拍摄的共犯关系——操上和美看到的涩谷和YOSHIYAMATO的现在所在地

以前照片被定位为讲述真相的工具,让瞬间的美与刹那的情感固定下来。…也被相信了。但真的是这样吗?照片是结果,前后只能由观众想象(或误解)。照片既不公平也不解放。有时会将对象物特殊化或极端限定。初期肖像照片记录的王侯贵族和富裕阶层的身影,甚至看起来像照片这一现代装置的“王权神授说”证明。
也就是说,照片作为特权化的工具也发挥了作用。可以说被拍的人是特别的。时尚一直到某个时期都在其背景下。
摄影家成为职业,照片被发表的“场”被构筑扩大,成为艺术的一种类型,另一方面摄影机本身变得容易入手,从某种意义上来说,照片的民主化正在进行中。现在放眼望去,随着智能手机的发展和普及,“拍摄”成了理所当然的行为。自拍、Instagram、投稿、社交媒体的普及正在改变照片的存在方式。现在是谁都会拍的人,也是被拍的人。除了作为发表的场所长期保持特权性的杂志等的存在之外,现在全世界的人们都将自己媒体化了。

那么摄影师这个职业是怎样的呢?如果只说前面提到的逻辑的话,在“谁都是摄影师”的时代,传统的摄影师应该没有立足之地。
正因为如此,特定的某人的照片才更突出。从某种意义上说,这可能是先驱者的利益。…。
人照一个人。摄影家和被摄体之间的关系也是共犯的吧。“摄影机=枪”的论调被苏珊·苏恩泰格所知,除了从那里的单方面(拍摄·Shooting)产生的批判和问题意识之外,在拍摄的一方和被拍摄的一方都提到了某种‘爱’的摄影师是操上和美。
现在89岁的摄影师仍然精力充沛地进行着摄影。
如果被要求强迫用一句话来表达自己的操控,我想举出“自我意识”这一关键词。在操上拍摄的庞大作品群中,人也被他的肖像照片所吸引。在一次对话中,操上说了“被理解了我就麻烦了”。或者说,在从事制约和要求较多的广告工作的过程中,他说‘我付了高额的报酬,让我自由做’。一瞬间,相反呢?这样的发言,即使如此,在操作上的委托还不会中断,或者即使提高委托人自身的障碍也会订购工作的背景可以理解。
如果期待只有操上和美才能拍到的结果的话,那就交给他了。
与操上和美多工作的是北野武。北野对我来说是一个强烈的自我意识的人。而且北野作为电影服装和个人都穿着的是YOSHIYAMATO的母亲。
乍看之下,看起来很安静,但其底部充满了无法可见的浓厚黑暗的YOSHIYAMATO的福,通过着手,超过了单纯的福。
于是操上和美将两人所产生的结果变成了一种魔法。
那个魔法被揭示在商业设施中,由观众即来馆者感知。来馆者被摆放在馆里的袋子吸引,成为客人。也许会超越客人单纯购买并拥有物品的交易关系。
明明应该被目击,却就这样成为了共犯关系的好人。

人造城市,城市造人,人裹着母亲,摄影家带着意愿将其拍摄成图像。拍摄的东西在馆里公开,人们观看。毕竟,城市需要有意志的馆。
然后,我被这个城市和馆养大了。

Once, photography was positioned as a tool for speaking the truth, believed to preserve fleeting beauty or momentary emotion. But is that really the case? A photograph is a result, and what comes before or after it is left to the imagination—or misunderstanding—of the viewer. Photography is neither fair nor liberating. At times, it can exaggerate or severely limit its subject. Early portrait photography of royalty and the wealthy looks, in hindsight, like a photographic endorsement of the "divine right of kings."
In other words, photography has also functioned as a tool of privilege. To be photographed was to be special. And for a certain period, fashion operated within this framework.
As photography became a profession, and as platforms for exhibiting photos were established and expanded, the medium entered the realm of art. At the same time, cameras became more accessible, and photography was, in a sense, democratized. In the present day, thanks to the rise and spread of smartphones, taking photos has become a given. Selfies, Instagram, online posts, and social media are transforming the nature of photography. Today, everyone is both a photographer and a subject. The world's people have now become self-publishing media in their own right, surpassing even traditional magazines that long held the privilege of publication.

