今日為展覽「許炯：自畫像」的最後一天，而7月6日也是日本攝影家中平卓馬的生日。這位出生在1938年，並在戰後日本為藝術做出極大貢獻的藝術家、理論家、評論家，因當時的政治環境而與評論家多木浩二在1968年一同出版了《挑釁》。這本自行出版的刊物以顆粒、模糊、晃動的畫面挑戰了當時的主流美學。1971年，中平卓馬在巴黎雙年展中展出現地製作的攝影行為藝術作品〈循環 : 日期、場所、事件〉。中平卓馬一生致力於實驗新的攝影實踐，而他的理論與作品也持續不斷的在他的自我批判中改變。
Each Modern亞紀畫廊很榮幸將於7月23日展出「中平卓馬：1974至1989」，聚焦中平卓馬在《挑釁》時期之後的作品，包含了1974年攝影裝置〈氾濫〉的重製品，以及來自〈Adieu A X〉與〈中平卓馬1000〉銀鹽原作，其中有些作品曾未發表。伴隨著展覽，7月27日下午3點將會由中平卓馬遺產總監澤田陽子在Each Modern亞紀畫廊帶來一場精彩講座。
Apart from being the final day of “Xu Jiong : Self-portrait,” July 6th is also Nakahira Takuma’s birthday. The visionary artist, image theorist, and media critic contributed to altering the visual landscape of a post-war Japan and would have turned 81 today. Galvanized by the political struggles of his time, Nakahira and critic Taki Koji, released Provoke in 1968, a grainy, blurry, out of focus self-published magazine that challenged the mainstream image aesthetics. In 1971, Nakahira was invited to the Paris Biennale where the artist showed Circulation: Date, Place, Events, a performative photo installation done on site. Throughout his career Nakahira would continue to strive for new methods of approaching photography. His theory and praxis was in constant flux, and always under the scrutiny his own self-criticism.
Each Modern is proud to present “Nakahira Takuma : 1974 to 1989”. The exhibition will high light a period of Nakahira’s practice post-Provoke, including a remake of his 1974 photo-installation, Overflow, iconic vintage prints from his Adieu A X and Takuma Nakahira 1000 series, as well as never before exhibited prints from this era. Opening on July 23rd, the exhibition will also feature a guest talk on July 27th at 3:00PM by Sawada Yoko, the director of the t Estate of Nakahira Takuma.