rhetoric of Takuma Nakahira, I would say, "Marrakesh was there in front of my eyes and looked like no other place than Marrakesh.” The scenery that I felt and perceived with my eyes was indeed that same old Marrakesh, that kingdom of light that I had seen long before.
Once I had finished my various businesses, I grabbed my camera and took a dive into the chaos of the city. After wandering around for a while, I made a little side trip to one of the indigenous Berber people's settlements that are Mountains, and took some pictures scattered at the edge of the Atlas Mountains, and took some pictures. While I was walking around photographing, at some point a certain chain of words began to engrave itself into my mind. It was a very sensitive phrase formules by Elias Canetti in his wonderful travel record The Voices of Marrakesh: “I had been here hundreds of years ago but I had forgotten and now it was all coming back to me". In other words, I was feeling something I would describe as a philosophical contemporaneousness, of history and of civilization, or perhaps some kind of far distant memory of the things and paths I seemed to have walked in a former life.
This time I tried and walked several routes in the souks that run like a labyrinth inside the medina of Marrakesh, and while pointing my camera at these people at the intersection of various ethnic groups, I found myself completely lost in rambling speculations about “why the human world is so similar and yet so different at the same time...”

Daido Moriyama, extrait du prologue de Record n°30


Mémoires d'un chien

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Mémoires d'un chien

Daido Moriyama

Delpire

2016
30.00€

167x198x23 mm

couverture souple, reliure brochée avec rabats, 304 pages, texte en français

Cet ouvrage propose une façon originale de découvrir ou redécouvrir l'univers de Daido Moriyama. Il regroupe le premier volume de l'autobiographie de l'artiste paru dans les années 1980 et une sélection de photographies issues de chacun des "Records", le magazine personnel ou journal de bord que Daido Moriyama a tenu en 1972-73, puis à nouveau depuis 2006 grâce au concours de l'éditeur Akio Nagasawa.

Record n°33

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Record n°33

Daido Moriyama

Akio Nagasawa Publishing

2016

278 x 220 mm
couverture souple, 88 pages, texte de Daido Moriyama en japonais & anglais
signé

Record est le magazine personnel dont Daido Moriyama publia les premiers numéros à compte d'auteur en 1972-1973, avec l'intention d'un rythme de parution mensuel, avant la reprise du projet en 2006. Avec les années, Record est devenu tout à la fois le journal de bord et le carnet de note de l'artiste. Ou, comme il se plaît à le répéter, sa  « ligne de vie » qui court en-deçà de ses multiples projets qui ponctuent son existence.

"October 29 was for me a Saturday just like any other Saturday. As usual, I put my camera into the pocket of my jacket in the morning, and walked down to the coffee shop near the park at Ikebukuro station’s West Exit to have my coffee, while shooting the occasional picture as I leisurely passed through familiar sceneries. I a set back and enjoyed my coffee and my cigarette, before heading home, and dropping by a super market near Rikkyo Univeraity on the way. During that hour or so, I pushed my camera's shutter-release button about three dozen times, surrounded by the chilly air of a dull, cloudy day.
Back home I spent the time from before noon until around two seeking out some ten-odd negatives that I was asked to make prints rom, and once I was done with that, I was ready for some more shooting and left the apartment. My plan for the day was to take the bus to Nakano from lkebukuro Station, and take photos and more photos in the Nakario-Asagaya neighborhood. However, as I approached the lkebukuro West Exit bus stop, the sky turned increasingly dark, and since my mood took a similarly gloomy tun, l frankly changed my mind, and decided to spend the rest of the day in Ikebukuro. So l walked up to the North Exit area and strolled through the streets, and from there, took the underpass to the eat side, where I continued to walk around and do some shooting until l eventually found myself on Sunshine-doori. And that was no good. It was Halloween, and before I knew it, I was in the middle of a Halloween parade. Problem is, I hate Halloween. Dammit, I thought, but avoiding the Halloween crowd was against my usual habit. The pavement was full of costumed and dressed-up people, so I took a deep breath myself and took a dive into the crowd, where l ended up shooting for almost an hour. As soon as I spotted a gap in the parade I seized the opportunity to sneak down to the South Exit, and catch my breath at a coffee shop in a quiet back alley.
While sitting there and absent-mindedly sipping my coffee, a certain thought literally flashed across my mind. It was a thought that had never occurred to me before. The idea was to fill one issue of Record exclusively with the photos taken on this particular day. For a very long time I’d been bragging about how I’d only need a single day to shoot enough material to fill an entire photo book, but in reality it never was that easy. But as this was the plan that I hatched over my coffee, it dawned on me that I had no other choice this time. I left the coffee shop, and by the time I arrived at home, the sun had already set. But now I had a plan, and according to that, I left the coffee continued to roam the neighborhood with my camera and flashlight, and even after walking into my apartment, I tried and pointed my camera also at things I know rather well.
I was only able to do such thing, make a book like this at will, thanks to the existence of this very Record as a medium that has been a a big support for me and my constant desire to go out and take street snaps. Thank you, Nagasawa-san!"

Daido Moriyama, extrait du prologue de Record n°33


a room A

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a room A

Daido Moriyama

Akio Nagasawa Publishing

2015
129.00€

213x340x5 mm

couverture souple sérigraphiée, exemplaire signé, 250 exemplaires, 22 pages

Les 3 éditions de a room sont issues d'un "printing show" réalisé à la galerie Akio Nagasawa à Tokyo en janvier 2015. Inventé en 1974 par Moriyama, ce type de performance explore le concept de la création collective, dans laquelle les participants sont invités à choisir eux-mêmes les photographies qu'ils souhaitent assembler au sein d'un livre unique publié sur place.

a room B

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a room B

Daido Moriyama

Akio Nagasawa Publishing

2015
129.00€

213x340x5 mm

couverture souple sérigraphiée, exemplaire signée, 250 exemplaires, 22 pages

Les 3 éditions de a room sont issues d'un "printing show" réalisé à la galerie Akio Nagasawa à Tokyo en janvier 2015. Inventé en 1974 par Moriyama, ce type de performance explore le concept de la création collective, dans laquelle les participants sont invités à choisir eux-mêmes les photographies qu'ils souhaitent assembler au sein d'un livre unique publié sur place.

Record n°28

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Record n°28

Daido Moriyama

Akio Nagasawa Publishing

2015
45.00€

280x210x10 mm
couverture souple, 124 pages, texte de Daido Moriyama en japonais & anglais
signé

Record
est le magazine personnel dont Daido Moriyama publia les premiers numéros à compte d'auteur en 1972-1973, avec l'intention d'un rythme de parution mensuel, avant la reprise du projet en 2006. Avec les années, Record est devenu tout à la fois le journal de bord et le carnet de note de l'artiste. Ou, comme il se plaît à le répéter, sa « ligne de vie » qui court en-deçà de ses multiples projets qui ponctuent son existence.

"In early summer last year, I travelled from Kaohsiung, a total of more than 400 kilometers between the cities of Tainan, Chiayi, Taichung, Taipel and Keelung in Taiwan, to shoot my first "on the road? photos in a long time. The pictures were intended for a Taiwanese edition of Rojo sunappu no susume (Tips for street snapas) that is published later this May by Taipei-based Big Art Press.
This 28th issue of Record is in a way an alternative Rojo sunappu no susume, compiled using photos taken for the Taiwanese edition but that eventually didn?t make it into the book. The various cities and villages across Taiwan that I passed through, and the sights of people and landscapes along the road, rekindled all kinds of memories, as I captured them on film, while at the same time implanting a lot of new memories in my mind.

Changing the topic...
Last March I had the opportunity to see the original print of View From the Window at Le Gras, the wold's first first recorded photograph by Joseph Nicephore Niépce that r'd been dreaming of seeing once in my life for quite a long time. The original print of the photograph taken 188 years ago was placed in a glass case in a dimly lit chamber at the Harry Ransom Center run by The University of Texas at Austin, USA. The moment I stood in front of the print that was already so faded that it wasn't clearly recognizable ended, and that the little wish that I had formulated for myself at some point was now fulfilled.

