Araki-All Women Are Beautiful_ecatalogue

 Nobuyosh  Nobuy oshii Araki: Araki:  Alll Wome  Al Women n are Beau Beauti tiful ful

 Nobuyos  Nobuyoshi hi Araki: Araki:  All Women Women are are Beautiful Beautiful

 September  September 7 to October 23, 23, 2011 2011 Galerie Steph Ooi Botos

the love of life  by Charles Merewether Merewether

The photography of Nobuyoshi Araki is, in a number of respects, exceptional. In fact, if we survey the histories of postwar or contemporary art in Japan or that of Japanese photography, he is  barely g iven reference. And yet, as a photographer, he has produced more than three hundred and fifty photography books over the past forty years. Moreover, Araki can be credited as one of the first of the generation of the Nineteen Seventies to develop the idea of ‘personal photography,’ in which the photographer and subject were inextricably linked. This idea is explored succinctly by Iizawa K ōtarō. In his essay ‘The Evolution of Postwar Photography,’ he places Araki amongst others, as exponents of a more personal style of photography, albeit dif ferently amongst themselves.1  We should also consider the environment of rapid industrialization and a developing mass culture. This became palpable in

the character and tempo of modern life in Japan. Both of these factors converge in the figure of Araki.  At the same time, Araki developed his practice in a milieu i n which professional photography was significant and highly visible. As a young man, he grew up in the m idst of older artists and photographers who had a profound influence on him. In particular,  both Takuma Nakahira and Daido Moriyama and the group around the magazine  Provoke  were of critical importance because of their visceral engagement with their subject matter, especially the subject of the street and the expressive character of individual lives. 2 The year Nineteen Seventy was a turning point that was captured by the contradictory politics of Expo ’70 in Osaka. This was not least due to the rampant commercialization that was made of the

event and the consequent abandonment by some of the leading architects, and both the visual and performing artists. In fact, Expo ’70 marked the end of an era that had seen the rise of an extraordinary group of photographers, alongside others across all fields of the arts, who had explored and captured the rise of Tokyo from the ashes of the Atomic Bomb.3  The Seventies then marked a turn to more personal subjects in the face of an increasingly anonymous city and the human subject retreated  behind the industrial fabric and repressive State – controlled structures of a mass culture. This is partially reflected in the early Araki photographs, such as the Subway series that, made between 19631972, depict the everyday life of ordinary people. In the Sixties, the work of Moriyama and others had opened a path for Araki in regard to the

subject of nakedness. A number of photographers had published photo essays in many of the popular photography magazines of the era. They were not pornographic but, rather, emanated a form of innocent delight in the portrayal of women, liberated - as if in their nudity - from the dictates of urban living. There was something here that resonated with the Western idea of the ‘counter-culture’ movement of the period. By the mid Sixties, the world around them was rapidly and violently changing. 4 This was reflected in the work of both Nakahira and Moriyama who depicted the grim and almost soulless urbanscape of people living especially on the bleak and barren edges of the city or the semi-industrial wastelands. Their aim was, as stated in the first issue of  Provoke, to capture and confr ont “the world in its naked state.” The image of people included illicit encounters between men and women. One of the most powerful series of

the love of life  by Charles Merewether Merewether

The photography of Nobuyoshi Araki is, in a number of respects, exceptional. In fact, if we survey the histories of postwar or contemporary art in Japan or that of Japanese photography, he is  barely g iven reference. And yet, as a photographer, he has produced more than three hundred and fifty photography books over the past forty years. Moreover, Araki can be credited as one of the first of the generation of the Nineteen Seventies to develop the idea of ‘personal photography,’ in which the photographer and subject were inextricably linked. This idea is explored succinctly by Iizawa K ōtarō. In his essay ‘The Evolution of Postwar Photography,’ he places Araki amongst others, as exponents of a more personal style of photography, albeit dif ferently amongst themselves.1  We should also consider the environment of rapid industrialization and a developing mass culture. This became palpable in

the character and tempo of modern life in Japan. Both of these factors converge in the figure of Araki.  At the same time, Araki developed his practice in a milieu i n which professional photography was significant and highly visible. As a young man, he grew up in the m idst of older artists and photographers who had a profound influence on him. In particular,  both Takuma Nakahira and Daido Moriyama and the group around the magazine  Provoke  were of critical importance because of their visceral engagement with their subject matter, especially the subject of the street and the expressive character of individual lives. 2 The year Nineteen Seventy was a turning point that was captured by the contradictory politics of Expo ’70 in Osaka. This was not least due to the rampant commercialization that was made of the

event and the consequent abandonment by some of the leading architects, and both the visual and performing artists. In fact, Expo ’70 marked the end of an era that had seen the rise of an extraordinary group of photographers, alongside others across all fields of the arts, who had explored and captured the rise of Tokyo from the ashes of the Atomic Bomb.3  The Seventies then marked a turn to more personal subjects in the face of an increasingly anonymous city and the human subject retreated  behind the industrial fabric and repressive State – controlled structures of a mass culture. This is partially reflected in the early Araki photographs, such as the Subway series that, made between 19631972, depict the everyday life of ordinary people. In the Sixties, the work of Moriyama and others had opened a path for Araki in regard to the

subject of nakedness. A number of photographers had published photo essays in many of the popular photography magazines of the era. They were not pornographic but, rather, emanated a form of innocent delight in the portrayal of women, liberated - as if in their nudity - from the dictates of urban living. There was something here that resonated with the Western idea of the ‘counter-culture’ movement of the period. By the mid Sixties, the world around them was rapidly and violently changing. 4 This was reflected in the work of both Nakahira and Moriyama who depicted the grim and almost soulless urbanscape of people living especially on the bleak and barren edges of the city or the semi-industrial wastelands. Their aim was, as stated in the first issue of  Provoke, to capture and confr ont “the world in its naked state.” The image of people included illicit encounters between men and women. One of the most powerful series of

