Gerry JOHANSSON, Greger Ulf Nilsson (ed.), Kamo no Chomei (text)


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“In the stately ways of our shining capital the dwellings of high and low raise their roofs in rivalry as in the beginning… how often does the mansion of one age turn into the cottages of the next.” (Kamo no Chomei)

"Tokyo is a visual journey through a city at once futuristic and obsolete, its visionary design worn out – like that of a past era. Johanasson uses photography to index the city, finding form and pragmatic order through accumulation and sequence, revealing the city's hidden, modular logic: lego-like segments, a basic square unit repeated indefinitely and in various sizes. These images are unpeopled, showing only the architecture of the city, a container of 13 million people, organised around mass movement and the funnelling of human traffic. Between the concrete, glass and steel, the occasional green life sprouts – miniature gardens in the narrow alleyways, or a cluster of flower pots lining the sidewalk. The architecture creates its own topography, and the city is glimpsed as the last outpost of a fading, mechanised world."

About the photographer (*1945 in Orebro):
Gerry Johansson lives and works in Höganäs, in south Sweden.
He developed an interest in photography during his teen years and moved to New York in the early 1960s. He later studied graphic design at Konstindustri-skolan (today 'School of Design and Crafts' at the University of Gothenburg), working in graphic design for fifteen years.
Since the mid-80s he has worked as a freelance photographer. His first solo exhibition was 1982 at the Fotografiska Museet at the Moderna Museet.

Previous publications include a series of geographically focused publications, 'Amerikabilder' (1998), 'Sverige' (2005), 'Kvidinge' (2007), 'Ulan Bator' (2009), 'Dalen' (2010), 'Öglunda' (2012), 'Pontiac', (MACK, 2011), 'Deutschland' (MACK / Steidl, 2012), 'Hattfabrikken' (2014), 'Tree, Stone, Water' (2015) and 'Ravenna' (2016).

In der ihm eigenen Weise präsentiert der Schwedische Fotograf seine Sicht auf die japanische Metropole. Architekturfotografie at it's best, gepaart mit bestem Druck. Die Fotografien wurden bereits 2004 gemacht, aber die Architekturfotos haben von ihrer Frische und Aktualität nichts verloren.