Saturday, March 26, 2016

JAPANESE PHOTOGRAPHER WALKS, CAPTURING 'URBAN' IMPACT

Daido Moriyama has been walking for more than 40 years. Each day the acclaimed Japanese photographer hits the streets of Tokyo, or another city, noticing something new, something unusual, which he captures with his camera.

Images by Daido Moriyama at the exhibition.
“It doesn’t tire me,” he said at the opening of an exhibition of his work in Paris. “A city is something that never stops, and my view constantly changes.”

The show, titled Daido Tokyo, runs at the Fondation Cartier for Contemporary Art until June 5 and focuses on Moriyama’s recent work, portraying the "disjunctive nature of the urban experience".

It features an extensive selection of colour photographs and also sheds light “on this lesser-known yet ubiquitous aspect" of Moriyama's photographic practice over the last two decades, say the curators (Hervé Chandès and Alexis Fabry).

But Moriyama's iconic black-and-white work is equally represented by a project that the Fondation Cartier commissioned specifically for the exhibition: a multi-screen projection of 291 black-and-white photographs called Dog and Mesh Tights, set to music by fellow artist Toshihiro Oshima.

Daido Moriyama (photo: McKenzie)
The slide show is aimed at “plunging viewers into the commotion of the contemporary City, capturing fragments of daily life from its unrelenting urban hustle and bustle,” the Fondation Cartier says.

It comprises images from each of the cities Moriyama traversed from July 2014 to March 2015: Tokyo, Hong Kong, Taipei, Arles, Houston and Los Angeles. People and objects in these urban settings evoke both intimacy and distance, suggesting a kind of isolation amidst the concrete and commotion.

Moriyama himself said that the slide show is like a “reset” in his career and that 85 percent of the photographs were taken in Tokyo.

A visitor views the photographs.
“When I finish walking in one direction, I turn back and go in the other direction,” he said through a translator. “Walking is my work and ultimately my life.

“I don’t hesitate when I come across something,” he added. “I don’t think of anything at the moment, and yet all my thoughts are focused on this one thing.”

Moriyma said that black-and-white is a “natural choice” for him, although he doesn’t see much difference in the techniques. But black-and-white photography has a certain “eroticism”, he said.

The colour pictures shown in the exhibition were mainly taken in Shinjuku, one of the most frenetic districts of Tokyo, and they conjure up different aspects of the busy, mysterious and “eternal shantytown”, as Moriyama calls it.

Moriyama takes a break (photo: McKenzie)
Writing in the catalogue to the exhibition, he says that his relationship with the area goes back almost forty years that that he still finds it “enigmatic”, something that obsesses him.

“I may position myself there as an observer, but every time I do so, Shinjuku hides its true nature like a chimera and throws my mental perspective into confusion, as if I had strayed into a labyrinth,” he says. “I certainly don’t hate the place – yet if asked if I truly love it, I sense I’d fall silent.”

For many critics, Moriyama’s work expresses the “conflicting realities of a society caught between tradition and modernity”, as the curators state. The photographer, like many others of his generation, has witnessed the sweeping changes that took place in post-World War II Japan, and he has sought to “invent a new visual language” to express this.

A reflection of urban landscapes at the show.
Born in 1938, Moriyama grew up in Osaka and studied graphic design there. He moved to Tokyo in 1961, following his studies and the decision to take up photography as a career.

He was influenced by various avant-garde photographers, and incorporated action elements into his work – walking through the streets of the city, using a small hand-held camera.

His early work was mainly in black and white, but in the 1970s he began experimenting with colour photography, and this interest grew with the development of digital cameras, according to the curators. Yet, many of the photographs that he shot in colour he converted to black and white, because of aesthetics.

“The black-and-white tells about my inner worlds, my emotions and deep feelings  … every day walking the streets of Tokyo or other cities, as a vagabond aimlessly,” he says. “The colour describes what I meet without any filters, and I like to record the instant for the way it looks to me.”

Leanne Sacramone, a curator (photo: McKenzie).
Some viewers may find that not much happens in Moriyama’s photographs – a single shoe lying in a gutter, a young man passing neon-lit billboards, a view of peeling, crumbling facades, a flower discarded on the sidewalk.

The images pull the gaze back, however, for a second and third look, while the airy space of the Fondation Cartier – with its tall windows and views of the street outside – adds to the resolutely urban atmosphere.