I realized again that my photos of Shinjuku, as well as my shots of Taiwan, and furthermore, pictures taken day by day photographers around the world, all have their origin in that one photograph -Nicéphore Niépce's View From the Window at Le Gras."

Daido Moriyama, extrait du prologue de Record n°28

Actor Shimizu Isamu

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Actor Shimizu Isamu

Daido Moriyama

Akio Nagasawa Publishing

2015
146.00€

260x240x20 mm

couverture rigide, 80 pages, édition limitéde 600 exemplaires, signé

Dans les années 60, Daido Moriyama réalise une série de portraits de l'acteur de Vaudeville Shimizu Isamu, l'immortalisant à la fois sur scène et dans sa vie privée. Publié cinq ans après la mort de l'acteur, ce livre représente un hommage très spécial à l'amitié qui unissait Moriyama et Shimizu. 

Record n°29

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Record n°29

Daido Moriyama

Akio Nagasawa Publishing

2015
45.00€

280x210x8 mm
couverture souple, 120 pages, texte de Daido Moriyama en japonais & anglais
signé

Record
est le magazine personnel dont Daido Moriyama publia les premiers numéros à compte d'auteur en 1972-1973, avec l'intention d'un rythme de parution mensuel, avant la reprise du projet en 2006. Avec les années, Record est devenu tout à la fois le journal de bord et le carnet de note de l'artiste. Ou, comme il se plaît à le répéter, sa  « ligne de vie » qui court en-deçà de ses multiples projets qui ponctuent son existence.

"I had been acquainted with Nakahira for more than 50 years since back when we were both around 25. From the days he was an editor for the new-left magazine Gendai no me, and through the years after he started working as a photographer - including the time we put out the "PROVOKE photography fanzine -we were connected through both photography and the fact that we both lived in Zushi. Now that I reflect on our companionship, it was quite a passionate affair between the two young blokes that we were. Throughout my life, Nakahira was a "one and only" sort of friend, and a rival at the same time. Even though we couldn't have been more different in terms of both character and constitution, there was one thing that we both shared, and that one thing obviously tied us soundly together.
Nakahira was an exceptionally brillant minded person whose body of work encompasses large amount of remarkable photographers and a number of vivid written statements. It appears to me that my awareness of his presence helped me self-reflect on my work in a rather relative way.
Takuma Nakahira was in all cases an amiable man and friend with a naturally unaffected sense of humor, who every now and then displayed a peculiar kind of lightness.
Now that he is gone, I do miss him a lot."

Daido Moriyama, extrait du prologue de Record n°29

 

a room [special edition]

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a room [special edition]

Daido Moriyama

Akio Nagasawa Publishing

2015
145.00€

213x340x5 mm

couverture souple sérigraphiée, 20 pages, exemplaire signé, édition de 100 exemplaires

Les 3 éditions de a room sont issues d'un "printing show" réalisé à la galerie Akio Nagasawa à Tokyo en janvier 2015. Inventé en 1974 par Moriyama, ce type de performance explore le concept de la création collective, dans laquelle les participants sont invités à choisir eux-mêmes les photographies qu'ils souhaitent assembler au sein d'un livre unique publié sur place.

Terayama

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Terayama

Daido Moriyama

Match & Co

2015
53.00€

132x196x22 mm
couverture rigide, étui, exemplaire signé, 358 pages

Self

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Self

Daido Moriyama

Nazareli Press

2015
192.00€

146x188x8 mm

couverture rigide, exemplaire signé, 500 exemplaires, 20 pages

Fukei [fish]

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Fukei [fish]

Daido Moriyama

Super Labo

2015

217x280x4 mm

couverture souple, 2 couvertures différentes, exemplaire signé, 700 exemplaires

Fukei [sunflower]

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Fukei [sunflower]

Daido Moriyama

Super Labo

2015

217x280x4 mm

couverture souple, 2 couvertures différentes, exemplaire signée, 700 exemplaires

Dog and Mesh Tights

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Dog and Mesh Tights

Daido Moriyama

Getsuyosha

2015
40.00€

157x226x24 mm

couverture souple, exemplaire signé, 500 exemplaires, 304 pages

 

“Le titre Dog and Mesh Tights m’est venu soudainement alors que je marchais dans les rues du quartier d’Ikebukuro à Tokyo. La plupart des sujets dépeints sont ceux que j’ai repérés dans les rues, sur les murs extérieurs des bâtiments ou le long des gouttières au cours de mon quotidien. Ces choses devraient être insignifiantes, ces coins obscurs aux longues allées désertes, ces silhouettes humaines qui restent discrètes - des choses qui captent mon regard mais demeurent banales. Dans un sens, je pense que l’on peut dire que ce monde ressemble à celui perçu à travers l’oeil d’un chien.”

Extrait de l’introduction de Dog Mesh and Tights, 2015

Tono 2014

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Tono 2014

Daido Moriyama

Akio Nagasawa Publishing

2014
59.00€

285x230x15 mm

couverture rigide, 128 pages, édition limitée de 900 exemplaires, signé

"Un jour au début de l'été de cette année, j'ai commencé à ressentir le désir de visiter "Tono-go" - qui est en quelque sorte le "berceau du corps et de l'âme des japonais" - et revoir enfin les montagnes et rivières de la région de Tohoku". (extrait de l'épilogue de Tono 2014). 

endless works N/S

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endless works N/S

Daido Moriyama

Akio Nagasawa Publishing

2014

183x258x17 mm

couverture souple, set de deux volumes + texte, édition signée

New Shinjuku

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New Shinjuku

Daido Moriyama

Getsuyosha

2014

200x266x45 mm

couverture rigide, édition signée, 752 pages

Dazai (MMM no.5)

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Dazai (MMM no.5)

Daido Moriyama

Match & Co

2014

157x233x20 mm

couverture rigide, étui, édition signée, 1200 exemplaires, 172 pages

Record n°25

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Record n°25

Daido Moriyama

Akio Nagasawa Publishing

2014
45.00€

278 x 220 mm
couverture souple, 144 pages, texte de Daido Moriyama en japonais & anglais
signé

Record est le magazine personnel dont Daido Moriyama publia les premiers numéros à compte d'auteur en 1972-1973, avec l'intention d'un rythme de parution mensuel, avant la reprise du projet en 2006. Avec les années, Record est devenu tout à la fois le journal de bord et le carnet de note de l'artiste. Ou, comme il se plaît à le répéter, sa « ligne de vie » qui court en-deçà de ses multiples projets qui ponctuent son existence.

"One of my favorite novels, William Faulkner's "Light in August' include a depiction of a village in the American South, which for eleven days in August only is swathed in an exquisite, spiritual kind of light that wraps the entire village in an indescribable atmosphere. That village is of course a fictional place that Faulkner has made up, as is certainly also the phenomenon of light he describes.
However, I remember feeling totally enveloped and dazzled by that light myself while reading the novel for the first time.

I visited Okinawa for the first time in 1974.
It was a short one-week stay together with some of my senior photographers, and for some reason I kept sensing that very same dazzling light there right rom the time of my arrival up to the departure. As it engraved in my memory, the sensation of that somewhat “physiological" light keeps coming back to me every time I return to Okinawa still today. In other words, no matter what other factors may come into play, what I associate with Okinawa is first and foremost a very personal condition of being irradiated and embraced by "light”.
The light in the back-alleys of Naha; the light that completely environs a certain beach; the light that illuminates the avenues around the military base; and the light that showers the gusuku (castle) hills. To me, the light of Okinawa always presents itself with a particular kind of quality.
It is perhaps a matter of reasonably abstracted sensuality.
Mesmerized by the light, and by the wind.."

