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KISHIN SHINOYAMA

Photographer invited to the Planche (s) Contact festival in 2013

© Kishin Shinoyama
© 1616 Prod

Deauville / Nuville

Since the late 60s, nude images have marked Kishin Shinoyama's career: classic nudes perfectly composed of subtle play of colors or black and white gradations. He is now one of the greatest masters of the Japanese photographer. Some of his books - over 350 to date since the first, 28 Girls, released in 1968 - have sold more than 700 copies in Japan.

For him, photography is a mirror that reflects time and time, which will reflect Deauville: " The expression of the nude evolves constantly according to the time, the locality, the beliefs of the country, the law, common sense. And according to these elements, there are freedoms or prohibitions… new expressions are still quite possible ”.

Finally, for him, the nude is not just a female body: the environment in which the woman evolves is decisive. Because he is also a local photographer, we owe him several books on the houses of great artists like Man Ray, the Italian filmmaker Luchino Visconti or the writer Mishima.

His invitation to Deauville was an event because for the first time, the nude was treated in the photographic productions of the Festival and that the work carried out by Kishin Shinoyama made it possible to mix the imagination of Deauville with that of Japan. He mainly took his photos at the Parc des Enclos Calouste Gulbenkian.

"The famous film by Claude Lelouche, A man and a woman, the music of Francis Lai and the charm of Anouck Aimée upset and tickled the eardrums and retinas of a very young budding photographer (me at the time). Henri Cartier-Bresson, Jacques Henri Lartigue, Man Ray, Brassaï and the book Love on the Left Bank by the Dutchman Ed Van der Elsken were the mentors of my youth, my bases. In the late 1960s and early 1970s, the works of Bourdin, Sieff or Giacobetti were successively presented in Japan. They have greatly influenced many Japanese photographers. The immense respect that I felt for these French artists led me to the opposite never to copy them. Forty years later, chance led me to accept this invitation to Deauville. When it was submitted to me, the idea that immediately occurred to me was to pay homage to this French photograph from forty years ago. But taking photographs of a woman with the beauty of Anouck Aimée in Deauville would be a sad inspiration. So I decided to take two Japanese models. I wanted them not to fall into the easy imagery of "Fuji-Yama Geisha-Girls". However, I wanted to bring a zest of Japanese spirit and therefore took with me yukata (traditional summer kimono), geta (traditional flip flops) as well as old Japanese dolls. What gives this chemical reaction between this mythical place that is Deauville and these two Japanese models? It's up to you to find out, and I hope you will enjoy it. This work echoes in the early 1970s, with a rather nostalgic and orthodox photographic technique. I am very happy to see the innocence, the liberated gaits of two young Japanese girls slender in this city, Deauville." Kishin Shinoyama

My travel book