Shomei Tomatsu: Kůže národa – A Comprehensive Retrospective of Japanese Post-War Photography

This extensive retrospective showcases the work of Japanese photographer Shomei Tomatsu, highlighting his pivotal role in post-war Japanese avant-garde photography. The exhibition presents key series, including those addressing the aftermath of the atomic bombing of Nagasaki and the pervasive Americanization of Japan.

The exhibition 'Shomei Tomatsu: Kůže národa' offers a comprehensive overview of the influential Japanese photographer Shomei Tomatsu (1930, Nagoya). It marks the first extensive survey of his oeuvre, underscoring his significance within the Japanese post-war avant-garde and his foundational role in the development of modern Japanese photography. Spanning approximately 240 black and white and color photographs, the exhibition covers Tomatsu's principal bodies of work. These include the profoundly moving 'Nagasaki 11.02,' a stark testament to the atomic bombing's consequences and the lives of survivors, and 'Chewing Gum and Chocolate,' which captures his early exploration of Japan's widespread Americanization. Through his lens, Tomatsu documented Japan's transition from a traditional society to one of rapid economic growth, navigating profound economic, political, and cultural shifts. Recognized as a father of modern Japanese photography, his lyrical, symbolic, and documentary approach has significantly influenced generations of Japanese photographers, cementing his status as one of the most eloquent artists of the last half-century.

Last admission is 30 minutes before closing. Visitors may re-enter the gallery within the same day to see parts of the exhibition they missed. Admission is voluntary, and there are no charges mentioned for the exhibition itself, suggesting it may be included with general museum entry or be free-entry based on the voluntary admission note. Further details on visiting hours and address are provided, but specific ticketing policies are not fully detailed beyond the voluntary admission concept for re-entry and no explicit mention of entry fees for the exhibition itself during the stated dates in 2007. The page mentions buying membership as an option for visitors, which may offer benefits for entry or access, but does not specify standard exhibition ticket prices or booking procedures directly for this exhibition from 2007. For practical purposes, visitors should assume that general museum admission policies would apply, if any, given the voluntary admission note for re-entry suggests a flexible entry system at the time of the exhibition, but no definitive ticket purchase information is available in this archival context beyond the voluntary option for repeat visits and the mention of membership.