Daido Moriyama, extrait du prologue de Record n°25


Record n°26

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Record n°26

Daido Moriyama

Akio Nagasawa Publishing

2014
45.00€

278 x 220 mm
couverture souple, 90 pages, texte de Daido Moriyama en japonais & anglais
signé

Record est le magazine personnel dont Daido Moriyama publia les premiers numéros à compte d'auteur en 1972-1973, avec l'intention d'un rythme de parution mensuel, avant la reprise du projet en 2006. Avec les années, Record est devenu tout à la fois le journal de bord et le carnet de note de l'artiste. Ou, comme il se plaît à le répéter, sa « ligne de vie » qui court en-deçà de ses multiples projets qui ponctuent son existence.

"Most of the photographs featured in this 26th volume of "Record" were taken in the streets of Ikebukuro and adjacent areas.
It is more than ten years ago that I moved into a flat in an old apartment building in what is now Nishi (West) Ikebukuro. Up to that point, I’d been devoting myself first and foremost to the Shinjuku neighborhood, so I had little connection to Ikebukuro. I rarely ever went there even during the half year that I once spent in Shinamachi, one stop from Ikebukuro station. That’s why my idea of Ikebukuro at the time was defined by memories of the Nishiguchi red-light district at night, including getting caught hiding in the shadows of a car park to shoot girls hanging around in a “nude studio”, and being chased all across town by the guys running the place back when I was in my twenties; listening to a traveling guitar player while having a couple of drinks at a seedy watering hole in the Jinsei Yokocho area that no longer exists; and being dragged by (Nobuyoshi) Araki into a photo boot did some hot (?) kissing after an excessive booze-cruise around hip café-bars with Araki and the folks of "Shashin Jidai" magazine in the mid-80s.
Even after moving into my current flat some ten years ago, the territory of my daily activities remained mostly Shinjuku, so all I had to do with lkebukuro was shopping at Tobu Department Store, Bic Camera, or the Junkudo bookstore. However, during a walk in the spring of 2013 I happened to take one particular picture that I really liked, and that somehow sparked my interest. Or better perhaps, that belatedly made me aware that it would be a waste if I didn't go out shooting on my home turf so to speak. I eventually spent more than a year on the prowl with my camera in the lkebukuro neighborhood.
As a result, I realized that although Shinjuku and Ikebukuro are both major terminal stations, the air in the streets is different. The impression I’m getting from the people - their body temperature, or their constitution if you will- is just different. After all, I found out that the temperature in the streets ok Ikebukuro again suit that of my own body. In the streets of Ikebukuro again suit that of my own body. In a nutshell, “lovable Ikebukuro” is now I would describe the feelings I am harboring toward Ikebukuro these days."

Daido Moriyama, extrait du prologue de Record n°26

record n°27

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record n°27

Daido Moriyama

Akio Nagasawa Publishing

2014
45.00€

278 x 220 mm
couverture souple, 90 pages, texte de Daido Moriyama en japonais & anglais
signé

Record est le magazine personnel dont Daido Moriyama publia les premiers numéros à compte d'auteur en 1972-1973, avec l'intention d'un rythme de parution mensuel, avant la reprise du projet en 2006. Avec les années, Record est devenu tout à la fois le journal de bord et le carnet de note de l'artiste. Ou, comme il se plaît à le répéter, sa  « ligne de vie » qui court en-deçà de ses multiples projets qui ponctuent son existence.

"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 (from Getsuyosha) is titled, these photos were taken from what I would 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 crowded with hordes of local people. As a matter of fact, the Hong Kong people suddenly started demonstrating 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 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 kind of images I would 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'a 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."

Daido Moriyama, extrait du prologue de Record n°27

Another Country in New York (Airplane) [facsimile reprint]

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Another Country in New York (Airplane) [facsimile reprint]

Daido Moriyama

Akio Nagasawa Publishing

2013
154.00€

135x187x13 mm

couverture souple sérigraphiée, exemplaire signé, 250 exemplaires, 90 pages

Fac-similé du livre réalisé en 1974 à New-York à partir de photocophies en noir et blanc, issues de photographies prises lors du premier voyage de Daido Moriyama aux USA en 1971.

Another Country in New York (Flag) [facsimile reprint]

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Another Country in New York (Flag) [facsimile reprint]

Daido Moriyama

Akio Nagasawa Publishing

2013
154.00€

215x315x3 mm

couverture souple sérigraphiée, exemplaire signé, 250 exemplaires, 90 pages

Fac-similé du livre réalisé en 1974 à New-York à partir de photocophies en noir et blanc, issues de photographies prises lors du premier voyage de Daido Moriyama aux USA en 1971.

Mirage (MMM, no. 4)

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Mirage (MMM, no. 4)

Daido Moriyama

Match & Co

2013
48.00€

263x305x15 mm

couverture rigide, exemplaire signé, 1000 exemplaires, 56 pages

Record : Movie in London (DVD)

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Record : Movie in London (DVD)

Daido Moriyama

Plexus

2013
40.00€

135x187x13 mm

dvd, anglais et japonais, 46 minutes (avec 15 minutes de bonus)

Paris 88/89

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Paris 88/89

Daido Moriyama

Poursuite

2013
20.00€

150x210x7 mm

couverture souple, 2nde édition bilingue français/anglais, exemplaire signé, 64 pages

 

En 1988 et 1989, Daido Moriyama décide de louer une petite chambre à Paris pour exposer ses photographies alors inconnues en Europe. Renonçant peu à peu à cette idée, il s’immerge dans le ville, la photographie, et qualifie cette expérience d' "ambigue et flottante”, loin de l’image du Paris fantasmé durant son adolescence. Fasciné par Eugène Atget, il livre dans ce travail la part de mélancolie qu’il ressent en sillonnant les rues de la capitale française, tel un chien errant. Un essai rédigé par l’artiste, extrait du tome final de Mémoires d’un Chien, accompagne les planches de ce petit ouvrage.

Record n°23

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Record n°23

Daido Moriyama

Akio Nagasawa Publishing

2013
45.00€

278 x 220 mm
couverture souple, 160 pages, texte de Daido Moriyama en japonais & anglais
signé

Record est le magazine personnel dont Daido Moriyama publia les premiers numéros à compte d'auteur en 1972-1973, avec l'intention d'un rythme de parution mensuel, avant la reprise du projet en 2006. Avec les années, Record est devenu tout à la fois le journal de bord et le carnet de note de l'artiste. Ou, comme il se plaît à le répéter, sa « ligne de vie » qui court en-deçà de ses multiples projets qui ponctuent son existence.

"The “WILLIAM KLEIN + DAIDO MORIYAMA" exhibition that was held in October last year at London's Tate Modern on the River Thame was a very special event and one lucky occasion in the fifty-odd years of my photographing life.
That's because my encounter with William Klein’s book "NEW YORK" back when I was 22 and stil loitering around at the doorstep to the works of photography was a truly defining moment. The abundant fruit of an extremely violent yet freewheeling camera work tossed into that one volume caused in me a dizzying kind of sensation as I browsed through the book, and for the first time in my life I got to experience the physiological pleasure and Impact of the images known as photography. Not giving a damn about things like reason or knowledge at the time, I was just standing there gazing, bending back, and muttering, “Awesome!”

Now when it comes to doing an exhibition together with none other than the great Mr. Klein himself, well that's like sparing with a champion. At any rate, I traveled to London in order to meet Mr. Klein for the first time in nine years, and to experience first-hand the impact of the actual prints of those photos in "NEW YORK" that I had looked at so much when I was young that they got burned into v retina and into my mind.

Our exhibition opened on October 10, which happens to be my birthday. That night, a friend from Paris had set up a birthday dinner for me in a restaurant in Waterloo. When Mr. Klein, holding a glass in his targe hand, shouted "congratulations”, that caused in me a sort of impression I can hardly describe. I had a fabulous time, somehow feeling lucky to have met William Klein, and at the same time, feeling glad about having carried on with my own photographic work."


