This article regards the relationship between photography, the city and invisibility in view of Takuma Nakahira’s work at the turn of the 1970s.
Nakahira’s practice departed from the candid street photography and sought means to not only document but also induce social and political change. Having a strong theoretical grounding in the specific discourses developing in Japan at that time, the article argues how this practice is still significant to much of the present-day concerns with the potential of visual arts to envisage and produce new forms of urban habitation.
|Publication title||Lo Squaderno, No. 35, The Urban Invisibles|