4

5

work that was produced for Provoke 2 by Moriyama, was a series of a naked woman in an apartment and on her bed waiting for a customer. There is, in essence, nothing extraordinary about the images, nothing provocative but rather a picture of the everyday, of its uncertainty. This is precisely the point of the photographs, evoking a wistful sense of melancholy. The photographic work of Araki begins with The Sentimental Journey (1971), an account of his honeymoon with his newly wed wife the essayist Yoko Araki. This book along with a book Winter Journey made just before her death in 1990 and in her memory, become melancholic eulogies of her life and their relationship. This event will haunt Araki’s life and shape his sensibility. Throughout his years as a photographer,  Araki has developed a continuous exploration of women in the privacy of their own home and in his city Tokyo. He has rarely made photographs outside of Tokyo. They are neither photographs of the

street nor of bars or public places yet, nonetheless, they are what Araki often refers to as ‘my Tokyo.’ The photographs are about individual woman, their  bodies, their exposure to another, to the outside. Often they occur as a result of requests from the women themselves. These photographs are neither pornographic nor sexual. Rather, they are intimate portraits and one can feel a kind of intoxication that comes from this contact. There is a beauty to their face and their expression, a kind of poetry to the generosity that they offer to the photographer. This personal exchange counters what we can refer to as the growing solitude of a culture becoming anonymous, losing a sense of the individual, the neighbor, each other. Araki photographs every day in a manner that is diaristic. This approach – a personal event he notes – belongs to the present or constitutes the present, even though at the sa me time, it falls as an interregnum between the past that has passed and the future that is to come. This moment is precious and a fragile moment, a moment that is transient, appearing, disappearing. It allows us to

appreciate better Araki’s photographs of flowers that are often associated with women. As with women, the photographs of flowers offer a sense of frailty as to their beauty and transience that intimates their death. Jean Genet understood this association and sentiment. It is not the disclosure of death to come – as of Roland Barthes – but the very opposite, the  vitality of life today, now, now, at this moment: that is all. In interviews with Araki, he has noted that the camera for him displaces memory and becomes

associated with death. This resonates with the death of Yoko. The photographs of clouds, and of what he refers to as skyscapes, begin to appear after his wife’s death in a number of his photo-books. The clouds appear to offer a form of life that symbolizes transience as they pass across the fathomless sky above. And yet, nonetheless, this space is as Araki suggests, the domain of the spirit. In this space the imagination is set free, a space in which to dream and the promise of desire and of death meet.

 Notes 1

See Iizawa K ōtarō, ‘The Evolution of Postwar Photography’ in The History of Japanese Photography, edited by Anne Wilkes Tucker and others. (New Haven: Yale University Press in association with The Museum of Fine Arts, Houston, 2003), pp. 222-225.

2

  Provoke existed Provoke existed for only three issues (between November 1968 – August 1969) and was edited by Taki Koji, Nakahira Takuma, Okada Takahiko and Takanashi Yukata. Moriyama joined them in the second issue. After they stopped the magazine, two important books followed, first by the Provoke the Provoke group  group ‘First Discard the World of Pseudo-Certainty’ (1970) and by Nakahira For a Language to Come (1970). 3

See Art Anti-Art Non-Art: Expe rimentations in the Public Sphere in Postwar Japan, s1950-1970, Edited Charles Merewether with Rika Hiro, (Los Angeles: Getty Research Institute) 2007.

4

For extensive discussion, see Fn. 3.

work that was produced for Provoke 2 by Moriyama, was a series of a naked woman in an apartment and on her bed waiting for a customer. There is, in essence, nothing extraordinary about the images, nothing provocative but rather a picture of the everyday, of its uncertainty. This is precisely the point of the photographs, evoking a wistful sense of melancholy. The photographic work of Araki begins with The Sentimental Journey (1971), an account of his honeymoon with his newly wed wife the essayist Yoko Araki. This book along with a book Winter Journey made just before her death in 1990 and in her memory, become melancholic eulogies of her life and their relationship. This event will haunt Araki’s life and shape his sensibility. Throughout his years as a photographer,  Araki has developed a continuous exploration of women in the privacy of their own home and in his city Tokyo. He has rarely made photographs outside of Tokyo. They are neither photographs of the

street nor of bars or public places yet, nonetheless, they are what Araki often refers to as ‘my Tokyo.’ The photographs are about individual woman, their  bodies, their exposure to another, to the outside. Often they occur as a result of requests from the women themselves. These photographs are neither pornographic nor sexual. Rather, they are intimate portraits and one can feel a kind of intoxication that comes from this contact. There is a beauty to their face and their expression, a kind of poetry to the generosity that they offer to the photographer. This personal exchange counters what we can refer to as the growing solitude of a culture becoming anonymous, losing a sense of the individual, the neighbor, each other. Araki photographs every day in a manner that is diaristic. This approach – a personal event he notes – belongs to the present or constitutes the present, even though at the sa me time, it falls as an interregnum between the past that has passed and the future that is to come. This moment is precious and a fragile moment, a moment that is transient, appearing, disappearing. It allows us to

6

appreciate better Araki’s photographs of flowers that are often associated with women. As with women, the photographs of flowers offer a sense of frailty as to their beauty and transience that intimates their death. Jean Genet understood this association and sentiment. It is not the disclosure of death to come – as of Roland Barthes – but the very opposite, the  vitality of life today, now, now, at this moment: that is all. In interviews with Araki, he has noted that the camera for him displaces memory and becomes

associated with death. This resonates with the death of Yoko. The photographs of clouds, and of what he refers to as skyscapes, begin to appear after his wife’s death in a number of his photo-books. The clouds appear to offer a form of life that symbolizes transience as they pass across the fathomless sky above. And yet, nonetheless, this space is as Araki suggests, the domain of the spirit. In this space the imagination is set free, a space in which to dream and the promise of desire and of death meet.

 Notes 1

See Iizawa K ōtarō, ‘The Evolution of Postwar Photography’ in The History of Japanese Photography, edited by Anne Wilkes Tucker and others. (New Haven: Yale University Press in association with The Museum of Fine Arts, Houston, 2003), pp. 222-225.