Daido Moriyama, extrait du prologue de Record n°23

Record n°24

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Record n°24

Daido Moriyama

Akio Nagasawa Publishing

2013
45.00€

278 x 220 mm
couverture souple, 176 pages, texte de Daido Moriyama en japonais & anglais
signé

Record est le magazine personnel dont Daido Moriyama publia les premiers numéros à compte d'auteur en 1972-1973, avec l'intention d'un rythme de parution mensuel, avant la reprise du projet en 2006. Avec les années, Record est devenu tout à la fois le journal de bord et le carnet de note de l'artiste. Ou, comme il se plaît à le répéter, sa « ligne de vie » qui court en-deçà de ses multiples projets qui ponctuent son existence.

"As a photographer, I regularly talk about snaps as if it were perfectly natural, but as soon as come to myself and think about what y a "snap" actually is, I'm usually at a loss for an answer. Well, I have been thinking of snaps as offhand photographs shot in the street, or pictures taken in the manner of sneaky snaps, but while complacently calling myself a "street snapper”, I never quite understood the original meaning of the word as it seems. So I thought I'd try and look it up in an English-Japanese dictionary. Dumbfounded at first by an explanation as simple as “photographic term referring to a quickly taken photograph", I found further basic meanings of “to snap” as in “to snap one’s hand” or “to snap one’s fingers “ followed by rather dubious meanings, including “to snatch”, “to scrape up” or “to bite” (for dogs)! As last I felt somewhat satisfied. That’s because because I consider the style of my own street snaps as scraping up and snatching al kinds of views of all kinds of people and scenes I encounter in the streets, and in the back of my mind, I bite at all that like things in an external world. It's more or less the same thing as stealing so to speak. So it does pay to consult dictionary every once in a while. It confirmed me in my belief, and I'I surely continue to devote myself to relentlessly taking street snaps.

This issue of “Kiroku”, by the way, features mostly snaps taken in Southern France, in cities including Arles, Avignon, Marseille, and Paris. It was a hit summer trip in July. My schedule was crammed with the usual dates - solo exhibitions, talk events, autographing sessions and workshops - in between which I always found the time for a snap or two. The sparkling Mediterranean Sea, endless fields of sunflowers, and my very first meeting with the extremely attractive photographer Sarah Moon are among the great memories I have of my summer journey across the Provence region."

Daido Moriyama, extrait du prologue de Record n°24

Labyrinth

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Labyrinth

Daido Moriyama

Akio Nagasawa Publishing

2012

235x307x35 mm

couverture rigide, 304 pages, exemplaire signé,1000 copies

Daido Moriyama a parcouru ses anciens négatifs pour proposer une réinterprétation totale de son oeuvre, grâce à une nouvelle organisation de ses planches contatcs où s'entremêlent des photos peu connues et des images iconiques. Ainsi Moriyama affirme son désir de privilégier l'association de formes et de contrates plutôt que de temps et d'espace. Labyrinth est aussi une manière pour Moriyama d'asseoir son langage photographique dans le regard des spectateurs contemporains.

White and Vinegar (MMM, no. 3)

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White and Vinegar (MMM, no. 3)

Daido Moriyama

Match & Co

2012
48.00€

216x268x18 mm

couverture rigide, exemplaire signé, 88 pages

Paris 88/89

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Paris 88/89

Daido Moriyama

Poursuite

2012
25.00€

150x210x7 mm, 64 pages, couverture souple
1ère édition, signée

En 1988 et 1989, Daido Moriyama loue une petite chambre à Paris pour y exposer son trfavail, dans la continuité de Room 801, son espace de galerie privée situé dans le quartier de Shibuya à Tokyo. Renonçant peu à peu à cette idée, il s’immerge dans le ville, la photographie, et qualifie cette expérience d' "ambigue et flottante”, loin de l’image du Paris fantasmé durant son adolescence. Fasciné par Eugène Atget, il livre dans ce travail la part de mélancolie qu’il ressent en sillonnant les rues de la capitale française, tel un chien errant. Un essai rédigé par l’artiste, extrait du tome final de Mémoires d’un Chien, ainsi qu'un entretien avec Jean-Kenta Gauthier accompagnent les planches de cet ouvrage.

Record n°22

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Record n°22

Daido Moriyama

Akio Nagasawa Publishing

2012
35.00€

278 x 220 mm
couverture souple, 80 pages, texte de Daido Moriyama en japonais & anglais
signé

Record est le magazine personnel dont Daido Moriyama publia les premiers numéros à compte d'auteur en 1972-1973, avec l'intention d'un rythme de parution mensuel, avant la reprise du projet en 2006. Avec les années, Record est devenu tout à la fois le journal de bord et le carnet de note de l'artiste. Ou, comme il se plaît à le répéter, sa  « ligne de vie » qui court en-deçà de ses multiples projets qui ponctuent son existence.

"Last April I went to Los Angeles.
L.A. means for me, more than anything else, the staggering view from Beverly Hills down on the city; the downtown area around the ?Mexican street" with its various tasty smells; Little Tokyo, a neighborhood that could have been used as a movie set, and finally, the Santa Monica Pier amusement park further down on the coast.
The original purpose of my visit to L.A. was the opening of a solo exhibition and talk show at the LACMA?s Pavillon for Japanese Art, as well as the opening of another solo show at a gallery on Beverly Boulevard.
Each and every day was a hot and sunny one, and the light and wind, the people and places, and just about everything else I saw just seemed to be 'Los Angeles' at me. So loud it almost made me laugh.
As a mater of course, in between the various businesses I had to do I found enough time to make a few trips to the places mentioned above, so I did get my fair share of LA. style enjoyment. On top of that, however, I was invited to the residence of a famed Hollywood producer and photo collector, which basically was nice, but when I ended up in a situation as embarrassing as standing by the poolside and mumbling a speech (of sorts), my L.A. overdose was complete.

When returning to Tokyo after all that, I found the cherry blossoms already falling."

Daido Moriyama, extrait du prologue de Record n°22

Record n°21

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Record n°21

Daido Moriyama

Akio Nagasawa Publishing

2012
30.00€

278 x 220 mm
couverture souple, 72 pages, texte de Daido Moriyama en japonais & anglais
signé

Record est le magazine personnel dont Daido Moriyama publia les premiers numéros à compte d'auteur en 1972-1973, avec l'intention d'un rythme de parution mensuel, avant la reprise du projet en 2006. Avec les années, Record est devenu tout à la fois le journal de bord et le carnet de note de l’artiste. Ou, comme il se plaît à le répéter, sa « ligne de vie » qui court en-deçà de ses multiples projets qui ponctuent son existence.

"Last November I went to New York for the first time in two years. That was for an event in the rather big gallery space complete with library and café of the Aperture photo publisher in Manhattan's Chelsea gallery district. In the "TKY' titled show, I made photobooks containing about 100 of my prints, and handed them directly to the numerous visitors who had to receive their reserved copies. The venue was packed with lots of New Yorkers, among them my friends Gerard come Malanga and Larry Clark.
After doing this for two busy yet very pleasant days, I took some time off for a trip to Coney Island, where I enjoyed an enormously colorful, American-flavored afternoon. However the real thrill came later in the evening, when I took a dive into the Times Square's billboard jungle. The adrenalin rush the experience of bathing in the sparkling beams of light gave me made this the sexiest moment of my stay in New York.
I’ll be back in New York this coming May, and you will surely see me heading straight for the entrancing lights like an insect once again."

Daido Moriyama, extrait du prologue de Record n°21

Record n°18

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Record n°18

Daido Moriyama

Akio Nagasawa Publishing

2011
30.00€

278 x 220 mm
couverture souple, 48 pages, texte de Daido Moriyama en japonais & anglais
signé

Record est le magazine personnel dont Daido Moriyama publia les premiers numéros à compte d'auteur en 1972-1973, avec l'intention d'un rythme de parution mensuel, avant la reprise du projet en 2006. Avec les années, Record est devenu tout à la fois le journal de bord et le carnet de note de l'artiste. Ou, comme il se plaît à le répéter, sa « ligne de vie » qui court en-deçà de ses multiples projets qui ponctuent son existence.

