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Kishin Shinoyama (1940-2024), born and raised in Tokyo, created this near-future Tokyo landscape using models and people as actors in the city of "Tokyo," which he said began to become interesting around the mid-1980s. Carrying a large-format 8x10 camera, he also ventured out to shoot outdoors at night. Photographing nudes on trains and on building rooftops, which would be difficult to achieve today, are part of Shinoyama's boldness. It is clear that the city of Tokyo at that time had a magnetic force that drew him to these works. Signed.
Eight years ago, Kishin Shinoyama, who began photographing "Tokyo," came up with the catchphrase "Tokyo is a photograph." Until then, photography had been a way of capturing reality as it was. However, around this time, I began to realize that photography is actually a device for reconstructing fiction. At the same time, the city of Tokyo became increasingly diluted, creating a reversal: "Tokyo" could only exist in photographs, captured as fiction. This was the premonition that led to "Tokyo is a photograph." By the late 1980s, this premonition became a reality. All sorts of "adverse flowers" bloomed in Tokyo in one fell swoop. In the face of this all-consuming vanity market, Kishin Shinoyama challenged this megalopolis with his own "desire of the eyes," as if using every technique of 20th-century art. At this time, "Tokyo" possessed Kishin Shinoyama, and his photographic activities themselves became a symbol of "Tokyo." This was the beginning of a situation in which "Tokyo is Kishin Shinoyama." (Isozaki Arata: from the text on the back cover)
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