2

  Provoke existed Provoke existed for only three issues (between November 1968 – August 1969) and was edited by Taki Koji, Nakahira Takuma, Okada Takahiko and Takanashi Yukata. Moriyama joined them in the second issue. After they stopped the magazine, two important books followed, first by the Provoke the Provoke group  group ‘First Discard the World of Pseudo-Certainty’ (1970) and by Nakahira For a Language to Come (1970). 3

See Art Anti-Art Non-Art: Expe rimentations in the Public Sphere in Postwar Japan, s1950-1970, Edited Charles Merewether with Rika Hiro, (Los Angeles: Getty Research Institute) 2007.

4

For extensive discussion, see Fn. 3.

7

“Novel Photograph”

1995, Fuji Crystal RP Print, 20 x 24 inches / 50.8 x 60 cm

“Novel Photograph”

1995, Fuji Crystal RP Print, 20 x 24 inches / 50.8 x 60 cm

8

9

“67 Shooting Back”

2007, RP Direct Print, 20 x 24 in / 50.8 x 60 cm

“67 Shooting Back”

2007, RP Direct Print, 20 x 24 in / 50.8 x 60 cm

1 0

1 1

1 2

1 3

1 4

1 5

1 6

1 7

“Lewd Painting” Painting”

2011, RP Direct Print, 19.7 x 18 in / 56 x 45.7 cm

“Lewd Painting” Painting”

2011, RP Direct Print, 19.7 x 18 in / 56 x 45.7 cm

1 8

1 9

2 0

2 1

“Pola Eros”

2006-2009, Polaroid, unique, 4.3 x 3.5 in / 10.8 x 8.8 cm

“Pola Eros”

2006-2009, Polaroid, unique, 4.3 x 3.5 in / 10.8 x 8.8 cm

2 2

2 3

2 4

2 5

2 6

2 7

“Sky”

2006-2009, Polaroid, unique, 4.3 x 3.5 in / 10.8 x 8.8 cm

“Sky”

2006-2009, Polaroid, unique, 4.3 x 3.5 in / 10.8 x 8.8 cm

2 8

2 9

“Pola Nostalgia”

2011, Polaroid, unique, 4.3 x 3.5 in / 10.8 x 8.8 cm

“Pola Nostalgia”

2011, Polaroid, unique, 4.3 x 3.5 in / 10.8 x 8.8 cm

3 0

3 1

“B/W bondage”, bondage”, Jablonka Galerie Berlin, Berlin  2007

“ARAKI GOLD”, GOLD”, l’Istituto Nazionale Nazionale per per la Grafica Palazzo Fontana di Trevi, Roma “67 Shooting Back”, Taka Ishii Gallery, Tokyo

 2006

“TOKYO JINSEI”, Edo Tokyo Museum, Tokyo “SHIKI IN ME”, Taka Ishii Gallery, Tokyo “Nobuyoshi Araki “, Galeria Enrique Guerrero, Mexico D.F., D.F., Mexico

 Nobuyosh  Nobuyoshii Araki Araki

 2005

Life Like – the World World of Photography by Nobuyoshi Nobuyoshi Araki: “Flowers by Araki”, epSITE, EPSON IMAGING GALLE RY, Singapore

 b. Tokyo, Tokyo, Japan Japan 1940 1940

“Wanted: Dead and Alive - Works by the Genius Photo-maniac, Nobuyoshi Araki”, Nanyang Academy of Fine Arts (NAFA) Singapore “NOBUYOSHI ARAK I: Self, Life, Death”, Art Galleries, Barbican Centre, London

 Selected solo exhibitions

“Nobuyoshi Araki Tokyo Nude”, Yoshii Galler y, New York  “Kaori”, Reflex New Art Gallery, Amsterdam

 2011

“Film Nostalgia”, Nostalgia”, Taka Ishii Gallery, Tokyo

 2010

“Ai no Jikan”, Leica Ginza Salon, Tokyo “Koki No Shashin : Photographs of A Seventy Year Old”, Old”,

 2004

“Painting Flower”, epSITE, EPSON IMAGING GALLE RY, Tokyo  2003

Taka Ishii Gallery, Tokyo  2009

“Tokyo Still Life” Tampere Art Museum, Tampere, Finland  2002

Contemporary Art, Hiroshima

“KOSHOKU PAINTING”, Rat Hole Gallery, Tokyo Tokyo “Hana Ki nbaku”, Taka Taka Ishii Gallery, Tokyo Tokyo

“Nobuyoshi Araki” Jablonka Galerie, Köln “Suicide in Tokyo” Italian Pavilion, Venice

“69YK”, Taka Ishii Gallery, Tokyo  2008

“ARAKI BY ARAK I” Taka Ishii Gallery, Tokyo “Hana-Jinsei” Tokyo Metropolitan Museum of Photography

“2THESKY, my Ender”, Taka Ishii Gallery, Tokyo Tokyo “The Faces of Japan” Project HIROSHIMA by Nobuyoshi Araki”, Hiroshima City Museum of

“From Winter to Spring”, Taka Ishii Gallery, Tokyo

“Shosetsu Seoul” Artium, Fukuoka  2001

“Tokyo Still Life” Ikon Gallery, Birmingham, UK  “Pola”, Low, Los Angeles

“B/W bondage”, bondage”, Jablonka Galerie Berlin, Berlin  2007

“ARAKI GOLD”, GOLD”, l’Istituto Nazionale Nazionale per per la Grafica Palazzo Fontana di Trevi, Roma “67 Shooting Back”, Taka Ishii Gallery, Tokyo

 2006

“TOKYO JINSEI”, Edo Tokyo Museum, Tokyo “SHIKI IN ME”, Taka Ishii Gallery, Tokyo “Nobuyoshi Araki “, Galeria Enrique Guerrero, Mexico D.F., D.F., Mexico

 Nobuyosh  Nobuyoshii Araki Araki

 2005

Life Like – the World World of Photography by Nobuyoshi Nobuyoshi Araki: “Flowers by Araki”, epSITE, EPSON IMAGING GALLE RY, Singapore

 b. Tokyo, Tokyo, Japan Japan 1940 1940

“Wanted: Dead and Alive - Works by the Genius Photo-maniac, Nobuyoshi Araki”, Nanyang Academy of Fine Arts (NAFA) Singapore “NOBUYOSHI ARAK I: Self, Life, Death”, Art Galleries, Barbican Centre, London

