Y艒jo - Jeremy Stigter & The IBASHO Collection
IBASHO is delighted to announce the opening of 鈥淵艒jo鈥�, an exhibition developed in close collaboration with the Dutch photographer Jeremy Stigter.
鈥淵艒jo鈥�, a Japanese concept that can be translated as 鈥渁 remaining, lingering, or sustained feeling, an emotional experience triggered by images created through certain kinds of indirect, often implicit, writings鈥�, presents a dialogue, as much a confrontation, between IBASHO鈥檚 collection of vintage Japanese photography 鈥� from Araki to Yamamoto 鈥� and Jeremy Stigter鈥檚 own extensive work on Japan.
The result is a total of twenty-five sets of pictures, a sumptuous showcase of vintage black and white photography, each pairing inviting the spectator to view and compare the old to the new, the then to the now, the work of one photographer to the work of another.
With a primary focus on Japan and Japanese photography, the exhibition is, inevitably, also about time: how much and how little, the country 鈥� its people, its customs as much as its photography 鈥� has changed.
While some of the pairings are quite obvious, with the visual similarity clearly spelled out, others present more complicated juxtapositions, where it may be the tonality, the underlying sentiment that has determined the coming together of two quite unrelated photographs.
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IBASHO is delighted to announce the opening of 鈥淵艒jo鈥�, an exhibition developed in close collaboration with the Dutch photographer Jeremy Stigter.
鈥淵艒jo鈥�, a Japanese concept that can be translated as 鈥渁 remaining, lingering, or sustained feeling, an emotional experience triggered by images created through certain kinds of indirect, often implicit, writings鈥�, presents a dialogue, as much a confrontation, between IBASHO鈥檚 collection of vintage Japanese photography 鈥� from Araki to Yamamoto 鈥� and Jeremy Stigter鈥檚 own extensive work on Japan.
The result is a total of twenty-five sets of pictures, a sumptuous showcase of vintage black and white photography, each pairing inviting the spectator to view and compare the old to the new, the then to the now, the work of one photographer to the work of another.
With a primary focus on Japan and Japanese photography, the exhibition is, inevitably, also about time: how much and how little, the country 鈥� its people, its customs as much as its photography 鈥� has changed.
While some of the pairings are quite obvious, with the visual similarity clearly spelled out, others present more complicated juxtapositions, where it may be the tonality, the underlying sentiment that has determined the coming together of two quite unrelated photographs.
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