{"id":26869,"date":"2017-11-28T08:28:36","date_gmt":"2017-11-28T07:28:36","guid":{"rendered":"http:\/\/avo-magazine.nl\/?p=26869"},"modified":"2017-11-28T08:31:38","modified_gmt":"2017-11-28T07:31:38","slug":"ibasho-presents-group-show-work-founders-japanese-photographers-collective-vivo","status":"publish","type":"post","link":"https:\/\/avo-magazine.com\/en\/2017\/11\/ibasho-presents-group-show-work-founders-japanese-photographers-collective-vivo\/","title":{"rendered":"IBASHO presents a group show with work by the founders of the Japanese photographer\u2019s collective VIVO"},"content":{"rendered":"

IBASHO presents the exhibition VIVO, a group show with work by the founders of the Japanese photographer\u2019s collective VIVO, Shomei Tomatsu, Eikoh Hosoe, Ikko Narahara, Kikuji Kawada, Akira Sato and Akira Tanno. Although VIVO was active only from 1959 until 1961, it culminated a movement in postwar Japanese photography called \u2018the image school\u2019 with roots dating back to the early 1950s and anticipated and profoundly influenced Japanese photographic style of the 1960s and 1970s.<\/p>\n

The VIVO photographers forged a discourse on the fundamental questions of photography as praxis\u2014its relationship to social and political revolution, its ambiguous function as both documentary evidence and art, and its structural dialectic between subjective and objective realism. Drawing on the prewar history in Japan of both photojournalism and surrealist art photography, and inspired by contemporary American and European photography, VIVO arose in response to the existential and radical ideas that shaped Japan\u2019s postwar intellectual and cultural vanguard.<\/p>\n

\n \n <\/a>\n <\/div>\n<\/div>
\nThe VIVO artists all were born in the 1930s and raised under Japan\u2019s imperialist regime, and came of age amid war, defeat, and devastation. They emerged in the mid-1950s as youths who, disappointed in institutionalised politics and resisting the postwar Americanisation, were dedicated to the possibility of art to transform Japan\u2019s socially entrenched statism. Most of all, their subject was postwar Japan\u2014its modernity, its identity, and its wartime past, which was silenced but not gone. <\/p>\n

What distinguishes their work from that of the earlier generation of documentary photographers is their obsession with how to describe the immediate experience: their images are not comments on experience, but the experience itself. The VIVO artists aimed to express, rather than merely document, the visual and existential discord that pervaded everyday life. They accomplished this through their clear concepts, a meticulous sense of composition and framing, coupled with a heavy emphasis on the symbolic.<\/p>\n

\n \n <\/a>\n <\/div>\n<\/div>\n

The exhibition can be visited from December 7th till January 14th, 2018. IBASHO Gallery is opened from Friday till Sunday from 14.00 till 18.00 and by appointment. The address of the gallery is Tolstraat 67 in Antwerp, Belgium.<\/p>\n

Source: IBASHO<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

IBASHO presents the exhibition VIVO, a group show with work by the founders of the Japanese photographer\u2019s collective VIVO, Shomei Tomatsu, Eikoh Hosoe, Ikko Narahara, Kikuji Kawada, Akira Sato and Akira Tanno. Although VIVO was active only from 1959 until 1961, it culminated a movement in postwar Japanese photography called \u2018the image school\u2019 with roots […]<\/p>\n","protected":false},"author":2,"featured_media":26865,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jnews-multi-image_gallery":[],"jnews_single_post":{"override_template":"0","override":[{"template":"1","parallax":"1","fullscreen":"0","layout":"right-sidebar","sidebar":"default-sidebar","sticky_sidebar":"1","share_position":"top","share_float_style":"share-monocrhome","show_share_counter":"1","show_view_counter":"1","show_featured":"1","show_post_meta":"1","show_post_author":"1","show_post_author_image":"1","show_post_date":"1","show_post_category":"1","show_post_tag":"1","show_prev_next_post":"1","show_popup_post":"1","number_popup_post":"1","show_author_box":"0","show_post_related":"1"}],"override_image_size":"0","image_override":[{"single_post_thumbnail_size":"crop-500","single_post_gallery_size":"crop-500"}]},"jnews_primary_category":{"id":"3991"},"jnews_social_meta":{"fb_title":"","fb_description":"","fb_image":"","twitter_title":"","twitter_description":"","twitter_image":""},"jnews_override_counter":[],"footnotes":""},"categories":[3071,3991],"tags":[3536,4121,5137],"class_list":["post-26869","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-events","category-exhibition-announcements","tag-2017-en","tag-2018-en-2","tag-exihibition"],"_links":{"self":[{"href":"https:\/\/avo-magazine.com\/en\/wp-json\/wp\/v2\/posts\/26869","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/avo-magazine.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/avo-magazine.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/avo-magazine.com\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/avo-magazine.com\/en\/wp-json\/wp\/v2\/comments?post=26869"}],"version-history":[{"count":1,"href":"https:\/\/avo-magazine.com\/en\/wp-json\/wp\/v2\/posts\/26869\/revisions"}],"predecessor-version":[{"id":26870,"href":"https:\/\/avo-magazine.com\/en\/wp-json\/wp\/v2\/posts\/26869\/revisions\/26870"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/avo-magazine.com\/en\/wp-json\/wp\/v2\/media\/26865"}],"wp:attachment":[{"href":"https:\/\/avo-magazine.com\/en\/wp-json\/wp\/v2\/media?parent=26869"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/avo-magazine.com\/en\/wp-json\/wp\/v2\/categories?post=26869"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/avo-magazine.com\/en\/wp-json\/wp\/v2\/tags?post=26869"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}