Open Eye Gallery: Metamorphosis of Japan After the War

Metamorphosis of Japan After the War

22 January - 26 April 2015

In 1945, post-war Japan made a new start from the ashes of devastation. In the twenty years leading up to the Tokyo Olympics of 1964, it succeeded in undergoing a dramatic transformation, embarking on a path towards becoming an economic power.

These two decades constituted a period truly brimming with creative energy – a time in which democracy led to the restoration of vitality and free photographic expression, in which new talent pioneered post-war photography.

This new exhibition reflects on the turbulent period that followed the war, exhibiting over 100 black and white photographs by 11 leading post-war Japanese photographers, including Yasuhiro Ishimoto, Shomei Tomatsu, Eikoh Hosoe and Ken Domon. Rather than arranging the works by period and author, this exhibition is divided into three sections – “The Aftermath of the War,” “Between Tradition and Modernity,” and “Towards a New Japan.”

Although the arrangement may seem arbitrary, the sequence provides a vivid narrative of the convoluted aspects of this complicated era.

The exhibition is organised by The Japan Foundation

The minimalist space, with its whitewashed walls and concrete floor, provides a backdrop for some exhibition spaces of contemporary photography, promoting the belief that photographs are the most powerful means by which to explore ‘the lives of the contemporary world, the living cultures of different territories and the inspirations from various ideologies. For the people involved with The Open Eye, photography is more than a mere medium; it’s also visual language, a form of narrative that can open up new possibilities in contemporary culture. Exhibitions like “Metamorphosis of Japan after the War” by 11 well-known post-war photographers including Yasuhiro Ishimoto, Shomei Tomatsu, Eikoh Hosoe and Ken Domon. The exhibition has opened up such possibilities, turning images of traditional Japanese failed feudal fiefdom to industrial powerhouse revolution by portraying the photographs as ghostly metaphors for Japanese identity in flux.

The exhibition is divided into three sections; the aftermath of the war, between tradition and modernity, and towards a new Japan. Although the arrangement may seem arbitrary, the sequence provides a vivid narrative of the convoluted aspects of this complicated era. “In less than two decades, Japan went from a crushing military defeat to establishing itself as a rising economic superpower,” says co-curator Marc Feustel.

The exhibition design for this display is clearly chronological. The flexibility of removing the exhibitions is effective in terms of the works that are displayed and to that of the curating team, by using sticky labels as artist’s statements underneath the displays makes it easier for the exhibitions in the Open Eye to change without making it difficult on redecorating the gallery space. One downside I found when visiting the gallery was that it lacked visual impairment for the older audiences to communicate with the displays, an example of this would be the height of the work presented in the main gallery area by the foyer. The lighting makes it difficult to see the top row of photographs on the main wall too. The positive outlook on this small remark is that the statements of the photographs are situated on the right hand side of the wall where they are presented, this makes it easier for the audience as a Title of the work can give a hint what the work is about. However, I noticed that the font size of the statements are also small given that they use the repetitive styled font for all their artwork displays.

The artwork displayed in the gallery area 1 are set in portrait and some in landscape this is due to the size of the photograph being taken and in the order of the rise in the publishing business that was happening in Japan during the late 1940’s, the curator suggested that the borders in landscape show the revival of human spirit progressing onto the portrait frames showing industrialization lifestyle during the war. The frames protecting the photographs were chosen to follow suit to the monochrome interior to the gallery and to that of the black and white photographs. This gives a sense of negative space because of the already white walls and concrete floor it makes the viewer aware like myself to understand the change in the gallery itself as well as the topic of the exhibition. Some portfolios of photographs and magazines of that time are kept in glass cabinets set in the middle of the room, obviously being a part of the exhibition but are inaccessible to the public for handling for conservation care.

Review: 20/03/2015