So what, then, of the professional photographer?
If we follow the logic above, there should be no place for conventional photographers in this age where "everyone is a photographer."
And yet, this is exactly why the work of certain individuals stands out. It may be a kind of first-mover advantage, but...
People photograph people. The relationship between photographer and subject can also be one of complicity. Susan Sontag is known for comparing cameras to guns, but beyond the criticisms and questions of asymmetry implied in "shooting," photographer Kazumi Kurigami has spoken about a kind of "love" that exists on both sides of the lens.
At 89 years old, he still shoots with astonishing energy and vigor.
If I were forced to describe Kurigami in one word, it would be "self-awareness." Among his vast body of work, it is his portraits that continue to captivate. In one interview, he remarked, "It would be a problem if people understood me."
In his advertising work—full of restrictions and demands—he is also known to have said, "You’re paying me a lot, so let me do it my way."
At first, it seems contradictory. But the steady stream of requests, and clients willing to raise their own standards to work with him, speaks to the context behind those words.
If the expectation is for results only Kazumi Kurigami can deliver, then it makes sense to leave it to him.
Takeshi Kitano is one such frequent collaborator. To me, Kitano is also a person with an intense self-awareness. And the clothes Kitano wears—both on screen and personally—are Yohji Yamamoto's.
Yohji Yamamoto's garments may seem quiet at first glance, but beneath the surface lies a rich, deep darkness, invisible to the eye. Through the wearer, the clothing becomes something more.
Kazumi Kurigami turns the result of that union into a kind of magic.
This magic is displayed inside a commercial space and sensed by the viewers—visitors to the site. Drawn by the garments on display, they become customers.
Perhaps this experience transcends the simple transactions of purchase and ownership.
Something which deserves to be witnessed thus becomes the key to a complicit relationship.

People build cities, cities shape people, people wear clothing, and photographers capture this with intention. The captured image is then exhibited in a venue, and people view it.
In the end, a city needs a venue with purpose.
And I have been raised by this city and its venue.

品牌名称

Y’s

楼层

3F

官方品牌网站

https://www.yohjiyamamoto.co.jp/ys/

电话号码

Y’s Information desk
03-5463-1503(至4/24)

品牌名称

Y’s for men

楼层

3F

官方品牌网站

https://www.yohjiyamamoto.co.jp/ys-for-men/

电话号码

Y’s Information desk
03-5463-1503(至4/24)

品牌名称

discord Yohji Yamamoto

楼层

1F

官方品牌网站

https://www.yohjiyamamoto.co.jp/discord/

电话号码

03-6416-5418

品牌名称

LIMI feu

楼层

3F

官方品牌网站

https://www.yohjiyamamoto.co.jp/limifeu/

电话号码

Y’s Information desk
03-5463-1503(至4/24)

品牌名称

Ground Y

楼层

2F

官方品牌网站

https://www.yohjiyamamoto.co.jp/groundy/

电话号码

03-6427-8984

品牌名称

S’YTE

楼层

1F

官方品牌网站

https://www.yohjiyamamoto.co.jp/syte/

电话号码

03-6779-9200

操上和美(Kazumikurigami)

1936年出生于北海道富良野。

主要的写真集
“ALTERNATES”“游泳的人”“阳与骨”“KAZUMI KURIGAMI PHOTOGRAPHS-CRUSH”
“POSSESSION首藤康之”“NORTHERN”“Diary 1970-2005”“阳与骨II”“PORTRAIT”“SELF PORTRAIT”“DEDICATED”“April”
『50,50 FIFTY GENTLEMEN OF EYEVAN』　

主要的个展
「KAZUMI KURIGAMI PHOTOGRAPHS-CRUSH」(原美术馆)、
“操上和美时的波特怀旧存在的时间。”(东京都摄影美术馆)
｢PORTRAIT｣（Gallery 916）
《Lonesome Day Blues》(佳能画廊S)
｢April｣（takaishii gallery）
「Crigami88」(代官山山Hillside Terrace Hillside Forum)

2008年电影《明胶银LOVE》导演作品。

栗野宏文(Hirofumi Crino)

出生于1953年。在大学学习美学,毕业后进入时尚零售业。
经过铃木、BEAMS,1989年创立了United Arrows。到2008年为止担任该公司常务董事。在此期间,他曾担任销售、采购、管理、新闻和总监,最终是CCO(首席创意官)。
2008年卸任董事后担任高级顾问。
自2014年起担任LVMH大奖评委。今年也在继续。
2020年出版《模式后的世界》。在台湾、韩国也出版了。