Hiroshi Sugimoto, 2008 Premio Imperiale 2009
team art in berlin – Hiroshi Sugimoto Berlin
Hiroshi Sugimoto (杉本 博司 Sugimoto Hiroshi?; Tokyo, 23 febbraio 1948) è un fotografo e artista giapponese. Uno dei più importanti esponenti della fotografia contemporanea, «rappresentante di una fotografia seriale ispirata all’arte minimalista e concettuale nella tradizione della sobrietà e della semplicità orientali» (Hans-Michael Koetzle, Fotografi A – Z, Colonia, Taschen, 2011 ) e noto per il suo rigore nel riprodurre «stampe minuziose» in bianco e nero che realizza con una tecnica accurata e sofistificata
( fondazionefotografia.org ) preparando artigianalmente le emulsioni fotografiche che espone con tempi e metodi, diversi ed esclusivi (accademiaromartgallery.wikispaces.com) . Vive tra Tokyo e New York.
SARA MUNARI BLOG- MUSA FOTOGRAFIA
SITO DI HIROSHI SUGIMOTO
https://www.sugimotohiroshi.com/
sotto, dopo aver pubblicato tutto quello che ci regala il blog di Sara Munari, trovate alcune foto dell’autore dal suo sito con commenti suoi…e di nuovo il link con l’invito ad andarci se interessati…
Caribbean Sea, Jamaica, 1980
Water and air. So very commonplace are these substances, they hardly attract attention―and yet they vouchsafe our very existence. The beginnings of life are shrouded in myth: Let there water and air. Living phenomena spontaneously generated from water and air in the presence of light, though that could just as easily suggest random coincidence as a Deity. Let’s just say that t here happened to be a planet with water and air in our solar system, and moreover at precisely the right distance from the sun for the temperatures required to coax forth life. While hardly inconceivable that at least one such planet should exist in the vast reaches of universe, we search in vain for another similar example. Mystery of mysteries, water and air are right there before us in the sea. Every time I view the sea, I feel a calming sense of security, as if visiting my ancestral home; I embark on a voyage of seeing.
– Hiroshi Sugimoto
Hiroshi Sugimoto è nato in Giappone a Tokyo nel 1948. Fotografo dal 1970, il suo lavoro tratta della storia e dell’esistenza temporale, investigando su temi quali il tempo, l’empirismo e la metafisica. Le sue serie più conosciute includono: Seascapes, Theaters, Dioramas, Portraits (di statue di cera di Madame Tussaud), Architecture, Colors of Shadow, Conceptual Forms and Lightning Fields.
Sugimoto ha ricevuto numerosi grant e borse di studio e il suo lavoro è esposto nelle collezioni della Tate Gallery, del Museum of Contemporary Art, Chicago, e del Metropolitan Museum di New York, tra molti altri. Portraits, inizialmente creato per il Deutsche Guggenheim Berlin, è stato trasferito al Guggenheim New York nel Marzo 2001. Nel 2001, Sugimoto si è inoltre aggiudicato l’Hasselblad Foundation International Award per la fotografia.
Nel 2006, l’Hirshhorn Museum di Washington, D.C. e il Mori Art Museum di Tokyo hanno allestito una retrospettiva di metà carriera, in occasione della quale è stata prodotta una monografia intitolata Hiroshi Sugimoto. Sempre nel 2006, ha ricevuto il premio Photo España e nel 2009 il Praemium Imperiale, Painting Award dalla Japan Arts Association.
Durante la Biennale di Venezia del 2014, Sugimoto ha svelato la sua “Glass Tea House Mondiran” presso Le Stanze del Vetro sull’isola di San Giorgio Maggiore
Questo è il suo sito personale
http://www.sugimotohiroshi.com/
Qua trovate un’intervista rilasciata nel 2014, in occasione della Biennale di Venezia
http://www.artribune.com/2014/06/a-tu-per-tu-con-hiroshi-sugimoto-il-modernista-pre-postmoderno/
Sea of Buddha
The New York art scene in the 1970s was dominated by minimal and conceptual art, experiments in visualizing how abstract concepts. It occurred to me that similar motives inspired the making of art in twelfth-century Japan. In a Kyoto temple, there is an eight-hundred-years old installation of a thousand-and- one Senju Kanon, the “Thousand-Armed Merciful Bodhisattava Avalokitesvara ” figure, which is a three-dimensional representation of the Buddhist afterlife,the Pure Land Western Paradise. After seven years of red tape, I was finally granted permission to photograph in the temple of Sanjusangendo, the Hall of Thirty-Three Bays. In special preparation for the shoot, I had all late-medieval and early-modern embellishments removed, and the contemporary fluorescent lighting was turned off. Stripping the temple of these additions re-created the splendor of the thousand bodhisattvas glistening in the light of the sun rising over the Higashiyama Hills, perhaps as the Kyoto aristocracy of the Heian period (794-1185) might have seen them. Will today’s conceptual art survive another eight-hundred years?
– Hiroshi Sugimoto
ALCUNE FOTO DAL SITO DELL’AUTORE:
Polar Bear, 1976
Hyena – Jackal – Vulture, 1976
Earliest Human Relatives, 1994
Diorama
When I first arrived in New York in 1974, I visited many of the city’s tourist sites, one of which was the the American Museum of Natural History. I made a curious discovery while looking at the exhibition of animal dioramas: the stuffed animals positioned before painted backdrops looked utterly fake, yet by taking a quick peek with one eye closed, all perspective vanished,and suddenly they looked very real. I had found a way to see the world as a camera does. However fake the subject, once photographed, it’s as good as real.
– Hiroshi Sugimoto
World Trade Center, 1997
Church of the Light, 1997
Chapel of Notre Dame Du Haut, 1998
Eiffel Tower, 1998
Architecutre
Early-twentieth century modernism was a watershed moment in cultural history, a stripping away of superfluous decoration. The spread of democracy and the innovations of the Machine Age swept aside the ostentation that heretofore had been a signifier of power and wealth.
I set out to trace the beginnings of our age via architecture. Pushing out my old large-format camera’s focal length to twice-infinity―with no stops on the bellows rail, the view through the lens was an utter blur―I discovered that superlative architecture survives the onslaught of blurred photography. Thus I began erosion-testing architecture for durability, completely melting away many of the buildings in the process.
– Hiroshi Sugimoto
In Praise of Shadow 980727, 1998- ( In lode dell’ombra )
In Praise of Shadow 980726, 1998
In Praise of Shadow 980816, 1998
In Praise of Shadow
Japanese novelist Jun’ichiro Tanizaki disdained the “violent” artificial light wrought by modern civilization. I, too, am an anachronist: rather than live at the cutting edge of the contemporary, I feel more at ease in the absent past.
Domesticating fire marks humankind’s ascendancy over other species. For tens of thousands of years, we have illuminated the night with flames. Reflecting upon this, I decided to record “the life of a candle.” Late one midsummer night, I threw open the windows, and invited in the night breeze. Lighting a candle, I opened my camera lens. After several hours of wavering in the breeze, the candle burned out. Savoring the dark, I slowly closed the shutter. The candle’s life varied on any given night―short, intensely burning nights and long, constantly glowing nights―each different, yet equally lovely in its afterglow.
– Hiroshi Sugimoto
Per chi fosse interessato, ri-pubblichiamo il link del sito dell’autore consigliandovi di andarci. E’ diviso per sezioni più o meno di argomento e, se sapete un po’ d’inglese, mi sembra che le osservazioni di Hiroshi Sugimoto aiutino ad entrare un po’ nel suo mondo.
https://www.sugimotohiroshi.com/
