Çüµ£(Mo-Yi)¤ÏÆÈ³Ø¤Ç¼Ì¿¿²È¤È¤·¤Æ¤Î¥¥ã¥ê¥¢¤ò¥¹¥¿¡¼¥È¤µ¤»¤¿Èó¾ï¤Ëµ©Í¤Ê¸ºß¡£Èà¤Ï1980ǯÂå¤Ë˾±ó¥ì¥ó¥º¤òÍѤ¤¡¢³¹¤ò¡ÖÁÝÆ¢¡×¤¹¤ë¤è¤¦¤Ê¼êË¡¤Ç¡¢¼Ì¿¿¤Î¿¿¼ÂÀ¤òÌϺ÷¤·¤Ä¤Ä¼«¸Êɽ¸½¤òŸ³«¤¹¤ë¡£À¯¼£¤Î¤¿¤á¤Î¼Ì¿¿¤òÈÝÄꤷ¤Æ¡¢¼Ò²ñ¤Î¿¿¼Â¤òÅÁ¤¨¤è¤¦¤È¤¹¤ëÌÜŪ¤«¤é¥¹¥¿¡¼¥È¤·¤¿Ãæ¹ñÅÁÅý¤Î¥É¥¥å¥á¥ó¥¿¥ê¡¼¼Ì¿¿¡Öµª¼Â¼Ì¿¿¡×¤È¤Ï°ìÀþ¤ò²è¤·¡¢³¹¤ä¿Í¤òÈï¼ÌÂΤȤ·¤Ê¤¬¤é¤â¼«¿È¤Î¿´¤Îư¤¤òɽ¸½¤·¤¿¥¹¥¿¥¤¥ë¤Ï¡¢Åö»þ¤ÎÃæ¹ñ¼Ì¿¿³¦¤Ç¤ÏÁ°Îã¤Î¤Ê¤¤ºîÉʤòȯɽ¤·¤¿¡£
Ëܽñ¤ÏÁµ¥Õ¥©¥È¥®¥ã¥é¥ê¡¼(ÆüËÜ)¤Ç³«ºÅ¤µ¤ì¤¿Èà¤Î1980ǯÂå¤ÎºîÉʤò¾Ò²ð¤·¤¿Å¸¼¨¤Ë¹ç¤ï¤»¤ÆÀ©ºî¤µ¤ì¤¿¼Ì¿¿½¸¤Ç¡¢ºÇ½é´ü¤Ë¤¢¤¿¤ë¡ØÉ÷·Ê¡Ù¡ØÉã¿Æ¡Ù¥·¥ê¡¼¥º¤Î¾¤Ë¡¢¹Ô¤¸ò¤¦¿Í¡¹¤ò¿½ÅϪ¸÷¤Ç¼Ì¤·¡¢ÅÔ²ñÀ¸³è¤ÎÁ³°´¶¤òɽ¸½¤·¤¿¼Â¸³Åª¥×¥í¥¸¥§¥¯¥È¡ØÁûư(ÊÌ̾¡§²æ虛¸¸Åª¾ë»Ô)¡Ù¡¢¥«¥á¥é¤ò¸å¤í¶ß¤ÎÉôʬ¤ËÃÖ¤¡¢¥ì¥ó¥º¤ò¸åÊý¤Ë¸þ¤±¡¢5ÊâÊ⤯¤´¤È¤Ë1ÅÙ¥·¥ã¥Ã¥¿¡¼¤òÀÚ¤ë¼êË¡¤«¤éÀ¸¤Þ¤ì¤¿Èà¤ÎÂåɽºî¡Ø1m¡¤²æ¿È¸åŪÉ÷·Ê¡Ù¡¢¤½¤·¤ÆÅ·°ÂÌç»ö·ï¸å¤Ë¾è¼Ö¤·¤¿¥Ð¥¹¤Î¼ÖÆâ¤ò»£±Æ¤·¤¿¡ØÙêÆ¢Åª¼ÖÖû¡Ù¤«¤é123ÅÀ¤ò¼ýÏ¿¤·¤Æ¤¤¤ë¡£Ãæ¹ñ¼Ì¿¿»Ë¤ÎÃæ¤Ç¤â½ÅÍפʸºß¤À¤È¤¤¤¨¤ëÇüµ£¤ÎºîÉʽ¸¤Î¤Ê¤«¤Ç¤â¡¢¤³¤Î1980ǯÂå¤Î¥¥ã¥ê¥¢¤òÊñ³ç¤·¤¿½ñÀҤϹñÆâ³°¤ò´Þ¤á¤Æ¤â½é¤Î»î¤ß¤È¤Ê¤ë¡£´¬Ëö¤Ë¤Ï¼Ì¿¿²È¼«¿È¡¢¼Ì¿¿²È¡¦Ḛ̈æ°ìÉס¢¥Þ¡¼¥¯¡¦¥Ô¥¢¥½¥ó¤Ë¤è¤ë¥Æ¥¥¹¥È(ϱÑÃæÊ»µ)¡¢¤µ¤é¤ËÃæ¹ñ¤Î¼Ò²ñŪ¤Êư¤¤È¼Ì¿¿²È¸Ä¿Í¤Î³èư¤òÄɤ¨¤ëǯɽ¤âÉÕµ¤µ¤ì¤Æ¤ª¤ê¡¢»ñÎÁŪ¤Ê²ÁÃͤâ¹â¤¤¡£
Mo-Yi is a very rare person who started his career as a photographer by himself. In the 1980s, he used a telephoto lens to "sweep" the city and develop self-expression while exploring the truth of photography. It is different from the traditional Chinese documentary photography "Kimi Photo", which started with the purpose of denying photographs for politics and trying to convey the truth of society. The style that expresses movement presented works that were unprecedented in the Chinese photography world at that time.
