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The photographs of Ken Kitano are both extremely concrete and highly philosophical at the same time. Kitano, whom the critic and curator Vince Aletti picked as one of current five photographers in the world to watch in the April, 2009 issue of Modern Painters, recently published his second book, Flow and Fusion this winter. This book attracted attention this past Fall at Paris Photo, an international art fair held every November in Paris, where Kitano has continually been a big hit. This warm reception follows upon Kitanoâ€™s 2008 appearance at the same fair, where â€œFlow and Fusionâ€ was short-listed for the Paris Photo BMW Prize. His â€œone dayâ€ series was similarly nominated and showed during the 2009 fair.
In the series â€œFlow and Fusion,â€ Kitano captured the cityscape of Tokyo by means of a slow shutter speed during the 1990â€™s, which was a kind of apocalyptic period of such events such as the bursting of the bubble economy, the Great Hanshin Earthquake, and the terrorist actions of the Aum religious cult . We can read Kitanoâ€™s photographs as a trajectory of his deep meditation on our existence as human beings and the world we live in.
“Kitanoâ€™s way of fusing such plural existences together into one trace of light is his consistent and unique style.â€
In that sense, â€œFlow and Fusionâ€ should perhaps be looked at in detail first in order to understand Kitanoâ€™s whole photographic vision. In â€œFlow and Fusionâ€, the use of long exposures causes people as plural existences on the street to melt into one flow of light. Kitanoâ€™s way of fusing such plural existences together into one trace of light is his consistent and unique style, and can be seen through all three series of his photography, â€œFlow and Fusionâ€, â€œour faceâ€, and â€œone dayâ€.
In responding to the chaotic conditions of society at the young age of 20, â€œFlow and Fusionâ€ undoubtedly became the starting point for Kitanoâ€™s search for who he is, and what the border or contour of a person is, and what divides him or her from others — that is, how a photographer can grasp the identity of each person. He resorted to the seemingly contradictory idea where peopleâ€™s rigid contours, which as depicted in photographs can be seen as something endorsing identity, are put in danger of disappearing by melding them into one trace of light. In this time of people swinging and living in an unstable social environment, how can a person exist as a solid being with actual feelings for his existence? — that seems to have been a crucial question for Kitano at that time.
Even after the chaotic upheaval period of the 1990â€™s had apparently passed, Kitano continued to explore the difficulty of seeing our contemporary life clearly with actual feelings. The series â€œour faceâ€ shows the next stage of his search for human conditions in this contemporary world.
Kitano widens the field of his photographic investigation from the cityscape to the globalized world in this portrait series. He superimposed finely detailed portraits of each subject located in a specific region and situation in the world into one collective portrait photograph, and named it â€œour face.â€ The choice of â€œour faceâ€ for the series title represents the conflicting union of the plural idea of â€œourâ€ and the singular form of â€œface.â€ He seems to be waiting for the emergence of a new form of our identity in his photographs that is beyond contradiction. Although such qualities as the fine-grained of his photographs reveals his desire to see things in atomic level as a cold realist, â€œone dayâ€ also presents a hot visionary artist keen to envision the image of our identity in a difficult time, and one eager to believe in the solidity and graveness of our identity.
Kitano has continued to pursue this portrait project as he attempts to superimpose people in different parts of the world, a sort of endless and perhaps impossible journey to capture all of us. This epic idea of photographic research might remind us of that of the great photographer August Sander, who tried to represent the â€œCitizens of the Twentieth Centuryâ€.
Kitanoâ€™s newest series, â€œone day,â€ is a landscape series and a work-in-progress that he has been pursuing off-and-on throughout the last decade. In this series he captures, in a single long exposure photograph, a full day in various places, both common, everyday sites like a high school classroom, as well as historical sites in Japan. Here Kitano expands his study of the human condition and further moves us from that territory which we can grasp consciously into a place beyond our consciousness.
Furthermore, he investigates the identity of photography in this process. He transforms the concept of photographic moment to a prolonged and continuing time. He accumulates moments of time and weaves them into a singular landscape. â€œOne dayâ€ invites us to read something overlooked and underlying as a vision of our world. The landscapes of â€œone dayâ€ and the people in â€œour face,â€ the origins of which can both be traced to â€œFlow and Fusion,â€ might be read as a coupled mirror with which to see our life in this world.
Yu Hidaka is an Assistant Professor at Gunma Prefectural Womenâ€™s University, where she teaches on visual culture. Her book, Reading Contemporary Photography: Toward Democratic Vistas, was published by Seikyu-sha in June, 2009. She has written on photography and other forms of visual media for various Japanese publications, including “Studio Voice” and “Asahi Camera”. She received her MA in the Course of Culture and Representation from Tokyo University.