1580231849

Mirage.  Photographs by Daido Moriyama.
 
Mirage.  booktease preview.

Mirage.

Photographs by Daido Moriyama.
MMM, Tokyo, Japan, 2014. 56 pp., 35 color illustrations, 10¼x11¾".

Publisher's Description

MMM is an annual series of publications. MMM, as initials, stands for art director Satoshi Machiguchi, project coodinator Hisako Motoo, and photographer Daido Moriyama.

Mirage is the fourth of Japanese photographer Daido Moriyama's limited-edition publications with MMM. For this volume, Moriyama (born 1938) unearthed a selection of previously unpublished color slides from the 1970s. The slides have faded over the past four decades, and this volume reproduces them in their present fragile beauty. The works consist of several bondage photographs made on commission, and images shot for Japanese Playboy.

This beautiful slipcased hardcover volume features a tip-on front-cover image and is published in a limited edition of 1,000 copies (only 200 copies have been imported for sale in this country). Each copy is signed by Moriyama on the title page, and both the book and the slipcase are numbered.

'When I began casting about for a fourth MMM title,' Hisako Motoo writes, 'it was none other than Moriyama himself who suggested we do a book of his unpublished color positives from the 1970s. And in typical fashion, he just handed the designer file pages of actual film strips. Bondage pics he shot one time only at S&M novelist Oniroku Dan’s request to make enough money to travel to Europe, since collected in the volume Kagero. Nudes for running in Japanese Playboy back then. Snapshots of glinting neon night towns, backside figures walking in train stations seen only once and never again, the thrust-chin sidelong disdainful glance of a woman, scenes drawn to Moriyama’s unwavering compass needle. He drank it all in, with that tough gut of his. And not just fragmentary moments, but forty whole years worth. After several decades, film takes on mildewy discolorations until we’re peering at scenes through a blur of frosted glass. As if the crisp coating of reality had worn away over time, misting into hazy mirages of memory.' 


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