Yesterday I had half an hour to kill in Nishi-Shinjuku and decided to go again to Ahn Sehong (安世鴻, 안세홍)’s show 重重 (Layer by Layer, 겹겹, Gyeobgyeob, Jūjū).
There were fewer security guards this time, but instead of (very politely) going over visitors with a metal detector, they now (very politely) asked these to put baggage and the like to the side, and to walk through an airport-style security gate. This device pleasantly added to the general surrealism of the whole affair. Fewer visitors this time than last, but still a lot for a show at Nikon during working hours on a weekday.
Not only the uniformed people were extraordinarily polite, all were. The Nikon staff in particular seemed alert to the slightest possibility that they might be in my way, deftly stepping aside when I even started to approach. At least one of them magically combined this with an impression that he was avoiding looking in my direction. Extraordinary peripheral vision there.
And so the Nikon staff helped me concentrate more on the photos than I could the previous time. The best of these are good, but I was less satisfied with some others. It’s just that they don’t all have much visual interest. As for other interest, there’s probably plenty — but because there are no captions, one can only guess. Or one can’t — yes, I see (for example) that a lady is holding what I suppose is a Chinese ID card; but I can’t make out what’s written on it, and don’t know what other significance it may have.
I hope that an informative booklet eventually comes out of this work. (There’s already a modest brochure.)
The news today is that the Tokyo District Court turned down Nikon’s appeal against its provisional ruling and instead ruled that the exhibition should go ahead as planned (Asahi [at WebCite], Mainichi [at WebCite]).
All the best to Ahn and, despite its recent aberration, my thanks to Nikon for mounting shows such as this.
Though it thrilled the small, photobook-obsessed corner of the blogosphere, the book of Watabe Yūkichi’s series A Criminal Investigation whelmed me. It’s pretty, even elegant; but the printing doesn’t show detail (and doesn’t make up for this in any obvious way), the elastic band is going to age, and it costs a lot. It contains material for perhaps one quarter of some other, excellent book; but I give it three stars out of five.
Still, I do like the photos, and atsushisaito tipped me off to a show of the series at the TAP Gallery (map, map), running till 8 July. He was most (politely) persuasive, so Mrs microcord and I went out to see it.
As we got out of the train I heard my name called and there was a friend I hadn’t seen for over a decade, together with a handsome young man. After a short chat we emerged. Featureless at first glance, the neighbourhood quickly turned out to have a lot of fascinating corners. The weather was glorious. So I was already in a good mood as we walked in the door.
I forgot to count how many photos there were around the small room. Not too many. The small prints — I think what are quaintly called “8 by 10” — are large enough. They’re darker than the reproductions in the book, more detailed, and (something I always like) sometimes from different frames. “Vintage prints” (not exhibited) cost peanuts by DLK Collection’s standards but major moolah by mine. But the prints exhibited were priced so reasonably that I peeled notes from my tight wad. Yes, I bought a print (of a frame that doesn’t appear in the book); here’s an atrocious reproduction.
Like many photo galleries, TAP has a shelf of books and so on of particular connection to its regular exhibitors. These shelves are usually of interest (notably signed yet slightly discounted copies of Dodo Shunji’s Ōsaka at Totem Pole). TAP doesn’t disappoint: it has issue number zero of a new photo magazine, Ima. This has a bit too much of an emphasis on names (Ryan McGinley etc) amply hyped elsewhere, but all the same there’s good stuff. At 1500 yen a pop the magazine won’t be cheap, but this is only 60% or so more than the cost of Asahi or Nippon, which don’t offer many good photos these days. (The current Asahi has Bangladesh by Kikai and a good series by Someya Manabu, but little else. A high percentage of the nudes show industrial-strength retouching, but there’s no hint of ironic intent.) It’s a brave or insane publisher that starts a magazine in Japan, where the more interesting new magazines (e.g. Kaze no tabibito) reliably shrivel and die; let’s hope that this Ima lasts long and without becoming just yet another shoppers’ guide.
Here’s TAP (counting down to a party):
Seeing Watabe’s good photos put me in the mood to take some crap photos. I took a very slightly roundabout route to the nearest station and encountered these sights on the way:
Reading material in the train on the way back home. TAP Gallery obligingly has not one but three postcards for the show.
Go to TAP Gallery for your free set of postcards, but buy a print (or three) while you’re there.
Today I went to see Ahn Sehong (安世鴻, 안세홍)’s show 重重 (Layer by Layer, 겹겹, Gyeobgyeob, Jūjū), on Koreans in China who had been “comfort women” for the Japanese military about seventy years ago.
It’s an odd show: one passes by three security guards on the way to the room, and is given a once-over with a metal detector when entering, and in the room there are security guards, Nikon employees, and also other staff affiliated with Ahn. But everybody is very polite, and trying not to get in others’ way.