"The Lin Sen North Road district in Taipei is a jumble of main streets and back alleys, shopping centers and residential areas, very much of the kind that I like. In Tokyo, that would be the Shokuan-dori neighborhood in Shinjuku for example, complete with the Kabukicho and Hyakunincho districts that it connects. There even is a street with several bars with Japanese names in Lin Sen.
Since around 2009, a Taiwanese publisher who put out three books with photos and essays of mine has been organizing several press interviews, two talk sessions and a gallery exhibition, and finally invited me over to Taiwan. As a matter of course, I accepted the invitation out of a feeling of gratitude toward such publishing houses and bookstores.
When I managed at last to find a gap of a few hours in my busy three-day schedule in Taipei, it made me so happy that felt the irrepressible urge to go out and shoot enough photos to fill an entire issue of "Record". However, my limited time allowed me to cover only a limited area, and after consulting some people I knew in the city, it was clear that Lin Sen North Road had to be my destination. But even while taking my pictures I had a TV crew following on my heels so I can't say that I was completely free. Nevertheless, the people in those downtown streets in Taipei kind of radiated a kind of body heat that felt so familiar to me that I eventually combed the neighborhood with the same camera- and footwork that I usually do when roaming the streets of Shinjuku. There was a warm and mellow silver rain moistening the streets of Taipei on that day."

Daido Moriyama, extrait du prologue de Record n°18

Record n°19

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Record n°19

Daido Moriyama

Akio Nagasawa Publishing

2011
35.00€

278 x 220 mm
couverture souple, 72 pages, texte de Daido Moriyama en japonais & anglais
signé

Record est le magazine personnel dont Daido Moriyama publia les premiers numéros à compte d'auteur en 1972-1973, avec l'intention d'un rythme de parution mensuel, avant la reprise du projet en 2006. Avec les années, Record est devenu tout à la fois le journal de bord et le carnet de note de l’artiste. Ou, comme il se plaît à le répéter, sa « ligne de vie » qui court en-deçà de ses multiples projets qui ponctuent son existence.

"Last year in September, approximately 400 prints of my photographs were on display in an exhibition in Modena, Italy. The venue was a former hospital designed in a classical style, the interior of which was entirely refurbished into a museum. The exhibition that took place in a variety of different settings inside the building was based on a plan that I had worked out according to my own ideas, presenting a hand-picked selection of photographs taken between 1964 and 2009. After the show, just for a brief moment, I couldn't help but feel something funny about it all.

My three-day schedule in Modena only allowed me to take some snaps along the way while commuting between the museum and my hotel in the old part of the city. However during a trip down to Florence two days after the exhibition opening, I managed to spend about half a day walking around town with my camera in hand.


While my work usually revolves around the "radical ratification of the city" as a general motto, in Florence, a city of art since ancient times, I couldn't find anything that wasn't already turned into art -to an extent that made me laugh out loud time and again. Once aware of the boorishness of my attempt to turn such a place into art with my camera I found myself let with no other choice but to return to my daily snapshot routine. As it turned out, the chicks in the streets were remarkably sexy."


Daido Moriyama, extrait du prologue de Record n°19

 

Record n°20

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Record n°20

Daido Moriyama

Akio Nagasawa Publishing

2011
30.00€

278 x 220 mm
couverture souple, 52 pages, texte de Daido Moriyama en japonais & anglais
signé

Record
est le magazine personnel dont Daido Moriyama publia les premiers numéros à compte d'auteur en 1972-1973, avec l'intention d'un rythme de parution mensuel, avant la reprise du projet en 2006. Avec les années, Record est devenu tout à la fois le journal de bord et le carnet de note de l’artiste. Ou, comme il se plaît à le répéter, sa  « ligne de vie » qui court en-deçà de ses multiples projets qui ponctuent son existence.

"Now that summer had come to the three dull buddies, real men as they ware, they braced themselves up and d go on a summer trip.

“I wanna see alligators,” one of the men said.
"I'd like to go to a queer kind of place," said the second.
“I think I would prefer to see something nasty," the third one said.
Well in that case, the eastern side of the Izu peninsula, up north near the mainland, is definitely the Alligators one can see at the Atagawa Tropical & Alligator Garden (Banana Wani-en), the Ayashil Museum (Ayashii Shonen Shojo Hakubutsukan) in Ito is pretty queer, and there's no nastier place around than the Atami Adult Museum (Atami Hihoukan).
The three simpletons boarded a bright red Mazda Axela-wherever that came from- and embarked on their overnight trip to eastern Izu.
It was such a fun time they had on their summer excursion!"

Daido Moriyama, extrait du prologue de Record n°20

Nagisa

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Nagisa

Daido Moriyama

Akio Nagasawa Publishing

2010

225x300x30 mm

couverture souple, édition signée

Record n°14

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Record n°14

Daido Moriyama

Akio Nagasawa Publishing

2010
30.00€

278 x 220 mm
couverture souple, 48 pages, texte de Daido Moriyama en japonais & anglais
signé

Record est le magazine personnel dont Daido Moriyama publia les premiers numéros à compte d'auteur en 1972-1973, avec l'intention d'un rythme de parution mensuel, avant la reprise du projet en 2006. Avec les années, Record est devenu tout à la fois le journal de bord et le carnet de note de l’artiste. Ou, comme il se plaît à le répéter, sa  « ligne de vie » qui court en-deçà de ses multiples projets qui ponctuent son existence.

"I am currently in the middle of photographing the streets of Tokyo. While this venture itself is firmly based on the understanding that it is just as much an endless task as an inchworm crossing the Sahara, when flying to Hokkaido one day earlier this winter, and witnessing the city we call “Tokyo" from the airplane's window as we steadily climbed along Tokyo Bay right after takeoff, I involuntarily winced in amazement at the sight of the vast and boundless chaos down below. The impact this view had on me I can only describe as a visual shock in the truest sense. Even though I was supposed to be aware of it, once I looked down upon the scene, its enormousness and vastness honestly made me cringe for a moment. It's not about something of extraterrestrial dimensions, but about nothing more than one capital in a Far Eastern island country, but nonetheless the experience sent shivers down my spine. After thinking for a little while about the hilariousness of a photographer's attempt to cover all of this on foot, I felt how laughter gradually began to well up in me.

After all, the inchworm - that's me! After regaining my optimism, on second thought I realized that I have no choice but to take my camera and keep shooting.

I never imagined the day would come when an issue of “Record" is entirely dedicated to full color digital snaps - and now it suddenly happens almost in the same breath as I wiseacre that "photography has to be black and white" (in the last issue)! The photographs featured this time show sceneries in the surroundings of Asahikawa, Hokkaido, taken on my above-mentioned air trip.

Daido Moriyama, extrait du prologue de Record n°14

Record n°15

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Record n°15

Daido Moriyama

Akio Nagasawa Publishing

2010
30.00€

278 x 220 mm
couverture souple, 48 pages, texte de Daido Moriyama en japonais & anglais
signé

Record est le magazine personnel dont Daido Moriyama publia les premiers numéros à compte d'auteur en 1972-1973, avec l'intention d'un rythme de parution mensuel, avant la reprise du projet en 2006. Avec les années, Record est devenu tout à la fois le journal de bord et le carnet de note de l’artiste. Ou, comme il se plaît à le répéter, sa « ligne de vie » qui court en-deçà de ses multiples projets qui ponctuent son existence.

"The creator of the photography book New York, William Klein once described the city in which he was born and raised as "a mixture of beauty, tenderness, absurd brutality, and fathomless intimidation" before leaving for Paris.

Likewise, in his novel Another Country, James Baldwin let his character Rufus, a black young man who drowns himself in Hudson River, complain, "You took the best, so why not take the rest?" before Baldwin headed off to Paris as well. And finally, Jack Kerouac, who gave us with On The Road one of my favorite accounts of a vagabond life, reportedly jumped onto a train to visit his mother at home in Lowell in the outskirts of Boston whenever his life in Manhattan got too woeful and frustrating.

