Solo Exhibition

Open Thu~Sun 13:00~19:00

©︎ Tadayuki Naitoh

内藤忠行 個展「寒山拾得」

内藤忠行は、1964 年東京デザイナーズ学院写真科を卒業後、写真とJAZZの本質と精神を知るためNYに渡り、ジャズミュージシャンを撮り始めました。その後マイルス・ディビスとの出会いから、自身の表現に磨きをかけ、 1974年からジャズのルーツであるアフリカを精力的に訪れ、多くの写真を残しました。1980年 後半より日本文化に回帰し、「桜」「庭園」「蓮」等を撮り、内藤独自の世界を創り出しました。 2005年、スワミナサン財団によるプロジェクトの一環、「モダン・マスターズ・オブ・フォトグ ラファー/ジャパン」の12人の写真家の一人に選出されており、作品は東京都写真美術館、川崎市民ミュージアム、安中現代美術館などにコレクションされています。

ソラリゼーションの技法を用い、未知の地平への旅を意識し、新しい自分を創造することを自身 の課題として表現をしてきました。

タイトルの「寒山拾得」とは中国、唐代の脱俗的人物で詩人の寒山と拾得のことであり、在世年 代は不詳。寒山は幽窟に住み,国清寺に出入して残飯をもらい、拾得と交わったとされていますが、拾得は寒山伝説がふくらむ過程で付加された分身と認められます。奇行ぶりが強調されているが、仏教の哲理に通じ、その脱俗の境地は中国・日本とも伝統的な画題となりました。

いまだに自分自身の新しい表現を追求し、最後にどうやって写真に戻るのかを考え続けている 内藤忠行のいまをご高覧ください。

TADAYUKI NAITOH “Kanzan and Jittoku”

After graduating from the Photography Department of Tokyo Designers Gakuin in 1964, Tadayuki Naito went to New York to learn the essence and spirit of photography and Jazz, and began photographing Jazz musicians. After his encounter with Miles Davis, he began to refine his own expression, and since 1974, he has energetically traveled to Africa, the root of jazz, and left behind many photographs. In the late 1980s, Naito returned to Japanese culture, photographing cherry blossoms, gardens, lotuses, and other subjects, creating a world of his own. In 2005, Naito was selected as one of 12 photographers for the “Modern Masters of Photography/Japan,” a project of the Swaminathan Foundation, and his work is in the collections of the Tokyo Metropolitan Museum of Photography, Kawasaki City Museum, and Annaka Museum of Contemporary Art.

Since Miles’ death, Naito has been constantly thinking about what to photograph.
Using the technique of solarization, Naito has been conscious of traveling to unknown horizons and expressing himself as a challenge to create a new self.

In this exhibition, he attempts to express himself in a new way by using stain painting, with the theme of deviation from photography and liberation from JAZZ (Miles).
The title of the exhibition, “Kanzan and Jittoku” refers to the Chinese poets Kanzan and Jittoku, both secular figures of the Tang Dynasty, and their dates of existence are unknown. Kanzan is said to have lived in a cave, entered the Guoqing Temple to receive leftover food, and had intercourse with Jittoku. Although his eccentricities are emphasized, he is well versed in Buddhist philosophy, and his state of detachment from the secular world has become a traditional subject of art in both China and Japan.

Jittoku, who looks up to Kanzan as his master, is depicted as Naito’s own avatar, a being who rejects secular authoritarianism and values, and symbolizes the dignity of the naked human being itself.

We invite you to view the current work of Tadayuki Naito, who is still pursuing a new expression of himself, and is constantly thinking about how to return to photography in the end.