This book is a collection of photographs created in conjunction with an exhibition introducing his works from the 1980s held at Zen Photo Gallery (Japan), and in addition to the earliest "Landscape" and "Father" series, multiple people come and go. An experimental project "Fuss (also known as I & # 34395; Phantom Castle City)" that expresses the feeling of alienation in urban life by exposing it, placing the camera on the back collar, pointing the lens backwards, and walking every 5 steps. It contains 123 points from his masterpiece "1m, self-portrait landscape", which was born from the technique of releasing the shutter once, and "The 萖Æ¢ -like car Öû", which was a photograph of the inside of the bus that he got on after the Cheonanmen incident. This book, which covers the career of the 1980s, is the first attempt in the collection of works by Mitsuru, who can be said to be an important figure in the history of Chinese photography. At the end of the book, there is a text by the photographer himself, photographer Kazuo Kitai, and Mark Pearson (both in Japanese, English, and Chinese), as well as a chronological table that tracks the social movements of China and the activities of individual photographers. The value is also high.
ÊÔ½¸&¥¢¡¼¥È¡¦¥Ç¥£¥ì¥¯¥·¥ç¥ó¡§ÍåÎêÇ«(¥¢¥Þ¥ó¥À)
ËÝÌõ¡§ÀÐÄÍÍβ𡢾®½ÐºÌ»Ò¡¢î¹ÆÁ×Þ¡¢ÍåÎêÇ«
±Ñ¸ì¹»±Ü¡§¥Þ¡¼¥¯¡¦¥Ô¥¢¥½¥ó
Ãæ¹ñ¸ì¹»±Ü¡§Íû°Òµ·
°õºþ¡§Åìµþ°õ½ñ´Û
¥×¥ê¥ó¥Æ¥£¥ó¥°¡¦¥Ç¥£¥ì¥¯¥¿¡¼¡§¹âÌø¾º
½ÐÈÇ¼Ò publisher¡§Áµ¥Õ¥©¥È¥®¥ã¥é¥ê¡¼/Zen Foto Gallery
´©¹Ôǯ year¡§2016
¥Ú¡¼¥¸¿ô pages¡§144
¥µ¥¤¥º size¡§H155¡ßW220mm
¥Õ¥©¡¼¥Þ¥Ã¥È format¡§¥Ï¡¼¥É¥«¥Ð¡¼/hardcover
¸À¸ì language¡§ÏÂʸ/±Ñʸ/ÃæÊ¸-Japanese/English/Chinese
ÉÕ°ÉÊ attachment¡§¥«¥Ð¡¼/dust jacket.
¾õÂÖ condition¡§¿·ÉʤǤ¹¡£/new.