The city of New York, and the Manhattan neighborhood in particular, is certainly one huge melting pot of human desires, and as one can easily imagine that it is an extremely practical location, it seems just natural to me that an artist of a nervous and sensitive nature sooner or later feels like plotting an escape.

For myself, however, who is always just a traveler, Manhattan has that throbbing something that attracts and spellbinds people - although it might of course be different if I wasn't only visiting. New York is filled with a vague scent of mescaline, while the smell of Andy Warhol is billowing out of every street."

Daido Moriyama, extrait du prologue de Record n°15

Record n°16

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Record n°16

Daido Moriyama

Akio Nagasawa Publishing

2010
30.00€

278 x 220 mm
couverture souple, 48 pages, texte de Daido Moriyama en japonais & anglais
signé

Record est le magazine personnel dont Daido Moriyama publia les premiers numéros à compte d'auteur en 1972-1973, avec l'intention d'un rythme de parution mensuel, avant la reprise du projet en 2006. Avec les années, Record est devenu tout à la fois le journal de bord et le carnet de note de l’artiste. Ou, comme il se plaît à le répéter, sa « ligne de vie » qui court en-deçà de ses multiples projets qui ponctuent son existence.

"People frequently use such highly pathetic expressions as "wander around the streets". As far as I'm concerned, I've around the streets for as long as I can remember. Regardless of all the things that may have occurred here and there during the twenty years that passed before I picked up the camera, as well as Ober the fifty years with the camera that followed, I spent most of my time out in the streets, and that's in fact where I'm still hanging around today. It's the same thing with the camera. I did eventually pick it up one day, but while trying out this and that, I never managed to get things under control, as a result of which I'm still not even sure which way to go.

I am by nature someone who as little use for such things as origins and fixed points, and as I actually think that adopting such conceptions would mean that I've arrived at a point where I should call it a day, in this respect "street photographer” surely is an occupation that suits me well. Nevertheless, capturing on film the extensive net of streets that stretches across the globe like a labyrinth sometimes seems to me just as pointless as sticking a rod in the ocean, and it happens that I experience a disappointing a sense of futility, However, it is my extremely optimistic nature that encourages me to "keep shooting nonetheless”, and this mindset at least is standing firm. After all, I'm only happy when I'm out there with the camera in my hand, so this may in fact be the one point where my true identity manifests itself. In other words, everything's fine as long as I shoot practically and leave the rest to the photographs and those who look at them. This issue of Record features pictures for my Hokkaido exhibition that opens this summer at Otaru and other places, taken during two days of wandering around the area's streets.

Daido Moriyama, extrait du prologue de Record n°16

Record n°17

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Record n°17

Daido Moriyama

Akio Nagasawa Publishing

2010
30.00€

278 x 220 mm
couverture souple, 48 pages, texte de Daido Moriyama en japonais & anglais
signé

Record est le magazine personnel dont Daido Moriyama publia les premiers numéros à compte d'auteur en 1972-1973, avec l'intention d'un rythme de parution mensuel, avant la reprise du projet en 2006. Avec les années, Record est devenu tout à la fois le journal de bord et le carnet de note de l’artiste. Ou, comme il se plaît à le répéter, sa « ligne de vie » qui court en-deçà de ses multiples projets qui ponctuent son existence.

“It was a night when you didn't know your friends but strangers looked familiar." This is a line Philip Marlowe muttered in Raymond Chandler's “Red Wind".

It appears to me that it is mainly such innate propensity that urges me - someone who desires human company, yet a misanthrope at heart - to go out with the camera in hand and mix with the city crowd day in, day out. In my usual space-time, when I break off my miscellaneous worldly thoughts and snap pictures while passing unacquainted people in unfamiliar streets, every time I get somewhat stimulated by my self-consciousness, even thrilled. It's not that I'm surrounded by terribly complicated personal relationships, and the fact alone that I, alone with my camera, become the body of my photographic desire that keeps wandering about while communicating sensor-like with the outside world, makes me realize that these are the most sensitive and sensual moments in my life. Through the optical axis of a lens as transparent as a cat's eye in the extremely handy camera I'm carrying, I capture with just the slightest stroke of my fingertip how I call in the world, or the world calls me in, and in this respect, continue to make my rounds in the maze of city streets and humans. Being a street snap photographer who witnessers scenes, walks and seeks intuitively, also makes me feel a possible connection to the hardboiled novel. That's because l frequently get lost and all fired up out there in the streets. 'If you want anything, just whistle.”————Humphrey Bogart

This issue of Record features photographs taken around the middle of July in the streets of Sapporo and Ishikari-Kako."


Daido Moriyama, extrait du prologue de Record n°17

Record n°11

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Record n°11

Daido Moriyama

Akio Nagasawa Publishing

2009
70.00€

278 x 220 mm
couverture souple, 48 pages, texte de Daido Moriyama en japonais & anglais
signé

Record
est le magazine personnel dont Daido Moriyama publia les premiers numéros à compte d'auteur en 1972-1973, avec l'intention d'un rythme de parution mensuel, avant la reprise du projet en 2006. Avec les années, Record est devenu tout à la fois le journal de bord et le carnet de note de l’artiste. Ou, comme il se plaît à le répéter, sa « ligne de vie » qui court en-deçà de ses multiples projets qui ponctuent son existence.

"When I look back on the nearly 50 years I’ve been working as a photographer, the long path behind me seems like a long roll of film. It was a path of steps ups and downs, winding and sometimes twisted, but never really smooth. At its very end in the distant past I can see the pulsating cityscape ot Osaka, the place where I encountered the live of my life: photography. When I think about it now, it was a tender but rather difficult kind of love.

“Kiroku” Vol. 11 is dedicated to a series of photographs taken in Osaka last summer, while walking around the city with a slight sense of nostalgia."

Daido Moriyama, extrait du prologue de Record no.11

Record n°12

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Record n°12

Daido Moriyama

Akio Nagasawa Publishing

2009
30.00€

278 x 220 mm
couverture souple, 52 pages, texte de Daido Moriyama en japonais & anglais
signé

Record
est le magazine personnel dont Daido Moriyama publia les premiers numéros à compte d'auteur en 1972-1973, avec l'intention d'un rythme de parution mensuel, avant la reprise du projet en 2006. Avec les années, Record est devenu tout à la fois le journal de bord et le carnet de note de l’artiste. Ou, comme il se plaît à le répéter, sa « ligne de vie » qui court en-deçà de ses multiples projets qui ponctuent son existence.

"
A realist is not someone who produces a copy of a natural object, but someone who takes an existing copy and copies it again. This definition comes from Roland Barthes. I completely sympathize with I’m his idea, as, in addition to copying the outside world, I keep copying those copies, and then the copies of the copies. And while I'm at it, I even copy my own image.
But there is always someone better, and in our case it's American artist Sherrie Levine. She borrows famous images from the works of renowned photographers, produces exact copies of them, and cheekily declares the results as her own creations. I once came across her works exhibited together in one corner of a museum, and I could only take my hat off to the astonishing hilariousness of what I saw. Magnificent! That stuff made me look like a bloody rookie.
It goes without saying that every photograph is a copy of reality, and a fake depiction of the world, incorporating notions of realism and actuality. Henri Bergson once said something along the lines of, “The whole world has already been depicted down to the last inch,” and from the perspective of my daily routine working with the camera, I would second that claim. The infinity recorded by the camera is of course a Moebius strip. The eyes of countless human beings have in fact been observing/depicting the world, continuously and interminably producing a copy of it since prehistoric times. This procedure, totally bare of originality, is exactly where the only strength of photography lies m.
For us street photographers there is no other option but to buzz around things like flies and see where we can scrounge something. "


Daido Moriyama, extrait du prologue de Record no.12

Record n°13

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Record n°13

Daido Moriyama

Akio Nagasawa Publishing

2009
30.00€

278 x 220 mm
couverture souple, 48 pages, texte de Daido Moriyama en japonais & anglais
signé

Record
est le magazine personnel dont Daido Moriyama publia les premiers numéros à compte d'auteur en 1972-1973, avec l'intention d'un rythme de parution mensuel, avant la reprise du projet en 2006. Avec les années, Record est devenu tout à la fois le journal de bord et le carnet de note de l’artiste. Ou, comme il se plaît à le répéter, sa « ligne de vie » qui court en-deçà de ses multiples projets qui ponctuent son existence.

