Fiindcă mi-am redescoperit recent fascinația pentru Japonia și pentru tot ceea ce înseamnă cultură japoneză, dar și pentru a face legătura cu figura lui Kazuo Ohno (vezi postarea anterioară), astăzi voi scrie despre Eikoh Hosoe (n.1933, Yamagata).
Este o figură reprezentativă pentru Japonia post Război Mondial number 2, s-a născut cu numele de ”Toshihiro”, și-l va schimba în Eikoh pentru a simboliza Noua Japonie, chipurile pe cale de a fi construită. Numele său se leagă atât de cel al lui K. Ohno cât și de Yukio Mishima pe care l-a fotografiat în 1961 (la cererea lui Mishima, însă totul a durat mult mai mult decât se așteptau – 6 luni). În urma acestui demers a rezultat albumul fotografic publicat doar după moartea lui Mishima în 1971, (Ba-Ra-Kei) ”Ordeal by Roses” , iată cum povestește chiar Eikoh Hosoe despre Mishima și momentul fotografierii acestuia:
In his introduction to the third edition, Hosoe describes the first of the shoots: “I was still in my twenties at the time, so I was young and naive. Mishima’s father happened to be watering the garden, so I grabbed the hose, and I wrapped Mishima in it. Later the garden, which was a peaceful family place, became a kind of nude theatre. I asked him to look up and concentrate on the camera which I was holding on a ladder above. When I had arranged the composition and was ready to shoot, Mishima said, ‘I have a special ability I can keep my eyes open for minutes.’ It was true. He didn’t blink until I had exposed two rolls of film. I asked him to lie on the zodiac [in his garden where Mishima was planning to erect a statue of Apollo] and I photographed him from a low angle on the ground. Then I asked him to walk slowly, with the hose still wrapped around him, and to lie down in the narrow space between the wall of his home and his neighbor’s house. I continued shooting for about an hour. ‘I have never been photographed like this,’ he said. ‘Why did you do it this way?’ ‘This is the destruction of a myth,’ I replied. I had referred to an iconoclastic act but I was in fact suggesting a creative process through destruction. I wanted to create a new image of Yukio Mishima through my photography.”
Cea mai cunoscută fotografie este aceasta:
Pe de altă parte Mishima despre lucrările lui Hosoe:
“God is dead, and naked human beings face the world shameless and without pride.”
Eikoh Hosoe mi se pare acel tip de fotograf în lucrările căruia inteligența, creativitatea și ingeniozitatea de moment contează la fel de mult.
“In the beginning my ideas were vague,” Hosoe has said, “but gradually I came to have a concrete concept…. The theme that flows through the entire body of work was ultimately “Life and Death” through Yukio Mishima, borrowing his flesh and using a rose as a visible symbol of beauty and thorns.” The final images were dark, sensual, dreamlike; Mishima loved them. The exhibition and subsequent book were entitled Barakei, which according to Hosoe, is literally translated as “punishment of roses.” Barakei not only solidified Mishima’s reputation as a controversial figure of the arts (“God is dead,” he wrote of Hosoe’s photographs, “and naked human beings face the world shameless and without pride”), it also established Hosoe as one of Japan’s leading contemporary photographers.
Data viitoare când voi scrie câte ceva despre Japonia va fi despre Ceremonia Ceaiului.