 Selected solo exhibitions

“Nobuyoshi Araki Tokyo Nude”, Yoshii Galler y, New York  “Kaori”, Reflex New Art Gallery, Amsterdam

 2011

“Film Nostalgia”, Nostalgia”, Taka Ishii Gallery, Tokyo

 2010

“Ai no Jikan”, Leica Ginza Salon, Tokyo “Koki No Shashin : Photographs of A Seventy Year Old”, Old”,

 2004

“Painting Flower”, epSITE, EPSON IMAGING GALLE RY, Tokyo  2003

Taka Ishii Gallery, Tokyo  2009

“Tokyo Still Life” Tampere Art Museum, Tampere, Finland  2002

Contemporary Art, Hiroshima

“KOSHOKU PAINTING”, Rat Hole Gallery, Tokyo Tokyo

“Nobuyoshi Araki” Jablonka Galerie, Köln “Suicide in Tokyo” Italian Pavilion, Venice

“69YK”, Taka Ishii Gallery, Tokyo  2008

“ARAKI BY ARAK I” Taka Ishii Gallery, Tokyo “Hana-Jinsei” Tokyo Metropolitan Museum of Photography

“2THESKY, my Ender”, Taka Ishii Gallery, Tokyo Tokyo “The Faces of Japan” Project HIROSHIMA by Nobuyoshi Araki”, Hiroshima City Museum of

“From Winter to Spring”, Taka Ishii Gallery, Tokyo

“Shosetsu Seoul” Artium, Fukuoka  2001

“Hana Ki nbaku”, Taka Taka Ishii Gallery, Tokyo Tokyo

“Tokyo Still Life” Ikon Gallery, Birmingham, UK  “Pola”, Low, Los Angeles

3 2

“Shosetsu Seoul” Spiral Hall, Tokyo

“Arakinema: Tokyo Comedy in Vienna, SpiraI Hall, Tokyo

“Shikijo kyo” Taka Ishii Gallery, Tokyo

“Arakinema: Taipei” Yomiuri Culture Salon Aoyama;

“Flower Shadow” Gallery Artgraph, Tokyo

Taipei Fine Arts Museum, Taiwan

“Viaggio Sentimental” Centro Perl’arte Contemporanea Luigi Pecci,

“Cosmosco” Taka ishii Gallery

3 3

“Arakinema: Erotic Woman in Color” Taipei, Taiwan; Bangkok, Thailand  2000

Prato, Italy

“Story portraits” Chulalongkorn University, Bangkok, Thailand

“Arakinema: Kurumado” Pecci, Prato

“A’s Paradise” Shinjuku Takashimaya Concourse (outdoor instaIIation) ,

“Polaevacy” Nadiff, Tokyo “Nobuyoshi Araki” Low, Los Angeles

1997

“Shashin Shijyo Shugi” Taka Ishii Gallery, Tokyo

“A’s Life” Kachima i HaIl, Obihiro; Laforet Museum Harajuku Tokyo “Nobuyoshi Araki” Galerie Bob van Orsouw, Zurich

“Nobuyoshi Araki” Stedellik Museum voor Actuelle Kunst, Gent, Belgium

“Shikijyo” Scalo Book Store, Zurich

“Nobuyoshi Araki” Galerie Almine Rech, Paris

“Flower Rondo” J. M. Gal lery, Tokyo Tokyo

“Nobuyoshi Araki” Galerie Kamel Mennour, Paris

“Araki Retrographs” Hara Museum of Contemporary Art, Tokyo

“Nobuyoshi Araki” Damasquine Art Gallery, Bruxelle, Belgium

“Arakinema: Retro-Ero” Hara Museum of Contemporary Art, Tokyo

“Arakinema: A’s Paradise” Museum of Contemporary Art, Tokyo

“Tokyo Comedy” Wiener Secession, Vienna, Austria

“ARAKI Nobuyoshi Sentimental Photography, Photography, Sentimental Life”

“Arakinema: Love Secession” Wiener secession, Vienna, Austria

Museum of Contemporary Art, Tokyo

“Arakinema: Tokyo Paradise” Wiener Secession, Vienna, Austria

“A World of GirIs” II Tempo, Tokyo 1999

“Nobuyoshi Araki” Scalo Art Space, New York 

“Arakinema: Vienna and Tokyo Paradise” Hara Museum of Contemporary Art, Tokyo

“RYUSEKI” Taka Ishii Gallery, Tokyo

“Nobuyoshi Araki” Gallery Starmach, Krakow, Poland

“ALive” Taipei Fine Arts Museum, Taipei; Contemporary Art Gallery,

“Nobuyoshi Araki” Studio Guenzani, Milan

Vancouver; Grand Gallery, Prague; Galerie Bob van Orsouw, Zurich “Araki Nobuyoshi” Il Tempo, Tokyo “Winter Love” Toru Maeshima Gallery, Wakayama

1996

“Faces vs Bodies” SpiraI Garden, Tokyo “Arakinema: Faces vs Bodies/ Spiral Hall, Tokyo “Death Reality” Taka lshii Gallery Tokyo

1998

“Tokyo Shijyo” Diechtorhallen, Hamburg

“The Past 1972-1973” 1972-1973” Stadtsparkasse. Muenster, Germany

“The Past= Photographs 1972-1973” Stadtisches Museum

“FIowers: Life and Death” Nishimura Gallery, Tokyo

Leverkusen, Germany

“Tokyo Novel” Egg Ga llery, Tokyo

“Nobuyoshi Araki= Tokyo” Stadtisches Klinikum Fulda, Germany

“Shadows of Flowers/ Gallery Eve Tokyo

“Portraits and Flowers” Photographers Gallery, London

“Bokuju-kitan” Jablonka Galerie, Köln

“Tokyo Nostalsia” GaIleria Photology, Milan

“Arakinema: Novel Photography” Studio Mouris Roppongi, Tokyo

“A’s Life” traveling to Toyama, Yokohama, Sapporo and Fukuoka

“Arakinema: Flower Rondo ll” Areana Hall, Tamagawa Takashimaya SC, Tokyo

Tokyo

“Shosetsu Seoul” Spiral Hall, Tokyo

“Arakinema: Tokyo Comedy in Vienna, SpiraI Hall, Tokyo

“Shikijo kyo” Taka Ishii Gallery, Tokyo

“Arakinema: Taipei” Yomiuri Culture Salon Aoyama;

