{"id":2466,"date":"2016-11-03T22:19:43","date_gmt":"2016-11-03T21:19:43","guid":{"rendered":"http:\/\/lantb.net\/figure\/?p=2466"},"modified":"2016-11-07T11:16:05","modified_gmt":"2016-11-07T10:16:05","slug":"takuma-nakahira","status":"publish","type":"post","link":"http:\/\/lantb.net\/figure\/?p=2466","title":{"rendered":"Takuma Nakahira"},"content":{"rendered":"<p>Vu au Bal, dans l&rsquo;expo <a href=\"http:\/\/www.le-bal.fr\/2016\/09\/autour-de-provoke\">Provoke<\/a>, les photos de Nakahira, \u00ab\u00a0classique-moderne\u00a0\u00bb&nbsp;: \u00a0\u00ab\u00a0Le photographe, th\u00e9oricien et critique Takuma Nakahira (1938-2015) est, avec Koji Taki (1928-2011), responsable de l&rsquo;armature discursive de <i>Provoke<\/i>. Dipl\u00f4m\u00e9 en \u00c9tudes espagnoles, grand connaisseur des mouvements d&rsquo;ind\u00e9pendance latino-am\u00e9ricains, Nakahira devient responsable \u00e9ditorial de la revue culturelle de gauche <i>Gendai no me<\/i> (<i>l&rsquo;Oeil contemporain<\/i>) entre 1964 et 1965. En 1968, il est un des quatre fondateurs de <i>Provoke<\/i>. Nakahira ne consid\u00e8re pas la photographie comme le moyen d&rsquo;expression d&rsquo;un artiste photographe, mais comme la simple capture m\u00e9canique d&rsquo;une perception subjective. En 1970, il \u00e9dite <i>Kitarubeki kotoba no tame ni<\/i> (<i>Pour un langage \u00e0 venir<\/i>) son livre-manifeste, \u00a0suite d&rsquo;images non-lin\u00e9aire et sans hi\u00e9rarchie, \u00e9voquant des sc\u00e8nes imaginaires et post-apocalyptiques.\u00a0\u00bb<\/p>\n<p>https:\/\/youtu.be\/X_N75LZOxvU<\/p>\n<p style=\"text-align: justify;\"><a href=\"http:\/\/lantb.net\/figure\/wp-content\/uploads\/2016\/11\/IMG_0545.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-2473\" src=\"http:\/\/lantb.net\/figure\/wp-content\/uploads\/2016\/11\/IMG_0545.jpg\" alt=\"img_0545\" width=\"500\" height=\"359\" srcset=\"http:\/\/lantb.net\/figure\/wp-content\/uploads\/2016\/11\/IMG_0545.jpg 550w, http:\/\/lantb.net\/figure\/wp-content\/uploads\/2016\/11\/IMG_0545-300x215.jpg 300w, http:\/\/lantb.net\/figure\/wp-content\/uploads\/2016\/11\/IMG_0545-150x108.jpg 150w\" sizes=\"auto, (max-width: 500px) 100vw, 500px\" \/><\/a><\/p>\n<p style=\"text-align: justify;\"><a href=\"http:\/\/lantb.net\/figure\/wp-content\/uploads\/2016\/11\/IMG_0549.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-2477\" src=\"http:\/\/lantb.net\/figure\/wp-content\/uploads\/2016\/11\/IMG_0549.jpg\" alt=\"img_0549\" width=\"500\" height=\"357\" srcset=\"http:\/\/lantb.net\/figure\/wp-content\/uploads\/2016\/11\/IMG_0549.jpg 817w, http:\/\/lantb.net\/figure\/wp-content\/uploads\/2016\/11\/IMG_0549-300x214.jpg 300w, http:\/\/lantb.net\/figure\/wp-content\/uploads\/2016\/11\/IMG_0549-768x549.jpg 768w, http:\/\/lantb.net\/figure\/wp-content\/uploads\/2016\/11\/IMG_0549-640x457.jpg 640w, http:\/\/lantb.net\/figure\/wp-content\/uploads\/2016\/11\/IMG_0549-150x107.jpg 150w\" sizes=\"auto, (max-width: 500px) 100vw, 500px\" \/><\/a><\/p>\n<p style=\"text-align: justify;\">Deux doubles pages de <i>For a Language to Come<\/i>, \u00ab\u00a0described as \u00ab\u00a0a masterpiece of reductionism.\u00a0\u00bb Parr and Badger include it in the first volume of their photobook history. Up through its publication in 1970, Nakahira had been well versed in the style <i>are, bure, boke<\/i> (rough, blurred, and out of focus). In 1973, he published <i>Why an Illustrated Botanical Dictionary <\/i>(<i>Naze, shokubutsu zukan ka<\/i>), shifting away from the style of <i>are, bure, boke<\/i> (brut, flou et granuleux) and instead moving towards a type of catalog photography stripped of the sentimentality of handheld photography, a photography resembling the illustrations of reference books.