"People often ask me about black-and-white photography. They inquire about what I think of it, why the bulk of my work a in black and white, and where I see the main appeal of black-and-white photography among other things. "Because I like it" or "because it looks sexy” are generally the best answers, but in cases when the asker wants to hear a little more, I usually add a bit of my own interpretation, explaining that there's something "dreamy" about black-and-white, and that I appreciate its "symbolically abstract quality”. Anyway, in the end I think it all comes down to the tact that the things depicted in a black and white photograph simply generate the image and impact of an “alien” scenery of sorts. In other words, both myself and other people who look at black and white photos don't only see the concrete events they depict, but in my view these pictures hit us right from the start with their transferred "extraordinariness", instantly stimulate our imaginative understanding of the imagery purified into shades of black and white, and let us experience a different reality through the encounter with that "alien world" . This is at least about what attracts me so much to black and-white photograph. After all, “photography has to be black and white" is always my last word.


The black-and-white shots featured in this issue were taken with FUJIFILM INSTANT B&W FP-400B film, using a POLAROID LAND CAMERA MODEL 180 that was given to me by a former student."


Daido Moriyama, extrait du prologue de Record n°13

 

Record n° 1-5

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Record n° 1-5

Daido Moriyama

Akio Nagasawa Publishing

2008
85.00€

227x310x20 mm

couverture souple, set contenant les 5 premiers Records (1972-73), fac simile, exemplaire signé

It has been thirty-six years since Moriyama first began with his personal photographic magazine and now the first five issues originally published between 1972 and 1973 have been re-issued through this reprint. Authentically reproduced, with the photographers hallmark, grainy images, the five thin, yet captivating volumes come handsomely packaged in this edition. A valuable slice of early Moriyama that provides a unique insight into an important phase of his development.

The actual item

  • Record No.1: Issued in July, 1972
  • Record No.2: Issued in August, 1972
  • Record No.3: Issued in October, 1972
  • Record No.4: Issued in January, 1973
  • Record No.5: Issued in June, 1973
  • Booklet
Record n°9

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Record n°9

Daido Moriyama

Akio Nagasawa Publishing

2008
70.00€

278 x 220 x 50 mm
couverture souple, 48 pages, texte de Daido Moriyama en japonais & anglais
signé

Record est le magazine personnel dont Daido Moriyama publia les premiers numéros à compte d'auteur en 1972-1973, avec l'intention d'un rythme de parution mensuel, avant la reprise du projet en 2006. Avec les années, Record est devenu tout à la fois le journal de bord et le carnet de note de l’artiste. Ou, comme il se plaît à le répéter, sa « ligne de vie » qui court en-deçà de ses multiples projets qui ponctuent son existence.

"Last September, I made quick visits to three Northern European cities: Cologne in Germany, Antwerp in Belgium, and Oslo in Norway. This issue of Record contains pictures I took during that time. When I saw the old-fashioned steamer abandoned off the coast of Antwerp, I knew I just had to put it in print. I wonder if that boat I was so fond of will come to life in the pages of Record in the way that I imagined it...

Last year, after that, I went to shoot San Paolo in late fall, then returned to Japan and went around y up to my most recent trip to Taipei, I've hardly had any time to sit down and relax in my Ikeburo office, which is somewhat depressing. Still, if all that's the result of my doing this and that for my own pictures, then there’s no helping it. At time like these, I think back nostalgically to the golden 80s. Those were really dream-like days with nothing to do day in and day out. Although I said “golden”, in my case, unfortunately, it wasn't about money. I just had shiny sparkling hours of free time to spare. Time is money (gold), in other words. I was free to take pictures whenever I wanted, wherever I wanted (as long as it was in the neighborhood), and as much as I wanted
(until I ran out of film). And while the rest of the masses had themselves a crazy bubbly time, I was able to go about, a poor amateur as I was (my wallet was poor, if anything), taking purposeless pictures at my free leisure. Well, if I go on complaining about my current hopeless state, I’ll probably pay for it. It's just that I honestly feel it's time for me to go back to that stance I had in those days.

I had gotten that far in my writing when Richard Avedon's photo collection "nothing personal", which I had previously asked a friend to procure, was delivered to my door. I immediately opened it and as I flipped through the pages, I felt as if the faraway sea breeze of the lzu coast was blowing in my face. Yes, for Takuma Nakahira and I (an amateur photographer at the time), this photo collection was a book from our youth. We carried the huge volume to the seashore, and while slowly turning its pages under the brilliant sun, shared countless feelings and talked tirelessly about photography. A pleasant breeze in our faces, we talked forever about our photography dreams.

Now that this photo collection as crossed several decades and returned to me at last, my mood has become a bit brighter. With this, I think I'll be dreaming about photography for a while now."

Daido Moriyama, extrait du prologue de Record no.9

 

Record n°10

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Record n°10

Daido Moriyama

Akio Nagasawa Publishing

2008
70.00€

280 x 220 mm
couverture souple, 48 pages, texte de Daido Moriyama en japonais & anglais
signé

Record est le magazine personnel dont Daido Moriyama publia les premiers numéros à compte d'auteur en 1972-1973, avec l'intention d'un rythme de parution mensuel, avant la reprise du projet en 2006. Avec les années, Record est devenu tout à la fois le journal de bord et le carnet de note de l’artiste. Ou, comme il se plaît à le répéter, sa « ligne de vie » qui court en-deçà de ses multiples projets qui ponctuent son existence.

“So many photographers, HCB is one, keep telling us life can be beautiful, But for DAIDO, life can be, and is, pretty shitty....and photography, as well. Now, after rubbing our noses in that for years and years, he has just put together a show in Paris-the first show of his that I’ve seen-and it's like in the movie, when the man say to the girl “hey take off your glasses”....and she does. ‘But, but... you're beautiful!’...and she is. And today we see Daido's tragic, despairing, no way out, end of the world photos for what they always were, fucking beautiful, like he is himself. So..more power to him!" William Klein sent this comment for a photo book that I made in London several years ago. Klein is still operating like a photo sniper in the streets of Paris today, where he keeps catching people's "mental scars” in sneak shots made with a wide-angle lens.


The photographic territory that I am occupying myself really isn't anything great, but nonetheless I will continue to photograph Tokyo's messy neighborhood. Our daily routine is locked in a dead end between déjà vu and jamais vu - reason enough for me to go out there and capture it."


Daido Moriyama, extrait du prologue de Record no.10

Record Extra Issue no. 1 [Daido Moriyama + Hajime Sawatari]

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Record Extra Issue no. 1 [Daido Moriyama + Hajime Sawatari]

Daido Moriyama

Akio Nagasawa Publishing

2007

227x300x20 mm
couverture rigide, exemplaire signé par Daido Moriyama, 600 exemplaires

Record n°7

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Record n°7

Daido Moriyama

Akio Nagasawa Publishing

2007

276 x 206 x 60 mm
couverture souple, 48 pages,  texte de Daido Moriyama en japonais & anglais
signé

Record est le magazine personnel dont Daido Moriyama publia les premiers numéros à compte d'auteur en 1972-1973, avec l'intention d'un rythme de parution mensuel, avant la reprise du projet en 2006. Avec les années, Record est devenu tout à la fois le journal de bord et le carnet de note de l'artiste. Ou, comme il se plaît à le répéter,  sa « ligne de vie » qui court en-deçà de ses multiples projets qui ponctuent son existence.