“Flower Shadow” Gallery Artgraph, Tokyo

Taipei Fine Arts Museum, Taiwan

“Viaggio Sentimental” Centro Perl’arte Contemporanea Luigi Pecci,

“Cosmosco” Taka ishii Gallery

“Arakinema: Erotic Woman in Color” Taipei, Taiwan; Bangkok, Thailand  2000

Prato, Italy

“Story portraits” Chulalongkorn University, Bangkok, Thailand

“Arakinema: Kurumado” Pecci, Prato

“A’s Paradise” Shinjuku Takashimaya Concourse (outdoor instaIIation) ,

Tokyo

“Polaevacy” Nadiff, Tokyo “Nobuyoshi Araki” Low, Los Angeles

1997

“Shashin Shijyo Shugi” Taka Ishii Gallery, Tokyo

“A’s Life” Kachima i HaIl, Obihiro; Laforet Museum Harajuku Tokyo “Nobuyoshi Araki” Galerie Bob van Orsouw, Zurich

“Nobuyoshi Araki” Stedellik Museum voor Actuelle Kunst, Gent, Belgium

“Shikijyo” Scalo Book Store, Zurich

“Nobuyoshi Araki” Galerie Almine Rech, Paris

“Flower Rondo” J. M. Gal lery, Tokyo Tokyo

“Nobuyoshi Araki” Galerie Kamel Mennour, Paris

“Araki Retrographs” Hara Museum of Contemporary Art, Tokyo

“Nobuyoshi Araki” Damasquine Art Gallery, Bruxelle, Belgium

“Arakinema: Retro-Ero” Hara Museum of Contemporary Art, Tokyo

“Arakinema: A’s Paradise” Museum of Contemporary Art, Tokyo

“Tokyo Comedy” Wiener Secession, Vienna, Austria

“ARAKI Nobuyoshi Sentimental Photography, Photography, Sentimental Life”

“Arakinema: Love Secession” Wiener secession, Vienna, Austria

Museum of Contemporary Art, Tokyo

“Arakinema: Tokyo Paradise” Wiener Secession, Vienna, Austria

“A World of GirIs” II Tempo, Tokyo 1999

“Nobuyoshi Araki” Scalo Art Space, New York 

“Arakinema: Vienna and Tokyo Paradise” Hara Museum of Contemporary Art, Tokyo

“RYUSEKI” Taka Ishii Gallery, Tokyo

“Nobuyoshi Araki” Gallery Starmach, Krakow, Poland

“ALive” Taipei Fine Arts Museum, Taipei; Contemporary Art Gallery,

“Nobuyoshi Araki” Studio Guenzani, Milan

Vancouver; Grand Gallery, Prague; Galerie Bob van Orsouw, Zurich “Araki Nobuyoshi” Il Tempo, Tokyo

1996

“Winter Love” Toru Maeshima Gallery, Wakayama

“Faces vs Bodies” SpiraI Garden, Tokyo “Arakinema: Faces vs Bodies/ Spiral Hall, Tokyo “Death Reality” Taka lshii Gallery Tokyo

1998

3 4

“Tokyo Shijyo” Diechtorhallen, Hamburg

“The Past 1972-1973” 1972-1973” Stadtsparkasse. Muenster, Germany

“The Past= Photographs 1972-1973” Stadtisches Museum

“FIowers: Life and Death” Nishimura Gallery, Tokyo

Leverkusen, Germany

“Tokyo Novel” Egg Ga llery, Tokyo

“Nobuyoshi Araki= Tokyo” Stadtisches Klinikum Fulda, Germany

“Shadows of Flowers/ Gallery Eve Tokyo

“Portraits and Flowers” Photographers Gallery, London

“Bokuju-kitan” Jablonka Galerie, Köln

“Tokyo Nostalsia” GaIleria Photology, Milan

“Arakinema: Novel Photography” Studio Mouris Roppongi, Tokyo

“A’s Life” traveling to Toyama, Yokohama, Sapporo and Fukuoka

“Arakinema: Flower Rondo ll” Areana Hall, Tamagawa Takashimaya SC, Tokyo

“Fake Love” Ginza Komatsu, Tokyo

Rotterdam, the Netherlands; Fotomuseum im Munchener Standmuseum, Munich, Germany;

“The Face, The Dead” Pace Wildenstein and MacGill, Los Angeles

Bregenzer Kunstverein, Bregenz, Austria

“A moment in Time” espace TAG Heuer, Tokyo

“Fine Tokyo Days” Gallery Verita, Tokyo

“From Close-range” BIum & Poe, Los Angeles

New World of Love” La Camera, Tokyo “Erotos”Parco Gallery, Tokyo

1995

“Erotos” Gallery lndex, Stockholm, Sweden; Sweden; GalIery Bang, Oslo, Norway; Forum Stadtpark, Graz, Austria

1992

“Love interrogations: Tokyo Fax./Facks” Apt Gallery, Tokyo

“Akt-Tokyo: Nobuyoshi Ara ki 1971-1991” 1971-1991” traveling to Zone Gallery,

“State of Things: A Thousand Photographs Exhibited Day by Day” P3 Art and Environment,

New Castle, England; Galerie Bob van Orsouw, Zurich

Tokyo

“Araki Nobuyoshi” Torch, Amsterdam

“Angel’s Festival” Parco Ga llery, Tokyo

“Journal intime” Fondation Cartier pour I’art contemporain, Paris

“Car Photographs” Egg Gallery, Tokyo

“The First Year of Heisei” Le G arage, Reims, France

“Akt-Tokyo: Nobuyoshi Araki 1971-1991” 1971-1991” Forum Stadtpark,

“Nobuyoshi Araki: A-Diary/Sachin and His Brother Mabo”, Galerie Chantal

Graz, Austria;traveling to Galerie Fotohof, Mirabellpark, Salzburg, Austria

CrouseI, Paris

“Photo-maniac Diary” Egg Gallery, Tokyo

“Naked Novel” Egg Gallery, Tokyo “Arakinema: Sentimental Journey/Winter Journey” Sogetsu Hall, Tokyo