Leanne Sacramone, a curator at the Fondation, said that one of the most interesting things about Moriyama’s work is his portrayal of things that usually go unnoticed.

“You can find beauty in things that go unremarked,” she said. “And for him that’s important, because as he says, ‘in the blink of an eye, the world changes’. That’s what will strike most viewers – the fleeting pace of urban experiences.” – Tasshon.

Saturday, March 12, 2016

FASHION WEEK: SHANGHAI AND YDE’S ‘POETRY OF THE PAST’

YDE: the evocation of an intense era.

The warm and generous applause that Danish designer Ole Yde received for his Paris Fashion Week show was completely merited.

His Fall/Winter 2016 ready-to-wear collection, inspired by Shanghai of the 1920s and Thirties, dazzled the spectators lucky enough to see it on March 9, the final day of Fashion Week.

YDE: walk like a goddess.
Each of the designs seemed to out-do the one that preceded it, in a collection that was elegant yet lighthearted, classic yet modern. 

A willowy model in an off-the-shoulder golden gown set the tone for the evocation of an era that still influences today’s styles, and the event felt like a trip back in time while still being unquestionably current.

The show gave spectators good reason to audibly express their admiration, as they got a comprehensive view of Yde’s art and craftsmanship, on the long runway of the Palais de Tokyo art museum.

The designer, who launched his YDE label in 2005, has become known for his luxurious dresses, and he said he was inspired by the jewels of the time in Shanghai, specifically the pearl – a “symbol of sacred power”.

Drawing from mythology that associates the stone with goddesses, he made each model appear regal - in outfits that employed a wide array of pearl shades, ranging from white and black to silver and rose, with golden hues thrown in for that sense of awe.

Designer Ole Yde
Enriching the colours were materials that included silk chiffons, organza, fur and tweeds, all contributing to looks that seemed more like haute couture than ready to wear.

Feminine, sophisticated cuts have indeed been Yde’s signature imprint since 2002, when he left the Danish Design School and began creating one-of-a-kind dresses for private clients, so it shouldn’t have been a surprise that this collection again highlighted that skill.

But it’s his relationship with history, whether of Shanghai or the Jazz Age in 1950s Copenhagen, that sets him apart from his peers. One admirer called him “a romantic”, noting that he feels the “poetry of the past”.

The collection also featured some interesting partnerships, with timepieces by Arne Jacobsen Watches, jewellery by Rebekka Notkin and those iconic stiletto-heeled, red-soled shoes by Christian Louboutin – which heightened the sophisticated silhouettes.

As spectators emerged from the show (and ran into a crowd waiting to see the Miu Miu collection at a nearby venue), they felt privileged to have witnessed something special, even among the hundred-plus events of Fashion Week. And that’s a rare sensation. - Tasshon


YDE: intricate craftmanship and playful elegance.

Monday, March 7, 2016

FASHION WEEK: RAHUL MISHRA MELDS LOVE AND EMBROIDERY

Rahul Mishra: using fashion to express emotion
If any show during Paris Fashion Week spoke of “love”, it had to be that of Indian stylist Rahul Mishra.

His Fall/Winter 2016 ready-to-wear collection, with its refined elegance and artistic looks, explicitly aimed to convey love from what he called the “magical hands of human beings” that weave and embroider clothing for others to wear. But the words also came in the designer’s answers to questions about his inspiration.

Designer Rahul Mishra
“I wanted to share just love this season,” he said backstage, after a show on March 5 that seemed to delight most of the audience. “The world is going through such chaotic times with what happened in Paris last year, I really feel like there should be no holding back to share love.”

Mishra made his work speak for him, too, as his collection conveyed a kind of artistic integrity. There were no gimmicks, no outlandish bids for attention – just exquisite cuts, timeless sophistication and striking embroidery, amid the personal plea for peace.

“The world needs more compassion, love and freedom to heal itself in the times we are living,” the designer added in his notes to the collection, which quoted French writer Albert Camus and Persian poet Hafiz.

Mishra: blues for Paris
Apart from the poetry, Mishra sought to highlight the “intricacies of centuries-old craft” and “the deep ocean of wealth in handcraft in India”. The designs included hand-embroidered elements throughout: for dresses, jackets, jumpers and long gowns.

The show started with boldly feminine blue-and-white combinations, eased into softer hues such as beige and bark-brown, and ended with stylish evening wear in a mix of textures.

The materials ranged from silk organza to leatherette and angora-cashmere, and some fabrics were tie-dyed according to traditional techniques, while others incorporated patterns drawn from porcelain and pottery.

