由于人类在文化政治经济等因素的影响下，是具有某种心理上的距离感的，我们称之为现实的这种东西，产生了这些包含多种因素的认识，这已经超越了视觉，而指向心理上的互动。与此同时，我们自己则只不过借助某些表象让这个世界得以显像，是某种生存的样式而已。

——多木浩二《眼之隐喻》

《写真黄金一代——日本摄影五人展》，展出荒木经惟、森山大道、深濑昌久、石内都、细江英公的118件经典摄影作品。他们相继涌现于上世纪六、七十年代的日本，在前辈们的影响下以各自鲜明的风格参与“日本摄影”的发展进程，成为影响至今的黄金一代。

展览包含摄影师最为人熟知的代表性作品（森山大道的“猎人”系列；荒木经惟的“感伤之旅”系列；细江英公的“蔷薇刑”和深濑昌久的“鸦”），以及石内都首次公开展出的惊喜之作“归来去”（Moving away）。展览打乱时间线以“烈日之下”；“爱欲挑衅”；“永恒虚无”三部分串起近五十年宏观的历史与标签之下个体的发展。

“烈日之下”呈现表达时代对个人影响的作品——细江英公以“镰鼬”重构的童年回忆，森山大道捕获的带有沉重窒息感的东京后街。而“爱欲挑衅”显得妖娆艳丽。抛开“身体政治”不谈，作品用个人的力量与肢体的美丽，给大背景下的沉郁压制一个漂亮的回应。

然而一切都会结束，即使是曾经黄金时代的缔造者也会辞离停滞不前的历史，独自面对最平凡的话题：家人的离世，自我的找寻。“永恒虚无”呈现的就是这样一个略带灰色的结论。漫步在石内都明媚的街景中，宁静平和延续到了我们所处的当下，让人清醒那个时代早已诀别。

似乎每一代年轻人都觉得之前的时代布满星辰而自己的双脚深陷泥泞，但又怎样呢，就像Provoke结刊登载的冈田隆彦一首诗中所写：

不必着急赶路。

丧惧过失的人终舍减亡。

恫吓明天的价值那就是幻影。

如果要让风的影子来住，不要怯懦与恶俗

不必着急赶路。

Influenced by culture, politics, economics, and other factors, we as humans retain a sense of mental distance, and the thing we call reality produces an understanding that encompasses many different elements. This transcends the visual and points to a mental interaction. At the same time, we can only perceive the world through these appearances; it's simply our mode of existence.

-Koji Taki, "The Metaphor of the Eye"

"Golden Age: Five Masters of Japanese Photography" presents 118 classic photographs by Nobuyoshi Araki, Daido Moriyama, Masahisa Fukase, Miyako Ishiuchi, and Eikoh Hosoe. They emerged in Japan in the 1960s and 1970s, and influenced by their predecessors, they contributed fresh ways of working to the development of Japanese photography. They are now considered a golden generation that is influential even today.

The exhibition presents the photographers' most familiar and important works (Moriyama's Hunter Araki's Sentimental Journey, Hosoe's Ordeal by Roses, and Fukase's Ravens), as well as Ishiuchi's Moving Away, shown publicly for the first time. The exhibition does not follow a chronological path; the three sections "Under the Burning Sun," "Eros and Provocation," and "Eternal Void" link nearly fifty years of personal development that falls under these larger historical labels.

"Under the Burning Sun" presents pieces that show how the photographers' times influenced their work. Eikoh Hosoe reconstructs childhood memories in Kamaitachi while Daido Moriyama captures the suffocating feeling of Tokyo's back streets. "Eros and Provocation" is fascinating and beautiful. Setting aside body politics, the works in this section give a wonderful response to the depression and gloom of the larger environment through the power of individuals and the beauty of their limbs.

Everything ends. Even the creators of this golden era have departed from stagnant history and confronted ordinary themes, such as the deaths of family members or self-exploration, all alone. "Eternal Void" presents a somewhat indeterminate conclusion. The peace of Ishiuchi's beautiful street scenes extends to the present in which we find ourselves, but it also forces us to recognize that era is long gone.

Every generation of young people feels that the previous generation was full of rising stars, while their feet are still stuck in the mud, but what does it matter? As Takahiko Okada wrote in a poem in the final issue of Provoke:

No need to rush down the road.

Those who fear making mistakes always perish.

The value they have to threaten the morrow is an illusion.

If you freeze the wind's shadow, you will flinch at its vulgarity...

No need to rush down the road.