1991

“Satchin in Summer” Laforet Museum Harajuku Tokyo

1994

“A’s Nude Exhibition: Lovers” Apt Gallery, Tokyo

“Arakinema: Passion in Okinawa” Ryubo Hall, Naha

“In the Move: The sky where Butterflies Flitter Around” Egg Gallery Tokyo

“Pictures by A Virgin Boy, Daccho-kun” Space Link, Tokyo (drawings)

“Arakinema: Springscapes” Cinema Rise Shibuya, Tokyo

“Tokyo Novelle” Kunstmuseum Wolfsburg, Wolfsburg, Germany

“From Close-range” Hosomi Gallery, Tokyo

“Bokuju-kitan” Jablonka Galerie, Köln

“Jeanne” Shinchosha Art Space; Heartland, Hamamatsu

“Nobuyoshi Araki: Diario lntimo” Encontros de Fotografia,

“From Close-range: Yamorinskies like Flower and Nude”, Nude”, Athens Gallery, Osaka

Coimbra, Portugal

“Colorscapes” Seed Hall, Tokyo

“Akt-Tokyo: Nobuyoshi Nobuyoshi Araki 1971-1991” 971-1991” traveling to Museet for Fotokunst,Odense, Denmark;

1990

Nordliga Fotocentret, Oulu Finland “Private Photography” Yurakucho Asahi Gallery, Tokyo “Sky” Gallery Eve, Tokyo “Tokyo Nude/Private Diary” Luhring Augustine, New York  “Unconscious Tokyo : Tokyo Cube” White Cube, London “Obscene Photographs” Taka Ishii Gallery Tokyo “Akt-Tokyo: Nobuyoshi Nobuyoshi Araki 1971-1991” 971-1991” traveling to Galerie Museum, Bozen, Italy; Kunsthal

“Chiro, My Love” Ikebukuro Book Center Libro, Tokyo “Skyscapes” Gallery Verita, Tokyo “Foto Tanz” Shinjuku Konica Plaza, Tokyo “Tokyo Lucky Hole” apt Gallery, Tokyo “Towards Winter : Tokyo, A City Heading for Death” Egg Gallery Tokyo

1989 1993

“Winter Journey” Egg Gallery Tokyo

“Nobuyoshi Araki ‘89: Selected Photographs” Gallery Kosai, Machida, Kanagawa

3 5

“Fake Love” Ginza Komatsu, Tokyo

Rotterdam, the Netherlands; Fotomuseum im Munchener Standmuseum, Munich, Germany;

“The Face, The Dead” Pace Wildenstein and MacGill, Los Angeles

Bregenzer Kunstverein, Bregenz, Austria

“A moment in Time” espace TAG Heuer, Tokyo

“Fine Tokyo Days” Gallery Verita, Tokyo

“From Close-range” BIum & Poe, Los Angeles

New World of Love” La Camera, Tokyo “Erotos”Parco Gallery, Tokyo

1995

“Erotos” Gallery lndex, Stockholm, Sweden; Sweden; GalIery Bang, Oslo, Norway; Forum Stadtpark, Graz, Austria

1992

“Love interrogations: Tokyo Fax./Facks” Apt Gallery, Tokyo

“Akt-Tokyo: Nobuyoshi Ara ki 1971-1991” 1971-1991” traveling to Zone Gallery,

“State of Things: A Thousand Photographs Exhibited Day by Day” P3 Art and Environment,

New Castle, England; Galerie Bob van Orsouw, Zurich

Tokyo

“Araki Nobuyoshi” Torch, Amsterdam

“Angel’s Festival” Parco Ga llery, Tokyo

“Journal intime” Fondation Cartier pour I’art contemporain, Paris

“Car Photographs” Egg Gallery, Tokyo

“The First Year of Heisei” Le G arage, Reims, France

“Akt-Tokyo: Nobuyoshi Araki 1971-1991” 1971-1991” Forum Stadtpark,

“Nobuyoshi Araki: A-Diary/Sachin and His Brother Mabo”, Galerie Chantal

Graz, Austria;traveling to Galerie Fotohof, Mirabellpark, Salzburg, Austria

CrouseI, Paris

“Photo-maniac Diary” Egg Gallery, Tokyo

“Naked Novel” Egg Gallery, Tokyo “Arakinema: Sentimental Journey/Winter Journey” Sogetsu Hall, Tokyo

1991

“Satchin in Summer” Laforet Museum Harajuku Tokyo

1994

“A’s Nude Exhibition: Lovers” Apt Gallery, Tokyo

“Arakinema: Passion in Okinawa” Ryubo Hall, Naha

“In the Move: The sky where Butterflies Flitter Around” Egg Gallery Tokyo

“Pictures by A Virgin Boy, Daccho-kun” Space Link, Tokyo (drawings)

“Arakinema: Springscapes” Cinema Rise Shibuya, Tokyo

“Tokyo Novelle” Kunstmuseum Wolfsburg, Wolfsburg, Germany

“From Close-range” Hosomi Gallery, Tokyo

“Bokuju-kitan” Jablonka Galerie, Köln

“Jeanne” Shinchosha Art Space; Heartland, Hamamatsu

“Nobuyoshi Araki: Diario lntimo” Encontros de Fotografia,

“From Close-range: Yamorinskies like Flower and Nude”, Nude”, Athens Gallery, Osaka

Coimbra, Portugal

“Colorscapes” Seed Hall, Tokyo

“Akt-Tokyo: Nobuyoshi Nobuyoshi Araki 1971-1991” 971-1991” traveling to Museet for Fotokunst,Odense, Denmark;