The photos are good. Some of the subjects are very frail indeed, making Ahn’s task difficult; but all in all the photos are satisfying. They’re on warm paper and are somewhat mushy (which is surely deliberate): I wish they’d instead been on the kind of paper usually used for exhibitions (deep black, etc), but perhaps that’s just me. The photos don’t have explanations or even captions, which seems a pity. There’s a text in Japanese and English on the wall. This is so political that, um, the Japanese version at one point euphemistically describes the women as 朝鮮人元日本軍慰安婦 (i.e. Korean comfort women of the former Japanese military) but makes no other mention of Japan; while the English text doesn’t mention Japan at all. Note for the slow-witted: This means that (contrary to what has been claimed) the exhibition isn’t political in the slightest, though I suppose that if you’ve been a credulous consumer of the kind of whitewashed histories that most Japanese governments have more or less openly wanted taught in Japan, or if you have somehow managed to take far-right haranguing seriously, you might hallucinate something political about the show.
Here’s a report from Fotgazet about yesterday. For those who can’t read Japanese text: the first three photos there are of the exhibition space (on the 28th floor); the fourth is I think of the second floor (thanks to elevated walkways outside, perhaps a more widely used way in than the first floor), and the point is that Nikon is advertising the other, smaller show (see below) but not mentioning Ahn’s show. This was unchanged today.
As usual the exhibition space is divided into two. Ahn has the larger room. The smaller one is for this, by ten members of the Department of Photography, Nihon University. The only way you can enter the smaller show is via the larger one. When planning their show, the Nihon University team can hardly have imagined that would-be viewers would be subjected to a security check (however polite). I felt a bit sorry for them and went in. There’s plenty of technique on view there; what’s done with it is of widely varying appeal to me. I enjoyed the works of four of the exhibitors, which is pretty good going — four out of ten is a far higher success rate than I get from, say, books published by Akaaka. This exhibition runs till 3 pm on Monday, so be sure to see it when you see Ahn’s.
More to look at and read:
- some of the photographs
- “Court orders Nikon to allow ‘comfort women’ exhibition”, Asahi Shinbun, 23 June; here, WebCite backup
- Olivier Laurent, “Judge rules against Nikon in controversial ‘comfort women’ case”, British Journal of Photography, 27 June; here
- Miho Inada, “Judge orders Nikon to hold ‘comfort women’ photo exhibit”, Wall Street Journal, 25 June; here, WebCite backup
- Antoni Żółciak, “Sąd w Tokio nakazuje Nikonowi otwarcie wystawy ‘comfort women’”, SwiatObrazu.pl, 26 June; here
- “‘Comfort women’ exhibition goes ahead amid protests”, Asahi Shinbun, 26 June; here; WebCite backup
- Jung Nam-ku, “Amid tension, Nikon photo exhibit goes ahead”, The Hankyoreh, 27 June; here
- “‘Comfort women’ show makes Nikon uncomfortable but not Tokyo courts”, Japan Subculture Research Center, 28 June; here
- “Comfort women photographer pleased by Japan court”, Bangkok Post, 28 June; here
- right-wing fantasists
Ahn Sehong’s show should start at the Shinjuku Nikon Salon tomorrow. But Nikon says (here):
In short, no show. However, it also says (here):
The phrasing is a bit obscure, but Nikon is “provisionally” showing the work, because it has been ordered to do so. However, it’s appealing against this order.
So if you want to see the photographs, better go there earlier rather than later.
On 22 June the Tokyo district court ordered Nikon to do what it said it would do, and show Ahn’s photographs. (This Mainichi story is one of several that report on this decision.) Nikon does not seem happy, which is not surprising as its employees will probably be subjected to harassment and amplified wobbly natsumero tunes from the loony right.
I look forward to seeing the exhibition, wearing earplugs if necessary.
If Nikon puts on the show with good grace, I might buy a Nikon camera. No, wait, I really don’t need another camera. Well then, Nikon spectacles or whatever.
I must have seen dozens of photo exhibitions last year but only a handful made a strong impression. One was this one, in a small Shinjuku gallery, by Ahn Sehong (安世鴻). The man is taking and exhibiting photographs worth taking and exhibiting. He had two slim books (海巫 Haemu and 魂巫 Honmu) for sale and I was happy to buy and bring home a copy of each. Though not in that exhibition nor in either of the two books, among his subjects are the elderly survivors of Japanese wartime sex slavery.
A postcard from Nikon:
Yes, to its credit, the Nikon Salon had been going to exhibit this work later this month. But now it isn’t:
Nikon says that Ahn Sehong’s show has been cancelled. It cites various reasons (諸般の事情), none of which it deigns to specify.
The real reason appears when Ahn’s name is googled: lots of nitwits are proclaiming that he’s anti-Japanese. Liberally financed far-right thugs are offended by any mention of war crimes, when these war crimes are Japanese. They have hugely powerful megaphones and plenty of time and energy. But the police can and do protect embassies and similar from them. The question is, did Nikon contact the police, and if so, what was the response?
The office of the Governor of Tokyo is a few minutes’ walk from the Nikon Salon. Perhaps the current Governor would care to support the freedom to quietly remind others of facts that noisy minorities happen to want expunged from public memory. (But more likely not, as he too prefers a fantasy account of the past.)
If I were a photographer, I’d happily add I’ve added my name to this petition. But I’m still wondering how best to let nikon.com know they really fucked up but they can still come out on top.
Last week I was in Yamagata (City), for Kikai Hiroh’s big exhibition Persona. Simply, this combines the content of his earlier, large Tokyo Metropolitan Museum of Photography exhibition “Tokyo Portraits” with work from the other two main strands of his career: India and Turkey. All in glorious black and white. Read the rest of this entry »