Nakahira Takuma, From overflow, 1971 The National Museum of Modern Art, Tokyo ©Gen Nakahira

Ph. Takuma Nakahira

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木-金曜日

Nakahira Takuma  Japanese, 1938–2015

Untitled

Takuma Nakahira  /Japanese, 1938–2015

For a Language to Come,  1970.

Silver gelatin print

© Gen Nakahira. Courtesy of Each Modern, Taipei

https://www.1854.photography/2018/50-years-since-provoke/

Joan Baez by Takuma Nakahira. Shot in Tokyo in 1967.

www.patreon.com/solitudeofravens

TAKUMA NAKAHIRA 中平 卓馬 PROVOKE MAGAZINE // 1960s

by Takuma Nakahira / 中平卓馬

he is so fucking good

Abstract: This translation of photographer and critic Nakahira Takuma’s (1938-2015) 1972 essay, “The Illusion Called the Documentary: From the Document to the Monument,” illuminates a crucial shift in Nakahira’s understanding of both the profound limitations–as well as the radical potential of–photography. The essay’s contemporaneous insights into the role of photography during the infamous Asama-Sansō Incident in 1972 offers a crucial counter-perspective that remains absent from existing accounts of this incident. Nakahira’s essay demonstrates a pivotal moment within the development of a radical discourse of media power in the year of Okinawa’s Reversion to mainland Japanese rule, shedding light on an undercurrent of critical perspectives that continue to resonate in the contemporary moment.

Takuma Nakahira

Takuma Nakahira

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木-金曜日

Nakahira Takuma

https://hkipf.org.hk/events/nakahira-takuma-the-extremity-of-images/

Takuma Nakahira  /Japanese, 1938–2015

For A Language To Come,  1970

© Gen Nakahira. Courtesy of Each Modern, Taipei

https://www.1854.photography/2018/50-years-since-provoke/