\u00a0\u00bb<\/p>\n<p style=\"text-align: justify;\"><i>For a Language to Come<\/i>, expos\u00e9 \u00a0au Bal, en mode d\u00e9pliant faisant panoramique horizontal<span style=\"text-decoration: underline;\"><a href=\"http:\/\/lantb.net\/figure\/wp-content\/uploads\/2016\/11\/IMG_4880.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-2483\" src=\"http:\/\/lantb.net\/figure\/wp-content\/uploads\/2016\/11\/IMG_4880.jpg\" alt=\"img_4880\" width=\"3264\" height=\"2448\" srcset=\"http:\/\/lantb.net\/figure\/wp-content\/uploads\/2016\/11\/IMG_4880.jpg 3264w, http:\/\/lantb.net\/figure\/wp-content\/uploads\/2016\/11\/IMG_4880-300x225.jpg 300w, http:\/\/lantb.net\/figure\/wp-content\/uploads\/2016\/11\/IMG_4880-768x576.jpg 768w, http:\/\/lantb.net\/figure\/wp-content\/uploads\/2016\/11\/IMG_4880-640x480.jpg 640w, http:\/\/lantb.net\/figure\/wp-content\/uploads\/2016\/11\/IMG_4880-150x113.jpg 150w\" sizes=\"auto, (max-width: 3264px) 100vw, 3264px\" \/><\/a> <a href=\"http:\/\/lantb.net\/figure\/wp-content\/uploads\/2016\/11\/IMG_4881.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-2484\" src=\"http:\/\/lantb.net\/figure\/wp-content\/uploads\/2016\/11\/IMG_4881.jpg\" alt=\"img_4881\" width=\"3264\" height=\"2448\" srcset=\"http:\/\/lantb.net\/figure\/wp-content\/uploads\/2016\/11\/IMG_4881.jpg 3264w, http:\/\/lantb.net\/figure\/wp-content\/uploads\/2016\/11\/IMG_4881-300x225.jpg 300w, http:\/\/lantb.net\/figure\/wp-content\/uploads\/2016\/11\/IMG_4881-768x576.jpg 768w, http:\/\/lantb.net\/figure\/wp-content\/uploads\/2016\/11\/IMG_4881-640x480.jpg 640w, http:\/\/lantb.net\/figure\/wp-content\/uploads\/2016\/11\/IMG_4881-150x113.jpg 150w\" sizes=\"auto, (max-width: 3264px) 100vw, 3264px\" \/><\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Vu au Bal, dans l&rsquo;expo Provoke, les photos de Nakahira, \u00ab\u00a0classique-moderne\u00a0\u00bb&nbsp;: \u00a0\u00ab\u00a0Le photographe, th\u00e9oricien et critique Takuma Nakahira (1938-2015) est, avec Koji Taki (1928-2011), responsable de l&rsquo;armature discursive de Provoke. Dipl\u00f4m\u00e9 en \u00c9tudes espagnoles, grand connaisseur des mouvements d&rsquo;ind\u00e9pendance latino-am\u00e9ricains, Nakahira devient responsable \u00e9ditorial de la revue culturelle de gauche Gendai no me (l&rsquo;Oeil contemporain) &hellip; <a href=\"http:\/\/lantb.net\/figure\/?p=2466\" class=\"more-link\">Continuer la lecture de <span class=\"screen-reader-text\">Takuma Nakahira<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6,44],"tags":[],"class_list":["post-2466","post","type-post","status-publish","format-standard","hentry","category-artiste","category-everyday-life"],"_links":{"self":[{"href":"http:\/\/lantb.net\/figure\/index.php?rest_route=\/wp\/v2\/posts\/2466","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/lantb.net\/figure\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/lantb.net\/figure\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/lantb.net\/figure\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/lantb.net\/figure\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2466"}],"version-history":[{"count":21,"href":"http:\/\/lantb.net\/figure\/index.php?rest_route=\/wp\/v2\/posts\/2466\/revisions"}],"predecessor-version":[{"id":2562,"href":"http:\/\/lantb.net\/figure\/index.php?rest_route=\/wp\/v2\/posts\/2466\/revisions\/2562"}],"wp:attachment":[{"href":"http:\/\/lantb.net\/figure\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2466"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/lantb.net\/figure\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2466"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/lantb.net\/figure\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2466"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}