In 1929, the Deutscher Werkbund held the exhibition Film und Foto in Stuttgart to herald the stylistic revolution from pictorialism to the New Photography. This monumental exhibition later toured internationally, and its selection reached Tokyo and Osaka in 1931. Published research interprets this event as the first opportunity for Japanese modernists to view original works of the New Photography. However, it is also necessary to consider the radical format of the exhibition, as conceived by El Lissitzky and Laszlo Moholy-Nagy, who employed techniques of presentation from graphic design and architecture. Through the examinations of the displays of these exhibitions and subsequent cases, I would like to illustrate how the concept and technique of exhibition design developed in Japan under the influence of its precedents in Germany in the 1930s. The related materials represent that the form of the Film und Foto in Japan remained conservative. However, the idea of innovative forms of display soon developed, such as the design of NOJIMA Yasuzo's solo exhibition by HARA Hiromu in 1933, because the articles on the German magazines or the reports from Japanese Bauhausler YAMAWAKI Iwao provided Japanese modernists with a new model for considering exhibition space and opened up alternative possibilities of display.
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