For Daido Moriyama, photography is alive, very much alive. Since the early 1960s, when he began to cultivate a daily, almost existential relationship with this sensitive form of recording the world, he has constantly addressed it through projects, images, and texts that each time carry the weight of a declaration. In 1972, his book Shasin yo sayonara [Farewell Photography] deconstructed the accepted rules of good photographic practice. Around the same time, he regularly published photographic essays in the Japanese specialized press ( Asahi Camera, Provoke, Shashin Jidai , etc.), essays that served as manifestos. He also undertook numerous photographic pilgrimages in the footsteps of the very first photographer, the Frenchman Nicéphore Niépce. Many of his images, taken day by day, also constitute forms of mise en abyme of the medium. They hold up a mirror to it. The Henri Cartier-Bresson Foundation exhibition is not a traditional retrospective with its chronologically arranged succession of masterpieces. It is based on a strong curatorial approach, proposing to follow the central thread of Moriyama's obsession with photography itself.
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