“The predominant blue that comes from the porcelain ancestry also symbolizes the spirit of Paris – the city of love, which bounced back with its strong resilience and indomitable spirit,” Mishra said in the show’s notes, referring again to the deadly attacks last November in the French capital.

At the end, the designer made sure that spectators had something to reflect on, beyond fashion, with his quote from Camus : “In the midst of hate, I found there was, within me, an invincible love … no matter how hard the world pushes against me, within me, there’s something stronger – something better, pushing right back.” - Tasshon

Rahul Mishra: from the hands that weave.

Thursday, March 3, 2016

PARIS FASHION: MADSEN CREATES 'MAGIC' WITH SLEEPING BAG

Anne Sofie Madsen

Anne Sofie Madsen gave a whole new twist to the idea of ready to wear during Paris Fashion Week: just grab whatever is at hand, be creative, and throw it on.

For her Elvis-Presley inspired collection, the Danish designer combined all sorts of textures and materials - be it leather, fur, feathers or, in one case, a sleeping bag. 
Madsen's artful combinations

Madsen said that her show was inspired by the fact that “Elvis Presley was a twin-twin and that his great-great-great-grandmother was Native American”. The singer’s lifelong eccentricity was apparently supposed to come across in the designer’s Fall/Winter 2016 collection, which was titled “Heaven or Las Vegas”.

“I like to challenge and push the boundaries for everyday wear and at the same time it is really important to me that the garments are in their own way functional and wearable,” Madsen has said. “It’s not about garments for princesses in a fantasy world, but I do wish to bring magic into reality and preciousness into fashion”.

Viewers could choose where they thought they were, as the setting of the show – the underground parking lot of fashion school Istituto Marangoni – gave plenty of scope for wild imaginings.

Madsen's use of fur and netting
Madsen showcased mainly flowing, loose-formed pieces, with intriguing asymmetrical looks. She used netting and rubber string to create blouses and dresses (if they could be called that), and the edginess of the designs meant that only the bravest of consumers, or exhibitionists, would dare to get into these revealing garments.

The muted browns, greys, and mustards let the real focus of the collection shine through: the textures. Every ensemble combined “spurious and glamorous, working class hero and tragic glam-clown”.

The brightest colour came from a red sleeping bag, wrapped artfully to form a sort of poncho or winter coat. The challenge was: could you do that with your own blanket at home? It was beyond cool. Or rather, it looked really warm.

The models sported short haircuts with natural makeup, in contrast to the offbeat designs. One model was completely bald, making viewers think that she was a survivor of some kind, and giving them an instant desire to know more about her story.

As discordant electronic music pounded, the models strutted down the concrete ramp, disappearing round the bends of the parking lot. Then they swaggered back into view, with their dangling belts, flowing sleeves, and wide-legged pants.

Some wore brown leather loafers, reminiscent of the Nineties, while a few strode insouciantly in cowboy boots.

At the end, several viewers seemed not to know whether to clap, chuckle or just shake their heads. 

The overall effect of Madsen's collection was one of confusion, awe, and yes, a certain admiration for this kind of audaciousness. - J.M. De Clercq / Tasshon


Madsen's ode to Elvis Presley?

Tuesday, March 1, 2016

YOKO ONO RETROSPECTIVE SEES THE LIGHT IN LYON, FRANCE

The Museum of Contemporary Art in Lyon is hosting France’s first retrospective of Yoko Ono’s work, from March 9 to July 10, 2016.

Yoko Ono, Walking on Thin Ice, 1981
Titled Lumière de L’aube (Dawn’s Light), the exhibition includes photographs, music, writing, film, art “instructions”, and a range of installations, covering 60 years.

The Japanese-born artist (widow of English singer and songwriter John Lennon) is known for her conceptual work, and the show’s co-curator Thierry Raspail says that the key theme is that of experimentation and “sharing”.

A musician as well as filmmaker and peace activist, Ono, 83, has exerted a wide influence in many fields, Raspail says, even if some art experts and members of the public - “mainly in Europe” - prefer to downplay her role.

He adds that the exhibition’s title is apt because “light” is of the essence in Ono’s productions. The French word “Lumière” also evokes the legacy of the Lumière brothers - the world’s first filmmakers, who lived in Lyon. For more information: http://www.mac-lyon.com/mac/sections/fr/a_venir/yoko_ono