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

© Kishin Shinoyama
© 1616 Prod

Deauville / Nuville

Since the end of the Sixties, the images of nudes mark out the career of Kishin Shinoyama: classic nudes perfectly composed of subtle plays of colors or gradations of black and white. He is today one of the greatest masters of Japanese photographer. Some of his books - over 60 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 the time and the era, which will reflect Deauville: “  The expression of the nude is constantly evolving 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 simply a female body: the environment in which the woman evolves is determining. Because he is also a photographer of places, 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 the work carried out by Kishin Shinoyama made it possible to mix the imagination of Deauville with that of Japan. He took his photos mainly 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 as well as 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 and 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 disagree with never copying 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. Only, to take photographs of a beautiful woman of Anouck Aimée in Deauville, that would be a sad inspiration. So I decided to take two Japanese models. I wished they didn't fall for the easy imagery of "Fuji-Yama Geisha-Girls". However, I wanted to bring a touch of Japanese spirit and therefore took with me yukata (traditional summer kimono), geta (traditional thongs) as well as old Japanese dolls. What does this chemical reaction give 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 the early 1970s, with a rather nostalgic and orthodox photographic technique. I am very happy to see the innocence, the free allures of two slender Japanese girls in this city, Deauville.Kishin Shinoyama


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