Daido Moriyama (b. 1938, Osaka, Japan) is amongst Japan’s most celebrated photographers, renowned for his radical approach to both medium and subject. Initially trained in graphic design, Moriyama moved to Tokyo in 1961 to pursue a career as a freelance photographer. There, he became the most prominent artist to emerge from the short lived yet profoundly influential Provoke movement, based around the experimental photography magazine of the same name. Moriyama’s bold, uncompromising images, with their grainy aesthetic and gritty subject matter embraced the subjective philosophy of Provoke, liberating photography from tradition and interrogating the very nature of the medium. His first major series, Japan: A Photo Theatre, was published as a photo book in 1968. It documented the vast urbanisation experienced by Tokyo, and more generally Japan, in the wake of the Second World War, recording a disintegration of traditional values and revealing the dark underbelly of city life. Influenced by the work of William Klein and Andy Warhol, as well as the writings of Jack Kerouac and the experimental theatre of Shūji Terayama, Moriyama in turn has extensively inspired subsequent generations of photographers with his discordant impressions of city life and chaotic vision of everyday existence.
Simon Lee Gallery, Hong Kong, is proud to present a survey of photographs by renowned Japanese photographer Daido Moriyama, spanning the breadth of his five-decades long career. From examples of his idiosyncratic black-and-white street photography to a more recent collection of digital colour images, the exhibition captures Moriyama’s discordant impressions of city life and chaotic visions of everyday existence, which have proved so influential to successive generations of photographers.
Fractured Kathryn Andrews, Angela Bulloch, Bernard Frize, Louise Lawler, Daido Moriyama, John Stezaker, Christopher Wool, Toby Ziegler
Simon Lee Gallery Hong Kong is proud to present Fractured a selected group exhibition exploring one of modernism’s most characteristic formal strategies, the fracturing of the picture plane. Just as the Renaissance development of perspective yielded the possibility of the representation of three dimensional space in a two dimensional plane, so the modernist device of splitting the picture plane by means of formal fault lines suggested the simultaneous presentation of multiple viewpoints, and opened the door to abstraction.