1990

Nordliga Fotocentret, Oulu Finland “Private Photography” Yurakucho Asahi Gallery, Tokyo “Sky” Gallery Eve, Tokyo “Tokyo Nude/Private Diary” Luhring Augustine, New York  “Unconscious Tokyo : Tokyo Cube” White Cube, London “Obscene Photographs” Taka Ishii Gallery Tokyo 1993

1987

“Chiro, My Love” Ikebukuro Book Center Libro, Tokyo “Skyscapes” Gallery Verita, Tokyo “Foto Tanz” Shinjuku Konica Plaza, Tokyo “Tokyo Lucky Hole” apt Gallery, Tokyo “Towards Winter : Tokyo, A City Heading for Death” Egg Gallery Tokyo

1989 3 6

“Winter Journey” Egg Gallery Tokyo

“Nobuyoshi Araki ‘89: Selected Photographs” Gallery Kosai, Machida, Kanagawa

“Akt-Tokyo: Nobuyoshi Nobuyoshi Araki 1971-1991” 971-1991” traveling to Galerie Museum, Bozen, Italy; Kunsthal

3 7

“A Part of Love” Art Space Mirage, Tokyo

“Private Tokyo ‘76” Kinokuniya Gallery, Tokyo

“Araki-s-m 1967-198 1967-1987” 7” Zeit-Foto Salon, Tokyo

1986

“Puppet Prince” Spiral Hall, Tokyo

1975

“Actress: Kisaki Sekimura” Minolta Photo Space, Tokyo

“Shibuya Street” Doi Photo Plaza Shibuya, Tokyo

1974

“Actresses: with Photos, Photos, videos, and Films”, Gallery Matto Grosso, Tokyo

Slide show “Arakinema : Tokyo-Story” Cinema Rise, Tokyo “A’s Erotomania Diary” Zito-Foto Salon

1973

“Pseudo-documentary: Photographs of Polluted by Silver-Halogen Compound : Chirring Cicadas in Chorus”, Kinokuniya Gallery Tokyo

1984

“A Balthus Summer” Picture Photo Photo Space, Osaka

“Flowers in Ruins” Shimizu Gallery, Tokyo

“A World of Girls” Zeit-Foto Salon 1970-76 “K itchen-Ramen 1982

: Erotic-Realism” Kitchen-Ramen, Tokyo Tokyo

“I am Photography”,”Araki’s Photography”,”Araki’s Storm of Love” Doi Photo PlazaShibuya, Tokyo “The 3rd Arakism Maanifesto” Asahi Seimei Hall, Tokyo

1970

“Sur-sentimentalist Manifest No.2 : The Truth About Carmen Marie” Kunugi Gallery,

Tokyo 1981

“The 2nd Arakism Manifesto” Yamaha Hall, Tokyo

1980

“The Arakism Manifesto” New York Theatre, Tokyo “Wet dreams on midsummer Night Night and the Anniversary of the End of the War”,

1967

“Ginza”,”Zoo” “Ginza”,”Zoo” Mitsubishi Denki Gallery, Tokyo

1966

“Subway”,”Middle-aged Women” Mitsubishi Denki Gallery, Tokyo

1965

“Satchin and Mabo” Shinjuku Station Gallery, Tokyo

Kinokuniya Gallery, Tokyo “Zigeunerweisen : Fictitious Truth” Kinokuniya Gallery, Tokyo 1979

“First Visit to New New York” MINOLTA Photo Space, Tokyo

1978

“Actress: A Sentimental Ero-Roman” Horindo Art Space Tokyo “Eizo: portraits of descendants” Camp, Tokyo “My Scene : 1940-1977” Ginza Cannon Salon, Tokyo

1977

“Tokyo Blues” Ginza Nikon Salon, Tokyo “This years Photos” Shirakaba Gallery, Tokyo “Last years Photos” Shirakaba Gallery, Tokyo

1976

“Yoko, My Love” Ginza Nikon Salon Tokyo

 PUBLIC COLLECTIONS

 ARKEN Museum for Moderne Kunst, Den mark   Art Collection Neue Borse Centre Pompidou, Paris Deutsche Bank Fondation Cartier pour l’art contemporain Fonds National d’Art Contemporain, Centre National des Arts Plastiques Fotomuseum Wintherthur Sammlung Goetz, Munich Hara Museum of Contemporary Art Tokyo IZU PHOTO MUSEUM Kunstmuseum Wolfsburg

1987

“A Part of Love” Art Space Mirage, Tokyo

“Private Tokyo ‘76” Kinokuniya Gallery, Tokyo

“Araki-s-m 1967-198 1967-1987” 7” Zeit-Foto Salon, Tokyo

1986

“Puppet Prince” Spiral Hall, Tokyo

1975

“Actress: Kisaki Sekimura” Minolta Photo Space, Tokyo

“Shibuya Street” Doi Photo Plaza Shibuya, Tokyo

1974

“Actresses: with Photos, Photos, videos, and Films”, Gallery Matto Grosso, Tokyo

Slide show “Arakinema : Tokyo-Story” Cinema Rise, Tokyo “A’s Erotomania Diary” Zito-Foto Salon

1973

“Pseudo-documentary: Photographs of Polluted by Silver-Halogen Compound : Chirring Cicadas in Chorus”, Kinokuniya Gallery Tokyo

1984

“A Balthus Summer” Picture Photo Photo Space, Osaka

“Flowers in Ruins” Shimizu Gallery, Tokyo

“A World of Girls” Zeit-Foto Salon 1970-76 “K itchen-Ramen 1982

: Erotic-Realism” Kitchen-Ramen, Tokyo Tokyo

“I am Photography”,”Araki’s Photography”,”Araki’s Storm of Love” Doi Photo PlazaShibuya, Tokyo “The 3rd Arakism Maanifesto” Asahi Seimei Hall, Tokyo

1970

“Sur-sentimentalist Manifest No.2 : The Truth About Carmen Marie” Kunugi Gallery,

Tokyo 1981

“The 2nd Arakism Manifesto” Yamaha Hall, Tokyo

1980

“The Arakism Manifesto” New York Theatre, Tokyo “Wet dreams on midsummer Night Night and the Anniversary of the End of the War”,

