Two legendary photographers meditate on death, memory and ritual The latest collaboration between these two seminal photographers, Leben und Todis the culmination of their joint exhibition at artspace AM, Tokyo, in 2019. This intensely personal project concentrates on Juergen Teller's (born 1964) series Leben und Tod(Life and Death), which reflects upon the death of his uncle and stepfather Artur, juxtaposing photographs of his mother and homeland in Bubenreuth, Bavaria, with symbolic images of fertility and life on holiday in Bhutan with his partner Dovile Drizyte. Inspired by this series, Nobuyoshi Araki (born 1940) asked to photograph Teller's "childhood memory objects," items of particular emotional significance to him and his parents. Teller eagerly collected such personal gems, among them toys, a porcelain figurine and bridges made in the family's violin workshop; the resulting images by Araki are haunting yet playful, creating an intriguing narrative alongside the original story.

"To coincide with the exhibition Araki Teller Teller Araki now on at OstLicht in Vienna, NOBUYOSHI ARAKI and JUERGEN TELLER present their first jointly conceived and designed book. The publication assembles more than 300 photographs, including those works shown as part of the exhibition which were previously unpublished. In addition, Araki and Teller have each dedicated a text to the other"--

A young woman with her legs spread wide; buttoned-up dressed workers on a city street. Contrasting photos like these of intensely private scenes, and snapshots of nameless passers-by are Nobuyoshi Araki?s early commentary on the heterogeneity of Japanese society, calling the moral responsibility of its members into question. This book combines Araki?s Tokyo series from his early works with a selection of his recent Polaroid collages and newly developed slide shows?all of them exploring the contradictions between anonymity and intimacy, the public and private sphere, reality and dream. The legendary Araki is one of the most influential and widely discussed artists today, one who deals with nakedness, sexuality and the body in a radical and realistic way. Through an extreme emotional and physical closeness with his subjects, he becomes not only part of their lives but plays a central role in his own photos, thus transcending voyeurism. Together with Nan Goldin, Larry Clark and Boris Mikhailov, Araki is considered one of the pioneers of intimate subjective photography. 00Exhibition: C/O Berlin, Germany (08.12.2018 - 03.03.2019).

Araki's career in full, from the portraits of the early 1960s to city scenes and tender tributes to his wife Araki is known the world over for his controversial erotic portraits of Japanese women, often bound using the kinbaku (Japanese bondage) technique. A unique figure in contemporary photography, he has always found creative inspiration in his daily existence, without making any distinction between his personal life and public and professional practice. The Araki Effect offers a broad overview of his career: from the first series from 1963-65, Satchin and His Brother Mabo, to Subway of Love, a large collection of images taken in the Tokyo subway between 1963 and 1972, the year he also made Autumn in Tokyo, which recounts the autumn he spent wandering through the city in the twilight hours. These are followed by Sentimental Night in Kyoto, less known than the famous Sentimental Journey, both tributes to his wife, Yoko; Balcony of Love, Death Reality, Tokyo Diary from 2017, and one of his latest collections, Araki's Paradise from 2019. Born in Tokyo in 1940, Nobuyoshi Araki worked at an advertising agency in the 1960s, where he met his future wife, Yoko Araki, the subject of his now classic volume Sentimental Journey. Araki's oeuvre spans erotic portraits of women, still lifes, images of plants, scenes of everyday life and architectural photography. He has published around 400 books, shown in many international exhibitions and his work is part of important collections worldwide. Araki lives and works in Tokyo.

The idea for this publication came about as an extension of the exhibition Juergen Teller: Woo , held at the Institute of Contemporary Arts in London in 2013. In the run-up to his show, Teller was invited to curate a selection of photographs in the ICA Fox Reading Room, a confined space located away from the main galleries. His initial plan was to cover an area of wall with "tear sheets"--proof pages relating to his commercial photography. As the project developed, Teller would eventually plaster the entire space with images spanning a 20-year period, including family portraits, magazine assignments, recent ad campaigns, landscapes and various personal projects. The combined effect of seeing his images juxtaposed like this, so they formed hitherto unforeseen relationships across time, would so inspire Teller that, during the course of his show, he would passionately launch himself into the production of this book. Setting itself apart from more conventional exhibition catalogues, Woo brilliantly relays the raw impact of the original installation, unlocking a new and exciting dialogue across an impressive body of work.

In the summer of 2005 Steidl published a small booklet of Juergen Teller's work, titled 'The Master'. It offered a characteristic examination of his own world and persona as a photographer, a mixture of fashion and commissioned works, alongside self-portraits, family photographs and scenes from his Bavarian home.

A never-before-published collection of beautiful, arresting photographs from Japanese photographer Nobuyoshi Araki