grace and soul
The French poet and critic Andre Breton often regarded as the founder of Surrealism, placed importance role of Freud’s psychology, while the mouvement’s in Japan countetparts were more intersted in imagery.
In these sense , Solt writes that ‘ the japanese artists are the second – generation reaction to the initiatial experimentation of the Westerners(…)’.
As such Yamamoto’s work may be regarded as ‘ dialogues’ with artists like Dali, Magritte, Man Ray.
His nude of a nude descending a spiral staircase is thus described as a translation of Duchamp’s ” Nude descending a staircase, no 2″.
This highlights how critis are consistently impressed by van Gogh and other Impressionists’ inclusion of ukio-e elememts in their work whereas Japanese artists who incorporated th Western influences tend to be labeled derivative or imitative.
Since Surrealism is a movement whose origins are foreign to Japan , surrealists here are regarded as needing an endorsement from the Western establishment.
Even if in 1929 Japan was’t in the map of of Surrealism, begining with 1936 things will change dramatic, that even Breton will be schocked: were 500 poets and artists in Tokyo whom were considered by themself as ‘surrealists’.
Kansuke is the obvious standout photographer in the exhibition,with almost half of exhibitions from Japan dedicated.
Throughout the 20 years, Kansuke’s work ranged from a pre- war pictorialist to a post- war social commentator and then surrealist.
His gracious photographs with figurative shades or ideas – to established the relationship between those times- are now seen with curiosity. He bound the ligne of imagery stuff with a story who it’s there in front of us.
Many of his works are symbols of devastation and loss to a country living with the after- effects after nuclear warfare.
Konsuke Yamamoto’s created works indicated liberty, antiwar and anti- government in a surrealistic way.
In 1953, Yamamato said that: ‘ The surreal exists within the Real. Tireless experimentation with new photography leads to the creation of a new beauty’.
The french forerunner of Surrealism, Comte de Lautremont, likened the beauty of ‘the unexpected meeting, on a disection table, of a sewing machine and an umbrella’.
Such beauty occurs often in Yamamoto’s photographs, as in the one showing a telephone, a bird cage and a bed. Yamamoto created his photos to take off on wings of poesy, as Man Ray did by positioning objects wholly without context.
Comments are closed.