Ryūji Miyamoto (original) (raw)
Ryūji Miyamoto (jap. 宮本 隆司, Miyamoto Ryūji; * 1947 in Setagaya, Tokyo, Japan) ist ein japanischer Dokumentarfilmer und Fotograf.
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| dbo:abstract | Ryūji Miyamoto (jap. 宮本 隆司, Miyamoto Ryūji; * 1947 in Setagaya, Tokyo, Japan) ist ein japanischer Dokumentarfilmer und Fotograf. (de) Ryūji Miyamoto (宮本 隆司, Miyamoto Ryūji) né en 1947 dans l'arrondissement de Setagaya à Tokyo est un photographe japonais et documentariste. Il est lauréat de l'édition 1988 du prix Ihei Kimura (fr) Ryūji Miyamoto (宮本 隆司, Miyamoto Ryūji, born 1947) is a Japanese photographer, best known as the “ruins photographer”. Having studied graphic design at Tama Art University in Tokyo, he taught himself photography and began as an architectural journalist for magazines and newspapers. Inspired by the landscapes of post-war Japan that marked his childhood he came to reckon the imagery of destruction when he received a commission from Asahi Graph (pictorial journal) to document the demolition of the Nakano Prison in Tokyo. His early work focusing on the demolition of modern buildings led to the Architectural Apocalypse series. He later thematized what he calls "handmade architecture" (tezukuri kenchiku) through his documentation of Kowloon Walled City and his survey of Cardboard Houses constructed by homeless people in Japan and around the world, documenting the ways in which people manage to inhabit the city informally. In 1995, he applied the same survey method to document the Kobe earthquake (KOBE 1995 After The Earthquake). These images were later used as a basis for criticism of reconstruction methods that obscure the memory of the disaster and resulted in his selection for the Japanese Pavilion of the Venice Biennale of Architecture in 1996 by Arata Isozaki, known for his discourse on ruins. Miyamoto's turn between modern urban ruins and the impact of disasters was also embodied in the film: 3.11 TSUNAMI 2011, for which he changed his working method, co-creating it with three survivors of the 2011 Tōhoku earthquake and tsunami, feeling unable to document the disaster. His photography, however, is never about the negativity of ruins. As the title of his retrospective exhibition at the Setagaya Art Museum in Tokyo (2004) evokes, he gazes at "things that are disappearing, things that are being born." His photographs exposes the ideology of progress in modern urban development, by uncovering its relation to heritage preservation, disasters, social downgrading, and informal lifestyles. (en) 宮本 隆司（みやもと りゅうじ、1947年4月24日 - ）は日本の写真家。東京都世田谷区生まれ。多摩美術大学グラフィックデザイン科卒。 (ja) |
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| dbp:author | Ryūji Miyamoto (en) |
| dbp:birthDate | 1947 (xsd:integer) |
| dbp:birthPlace | Tokyo, Japan (en) |
| dbp:caption | Ryūji Miyamoto at Gallery Min, Tokyo, 1989, photograph by Sally Larsen (en) |
| dbp:field | Photography, architecture, contemporary art (en) |
| dbp:name | Ryūji Miyamoto (en) |
| dbp:nationality | Japanese (en) |
| dbp:source | Miyamoto, Ryūji; 宮本隆司 . Shin kenchiku no mokushiroku. 宮本隆司 . Tōkyō: Heibonsha. p. 3. (en) Asahin shinbun , p.2. (en) Jūtaku kenchiku 155 , 40. (en) Ryūji Miyamoto, Cardboard Houses, Kobe : Bearlin, 2003 (en) Setting sun : writings by Japanese photographers. New York: Aperture. 2006. p.50. (en) in Kioku hyōgen ron , edited by Kasahara Kazuto and Terada Masahiro, p.116. Kyoto: Shōwado, 2009. (en) Setting sun : writings by Japanese photographers. New York: Aperture. 2006. p.50. (en) |
| dbp:text | Demolition is an activity planned by humans that takes place in one corner of the city. But the earthquake blew away such things at once. What is more, it was not just a corner, but the entire city was destroyed. Walking around and around, the rubble went on. To be honest, I didn't know how to photograph it. (en) The site where a building is being demolished is like a time-tunnel that releases individual structures from their original purpose, and thus brings the buildings into existence. These buildings were disconnected from the builder, the architect, and the prisoners, and there was a reality to the feeling that the buildings entered a dimension different from the time-space they had occupied until then. (en) “While photographing the cardboard houses, I was allowed to go inside them. When I did so, I felt strangely at home…. The architect Hara Hiroshi uses the phrase ‘burying the city.’ It stayed in my mind, and when I entered the houses, it immediately occurred to me that I should bury the surrounding scenery in the house.” (en) Tacked together out of scavenged refuse materials commonly discarded in all big cities cardboard boxes, scraps of wood, polystyrene packs, mattresses, plastic tarps, umbrellas these dwellings attest to the consumate skill of their builders, persons alienated from both society and family working today in exactly the same mode as humans in primeaeval times who gathered their own materials to build their own shelters in the wild. These « homeless » cardboard houses are the product of earnest efforts to utilise empty urban spaces. Existing within the contemporary city whose every spatial assignation is determined by economics and politics, they stand wholly apart from considerations of efficiency and power. Each individual cardboard house has a presence like a wedge driven singlehandedly into the urban mass, exposing diverse contradictions and social issues therein. (en) At the same time, old buildings with extensions and many different façades, a large number of brick buildings downtown, erected at the beginning of the Showa period, and the sheet-copper-sided homes and apartment buildings were all torn up by their roots. Everywhere, the streets were different, made new, everything was subordinated to efficiency, and perverted into a colorless space. Inconvenient old buildings were replaced with astounding speed; there was no time for them even to fall into decay. Inconvenient old buildings were replaced with astounding speed; there was no time for them even to fall into decay. (en) The maze-like streets that discharge sewage are like a medieval city. Or, it is the chaotic street corners covered in acid rain from the movie Blade Runner, which is said to depict the most realistic prediction of the future city. (en) Despite the recession in the Japanese economy, ceaseless streams of people still churn though the train terminals topped one after the next with new high-rise structures. On the surface, the city of Tokyo keeps molting its skin, emerging ever renewed, bright and shiny. Yet the shinier that superficial gleam appears, the deeper and darker grows the shadowed underside. Photography is a construct of light and dark and photosensitive material. Whether photography does or doesn't go digital, I believe that basic rule still holds. Light passing though a lens or pinhole burns an image on photosensitive material kept in a dark space, fixing a set view of the world. The act of photographing is always an encounter between light and photosensitive material in darkness. As the dark underside of the city grows still deeper and darker, I'm sure we won't run out of further encounters between light and whatever photosensitive apparatus. (en) |
| dbp:title | Foreword (en) “Monokurōmu no sekai Kyūryū jōsai, kyokugen no kōsō suramu” (en) "Urban Hunter-Gatherer Lairs" (en) Temporary Ruins (en) Shashinka Miyamoto Ryūji-san / Shinsai chokugo no sanjō kiroku / ‘Chinmoku no hūkei’ ni atara na imi sagaru / Kaigai de takai hyōka ima, hisaichi ni tou” (en) “Judō to shite no shashin ‘pinhōru no ie’ igo” (en) |
| dbp:training | Tama Art University (en) |
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| dbp:works | Architectural Apocalypse, Cardboard House, KOBE 1995 After the earthquake (en) |
| dct:subject | dbc:1947_births dbc:Living_people dbc:Japanese_photographers |
| gold:hypernym | dbr:Photographer |
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| rdfs:comment | Ryūji Miyamoto (jap. 宮本 隆司, Miyamoto Ryūji; * 1947 in Setagaya, Tokyo, Japan) ist ein japanischer Dokumentarfilmer und Fotograf. (de) Ryūji Miyamoto (宮本 隆司, Miyamoto Ryūji) né en 1947 dans l'arrondissement de Setagaya à Tokyo est un photographe japonais et documentariste. Il est lauréat de l'édition 1988 du prix Ihei Kimura (fr) 宮本 隆司（みやもと りゅうじ、1947年4月24日 - ）は日本の写真家。東京都世田谷区生まれ。多摩美術大学グラフィックデザイン科卒。 (ja) Ryūji Miyamoto (宮本 隆司, Miyamoto Ryūji, born 1947) is a Japanese photographer, best known as the “ruins photographer”. Having studied graphic design at Tama Art University in Tokyo, he taught himself photography and began as an architectural journalist for magazines and newspapers. Inspired by the landscapes of post-war Japan that marked his childhood he came to reckon the imagery of destruction when he received a commission from Asahi Graph (pictorial journal) to document the demolition of the Nakano Prison in Tokyo. (en) |
| rdfs:label | Ryūji Miyamoto (de) Ryūji Miyamoto (fr) 宮本隆司 (ja) Ryūji Miyamoto (en) |
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