中平卓馬 Nakahira Takuma
Nakahira Takuma, Overflow, 1974, ©Gen Nakahira Courtesy to Each Modern
Each Modern 很榮幸宣布日本攝影家中平卓馬（Nakahira Takuma）將於香港國際攝影節（Hong Kong International Photography Festival）舉辦特別個展項目。作為挑釁時期（Provoke）以來最重要的攝影家，中平卓馬（1938 – 2015）不曾間斷他對攝影意義的重思與探索。此次個展將由《為了該有的語言（For the Language to Come）》的特別投影、〈循環：日期、場所、行為（Circulation: Date, Place, Events）〉與晚期彩色攝影的作品、以及亞洲首次展出〈氾濫（Overflow）〉的攝影裝置復刻。
正如《挑釁》宣言：「致思考的挑釁性素材」，中平卓馬《為了該有的語言》的圖像不僅展示倉促、模糊、顆粒般的視覺衝擊，且傳達對城市景觀與政治現況的抵抗。這些激動的影像創造，根基於 60 年代反戰與學生運動、以及全球化造成的單一與貧瘠。展覽中，這本已成為傳奇的攝影書，將以多部投影機投射到所有空間，以解構我們觀看照片的普遍原則，返回中平卓馬對窠臼般的學術展覽的挑釁現場。
1970 年後，中平卓馬經歷了幾次決定性的改變，在質疑自己的脈絡下逐步完成他的攝影實踐。〈循環：日期、場所、行為〉就是一個最代表的例子 — 這件他於 1971 年巴黎青年雙年展進行的作品，將攝影轉化為表演並摧毀了攝影原有的意識。除了製作過程本身的前衛性，〈循環：日期、場所、行為〉的圖像本身也像是一個神秘的現實，因為它傳達的信息通常是通過毫無意義的痕跡所流露的。與此同時，中平卓馬開始拍攝彩色照片並主要發表於雜誌《Asahi Journal》。在彩色作品裡，中平卓馬繼續他的政治語言，但揭示了具有片段特性的城市景觀，可對應他著名評論集《為何是植物圖鑑》中提出「插圖字典」的概念。
1974 年，中平卓馬選擇了 48 幅圖像，為東京都現代美術館創作他畢生唯一的攝影裝置〈氾濫〉。 該作品後來被東京都現代美術館收藏。1977 年，中平卓馬遭受記憶喪失與失語的重病。一年後他逐漸回到街道上，拍攝他沿路看到的主體：火，水，鳥類，動物，樹木，花朵，貓，流浪漢。這些圖像逐漸從黑白轉向彩色的、逐漸完全客觀，從 90 年代後完成他在觀念與攝影兩者間不斷迴盪、尋求挑釁問題的最終表現：攝影的本質只是一種等值的記錄 — 這些彩色作品可說是彩色觀念攝影的極致。
此次展覽將於香港中環 H Code 大樓的 3 與 5 樓展開。《為了該有的語言》的多重投影，將震撼地重新交換展場空間與圖像。5 樓展場將依序展出〈循環：日期、場所、行為〉、〈氾濫〉與晚期彩色攝影作品，是中平卓馬首次亞洲大型的個展展出。
Each Modern is pleased to announce a solo exhibition by Japanese photographer Nakahira Takuma; a special project in the Hong Kong International Photography Festival. Nakahira(1938 -2015), the most celebrated photographer to emerge from the Japanese Provoke movement, rethought and reinvented the meaning of photographs. The exhibition is comprised of a special projection of For the Language to Come, prints of Circulation: Date, Place, Events, a premiere remake of photographic installation Overflow, and a selection of later period untitled color works.
As the statement in Provoke Vol.1 : “Provocative Materials for Thought”, the images from For the Language to Come not only demonstrate the visual impaction in urgent, blurred and grainy style, but also the desire to convey city landscape and political protest, from anti-war demonstrations and student protests to the effects of globalization and urban deprivation. In the exhibition, images from the legendary photobook will be projected covering all the spaces to abolish our common perception of viewing photographs, as well as to return to Nakahira’s primeval provocation of challenging academic exhibition.
After 1970, Nakahira underwent a decisive change to refine his practice of photography. Circulation: Date, Place, Events for the 1971 Paris Biennale was an example transforming photography into performance and dismantled the subjected consciousness. The image themselves address a cryptic reality since the message it conveys is often relayed through traces of meaningless. In the same time, Nakahira began to work on color photographs and released them mainly in Asahi Journal. Continuing his political language but unveiling cityscapes with fragmented scopes, Nakahira experimented with his concept “illustrated dictionary” later described in his famous criticism Why an Illustrated Botanical Dictionary? In 1974, he selected 48 images to create his only photographic installation Overflow for an exhibition at the National Museum of Modern Art, Tokyo.
In 1977, Nakahira was tragically stricken with memory loss and aphasia. He returned to shooting the following year with the images he saw everyday on the street: fire, water, birds, animals, trees, flowers, cats and street people. The selected color works presented here were made later in his career, around 2000. The colored objective images are the ultimate presentation of his struggle to pursue the provocative questions disclosed in his writings and photography: the essence of photography is only an equivalent record.
On 3/F, the majestic projection installation of For the Language to Come interchanges the space and images. The higher level features the prints of Circulation: Date, Place, Events and selected untitled later period color works. Adjacent to photographic installations is Overflow, remade and exhibited for the first time in Asia.