1967

“Ginza”,”Zoo” “Ginza”,”Zoo” Mitsubishi Denki Gallery, Tokyo

1966

“Subway”,”Middle-aged Women” Mitsubishi Denki Gallery, Tokyo

1965

“Satchin and Mabo” Shinjuku Station Gallery, Tokyo

Kinokuniya Gallery, Tokyo “Zigeunerweisen : Fictitious Truth” Kinokuniya Gallery, Tokyo 1979

“First Visit to New New York” MINOLTA Photo Space, Tokyo

1978

“Actress: A Sentimental Ero-Roman” Horindo Art Space Tokyo “Eizo: portraits of descendants” Camp, Tokyo “My Scene : 1940-1977” Ginza Cannon Salon, Tokyo

1977

“Tokyo Blues” Ginza Nikon Salon, Tokyo “This years Photos” Shirakaba Gallery, Tokyo “Last years Photos” Shirakaba Gallery, Tokyo

3 8

1976

“Yoko, My Love” Ginza Nikon Salon Tokyo

Maison de la photographie, Paris Musée des beaux-arts de Montréal, Montréal Museum für Moderne Kunst Frankfurt am Main Museum of Contemporary Art Tokyo Museum Moderner Kunst, Vienna Telenor Foundation, Norway Peter Norton Collection (Tate UK) Pinakothek der Moderne, Munich San Francisco Museum of Modern Art Sammlung Hoffman The Israel Museum, Jerusalem The Museum of Contemporary Art, Los Angeles The Museum of Fine Arts, Houston The UBS Art Collection Tokyo Metropolitan Museum of Photography Yokohama Museum of Art Kunsthalle Winterthur

 PUBLIC COLLECTIONS

 ARKEN Museum for Moderne Kunst, Den mark   Art Collection Neue Borse Centre Pompidou, Paris Deutsche Bank Fondation Cartier pour l’art contemporain Fonds National d’Art Contemporain, Centre National des Arts Plastiques Fotomuseum Wintherthur Sammlung Goetz, Munich Hara Museum of Contemporary Art Tokyo IZU PHOTO MUSEUM Kunstmuseum Wolfsburg

There is nothing more interesting than women, and nothing more exciting.

 As for ‘Beauty’ ‘Beauty’ spoken, spoken, this is like a fixed illusion that someone someone has developed. developed.  After all, I want to take take photographs photographs of ‘real ‘real women’, women’, lives lives full of faults faults and with a dirty side. That’s why I have been taking such women for a long time.

 PRIZES

2008

Austrian Decoration of Honor for Science and Arts

1994

Japan Inter-Design Forum Grand Prix 

1991

7th Higashikawa Prize

1990

Shashin-no-kai Prize from the Photographic Society of Japan

1964

First Taiyo Prize for “Satchin”

 - Nobuyoshi Araki

3 9

Maison de la photographie, Paris Musée des beaux-arts de Montréal, Montréal Museum für Moderne Kunst Frankfurt am Main Museum of Contemporary Art Tokyo Museum Moderner Kunst, Vienna Telenor Foundation, Norway Peter Norton Collection (Tate UK) Pinakothek der Moderne, Munich San Francisco Museum of Modern Art Sammlung Hoffman The Israel Museum, Jerusalem The Museum of Contemporary Art, Los Angeles The Museum of Fine Arts, Houston The UBS Art Collection Tokyo Metropolitan Museum of Photography Yokohama Museum of Art Kunsthalle Winterthur

There is nothing more interesting than women, and nothing more exciting.

 As for ‘Beauty’ ‘Beauty’ spoken, spoken, this is like a fixed illusion that someone someone has developed. developed.  After all, I want to take take photographs photographs of ‘real ‘real women’, women’, lives lives full of faults faults and with a dirty side. That’s why I have been taking such women for a long time.

 PRIZES

2008

Austrian Decoration of Honor for Science and Arts

1994

Japan Inter-Design Forum Grand Prix 

1991

7th Higashikawa Prize

1990

Shashin-no-kai Prize from the Photographic Society of Japan

1964

First Taiyo Prize for “Satchin”

4 0

 - Nobuyoshi Araki

4 1

Copyright © 2011 Galerie Steph, Singapore and Ooi Botos Gallery, Hong Kong.  All Rights Reser ved, including the right to reproduce th is catalogue or portion s thereof in any form. Edition of 500 published by Galerie Steph and Ooi Botos Gallery. Edited by Lisa Botos and Stephanie Tham. Catalogue Design by Paulina León. “Nobuyoshi Araki: All Women are Beautiful” exhibition presented by Galerie Steph and Ooi Botos Gallery in Singapore from September 7, 2011 to October 23, 2011 at Galerie Steph, Artspace@Helutrans, 39 Keppel Road, Tanjong Pagar Distripark, 01-05, Singapore 089065. This catalogue may not be reproduced in whole or in part, or stored in a retrieval system and/or transmitted in any form or by any means, electronic mediaor mechanical, including illustrations, photocopy, film or video recording, internet posting, or any other information storage system without the permission of Nobuyoshi Araki and the publisher.

Copyright © 2011 Galerie Steph, Singapore and Ooi Botos Gallery, Hong Kong.  All Rights Reser ved, including the right to reproduce th is catalogue or portion s thereof in any form. Edition of 500 published by Galerie Steph and Ooi Botos Gallery. Edited by Lisa Botos and Stephanie Tham. Catalogue Design by Paulina León. “Nobuyoshi Araki: All Women are Beautiful” exhibition presented by Galerie Steph and Ooi Botos Gallery in Singapore from September 7, 2011 to October 23, 2011 at Galerie Steph, Artspace@Helutrans, 39 Keppel Road, Tanjong Pagar Distripark, 01-05, Singapore 089065. This catalogue may not be reproduced in whole or in part, or stored in a retrieval system and/or transmitted in any form or by any means, electronic mediaor mechanical, including illustrations, photocopy, film or video recording, internet posting, or any other information storage system without the permission of Nobuyoshi Araki and the publisher.

4 2

4 4

Galerie Steph [email protected] www.galeriesteph.com

Ooi Botos [email protected] www.ooibotos.com