"I took a cab the other day, and as usual, the driver began making a small taik that I couldn't care less abou it. I was tired and wished he would just shut up and drive, so I chimed in half-heartedly here and there with "aha" and "oh". When the car stopped at a busy main street, it looked like he got the picture, and he anded with: 'Still, when all's said and done, in a hundred, no, just fifty years from now, almost all these people walking by us here will have said so-long to this world. There was a hit-or-miss, self mocking nuance to his words, but they resonated with a strange sense of reality despite the extreme fatigue of my ears. The driverés petty conclusion couldn't even be called an outlook on life, but it had a certain something to it that was oddly persuasive.

The cab took off again and, as I sat in the back seat, it was now my turn to spin my wheels thinking about pointiess matters. Come to think of it, yes, apart from the exceptional cases, in fifty years, only fifty years, almost all people who are now in their 40s or above will have disappeared, he's right...Those who are in their 30s now will be old folks waiting to meet their Maker, and those who were just born now are going to be in the prime of middle age. That's right, isn't it?....What it means, when you think about it, is that all the movers and shakers in society fifty years from now are people who haven't even been born yet, I see... Such were my thoughts as I continued to ponder meaningless ideas back and forth in my mind.


In just a fifty-year stream of time, Thingamajig Hills and Watchamacallit Tower will all be grotesque and dilapidated abominations, the cityscape will have gone through changes more drastic than we can imagine, and within those city streets, a human species we wouldn't recognize today will populate that future world. You don't need digital or analog or polliwog to see that this city has already taken on a nightmarish aspect, in my view. But on that day, I didn't have my ptimistic shoot-above-all-else kind of atitude which would have told me that's all the more reason to record it on film. A feeling of "so what about it?" was too strong. My frustration got the better of me. Anyway, I suffered from a lack of sleep and was completely exhausted.


As the cab approached its destination under a stifling cloudy sky, an image of overblown cherry blossoms flashed consequential moment on a late the car window. I felt terribly gloomy. The driver had dropped into silence. It was an in spring afternoon."


Daido Moriyama, extrait du prologue de Record no.7

Record n°8

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Record n°8

Daido Moriyama

Akio Nagasawa Publishing

2007
70.00€

276 x 206 x 60 mm
couverture souple, 46 pages, texte de Daido Moriyama en japonais & anglais
signé

Record est le magazine personnel dont Daido Moriyama publia les premiers numéros à compte d'auteur en 1972-1973, avec l'intention d'un rythme de parution mensuel, avant la reprise du projet en 2006. Avec les années, Record est devenu tout à la fois le journal de bord et le carnet de note de l’artiste. Ou, comme il se plaît à le répéter, sa « ligne de vie » qui court en-deçà de ses multiples projets qui ponctuent son existence.

"Now that my three-year fixation on shooting Hawail has finished and my photo collection has been published, here we are in the blazing heat of August and I can finally take a little rest. I'm sure there will be all kind of reactions to the Hawaii collection but at least I feel that a burden has been lifted from my shoulders.

Even though I'd really just like to spend about a month spacing out, I can’t really do that for various reasons, so I have to wander about here and there like a cockroach scuttling around the damn hot streets of Tokyo. And even though my inner voice tells me "you should be grateful you have things to do at all”, on the other hand, there's another voice complaining “oh no, oh no”. I guess I just got what I asked for. So here I am, at my age,in this situation.
Since I have finished with Hawaii, one would think that for the foreseeable future, I would be aiming my camera back on my main territory of Japan, but it won't work out that way. I won't be dead and done with my foreign shooting until I meet prior commitments to walk the streets of São Paulo, Brazil and Mexico City. Of course I have an interest in shooting these cities and good reasons, as well as strong feelings for those places, but at the same time, I also feel the urge to hurry up and shoot on Japanese soil.
Putting my upcoming work in Mexico City and São Paulo aside for the meantime, Tokyo is the place I feel most attracted to right now.. For several years, in a completely natural, even inevitable way, Tokyo has emerged in the heart ot ny mind as next target. Just around the time that the Hawail collection was being edited, I experienced a feeling close to absolute certitude telling me that if I were to produce another photo album as my routine work, it wouid to be Tokyo. In my plan, I would head for Shinjuku, which never ceases to command attention from my camera and I, and then expand my scope, first following the outskirts of Tokyo, then gradually winding my way back to the urban areas in a spiral movement, shooting as I go, finally returning to the streets of Shinjuku at the end of the journey.
Though I've already lived some 47 years in Tokyo, I could hardly say that I really know the city well. Even though I’ve the impression that my camera a d I have trekked quite a lot through Tokyo, shooting here and there, I’ve long had the uneasy feeling that my coverage of most neighborhoods has holes in it than Swiss cheese. I hope that project will low me to appease that feeling. For example, I'd like to begin by walking around Tateishi, Aoto or Kowa along the Keisei Railway. Yes, that's probably the way I'll be making a living a few years down the line. And then, I’ll probably return to Shinjuku once again."

Daido Moriyama, extrait du prologue de Record no.8

 

Record n°6

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Record n°6

Daido Moriyama

Akio Nagasawa Publishing

2006

274 x 201 x 2 mm
couverture souple,46 pages, texte de Daido Moriyama en japonais & anglais
signé

Record est le magazine personnel dont Daido Moriyama publia les premiers numéros à compte d'auteur en 1972-1973, avec l'intention d'un rythme de parution mensuel, avant la reprise du projet en 2006. Avec les années, Record est devenu tout à la fois le journal de bord et le carnet de note de l’artiste. Ou, comme il se plaît à le répéter, sa  « ligne de vie » qui court en-deçà de ses multiples projets qui ponctuent son existence.

"I was having coffee at Café Huit in Shinjuku with Akio Nagasawa, an acquaintance of mine who makes T-shirts, posters and watches with my photos. All of a sudden, he brought up an unexpected topic: "Why don't we start up 'Kiroku' again?" That was the furthest thing from my mind, so I hesitated and asked "You mean that 'Kiroku'?, “Yes, that Kiroku," he answered calmly. For a while, all I could do was mumble "uh...u.mm..”


It was 34 years ago, back in 1972, that I came out with the self-published photo journal 'Kiroku. At the time, I was busy with all sorts of work for magazines. Partly because of a daily teeling inside that I shouldn't let myselt get carried away by it all, I came up with the idea of a small, self-published porsonal photo journal. Without any ties to work or uny fixed topic, I just wanted to continue publishing a 16-page booklet with an arbitrary selection of favorite photos among the pictures I snapped from day to day. By nature, it was directed first and foremost to myself rather than other people. I wanted a simple, basic titile, so I called it 'Kiroku' (record).

However, the publication of Kiroku' sadly ended with issue number five. While the main reason was that production costs had doubled in the wake of the oil shock, I can't deny that I was also personally a bit tired of the situation.

Now, thanks to the willpower and efforts of Akio Nagasawa, "Kiroku' the magazine has resumed publication. Or rather, we should call it a fresh publication. With the hope that it will continue this time, I am selfishly thinking of asking Mr. Nagasawa to publish ‘Kiroku' at a pace of four issues a year. I happily accept his proposal and look forward now to embarking on a new 'voyage of recording’."


Daido Moriyama, extrait du prologue de Record no.6

Lettre à Saint-Loup

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Lettre à Saint-Loup

Daido Moriyama

Kawade Shobo

2005

230x286x20 mm

couverture rigide, 148 pages, édition signée

Lettre à Saint-Loup a été publié pour la première fois en 1990. Daido Moriyama retrace son cheminement dans les rues de Tokyo et ses environs par le prisme d'un dialogue épistolaire et photographique avec l'inventeur français de la photographie, Nicéphore Niépce.

Record n°1 to 5 (original edition)

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Record n°1 to 5 (original edition)

Daido Moriyama

self published

1972-1973

Éditions originales des 5 premiers numéros de Record (1972-1973), le magazine autopublié de Daido Moriyama. En bon état, avec une lettre manuscrite de l'artiste.