Felipe Abreu

日本攝影集拍賣

我是一位国王

富岡敏明（Shomei Tomatsu）
摄影评论家/1972/日语/240*213*20

Shomei Higashimatsu 是战后日本最具领军地位的摄影师之一，他一直保持着高度的觉悟，持续探索日本及日本人民原始图像的本质问题与不屈不挠的求索精神，其中包括对长崎、冲绳与交战各方 internal wounds 的和平愿望、对文明与政治的尖锐批评，以及对人类在自然与材料中的参与的探究。他的作品常在欧洲与美国展出，并在国际上得到高度评价。本书于1972年出版，作为1960年代在《每日镜头》（Camera Mainichi）、朝日相机（Asahi Camera）、中央公论（Chuo Koron）等杂志刊载作品的再编辑版本。

在上世纪60年代，东松过着没有固定居所的生活，厌恶在每日固定路线上的无聊与现实感缺失的感觉。‘这里是一个真正的专业人士的作品，他把一切都押在“看见”之上，并以坚韧的毅力坚持摄影，以放大看见的现实。’（收录于《日本摄影集 1912-1990》）

I am a King

Shomei Tomatsu
The Photographic Critics/1972/Japanese/240*213*20

Shomei Higashimatsu is one of the leading photographers of post-war Japan, who has always maintained a high level of awareness of issues and a relentless spirit of inquiry into the original image of Japan and the Japanese people, including a desire for peace based on the internal wounds of Nagasaki, Okinawa and the warring factions, criticism of civilisation and politics from a sharp perspective, and an inquiry into the involvement of humans in nature and materials. His work has been frequently exhibited in Europe and the USA, and is highly regarded internationally. This book was published in 1972 as a re-edited edition of works published in Camera Mainichi, Asahi Camera, Chuo Koron and other magazines in the 1960s.In the 1960s, Higashimatsu lived a life without a specific residence, feeling repelled by the boredom and lack of reality of going back and forth on a fixed course every day. ' Here is the work of a true professional who staked everything on ‘seeing’ and stoically stuck to photography in order to amplify the reality of seeing. (Included in The Japanese Photobook 1912-1990)

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Shomei Tomatsu - I am a King - 1972

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