The work of Carlo Scarpa captured and interpreted by Sekiya Masaaki, but also the architecture itself as understood within the world of images by the Japanese photographer.
The Carlo Scarpa / Sekiya Masaaki photographic exhibition revolves around these two positions. Traces of architecture in the world of a Japanese photographer, organized by the Benetton Foundation, curated by JK Mauro Pierconti, architecture historian.
Carlo Scarpa (1906-1978) and Sekiya Masaaki (1942-2002) therefore. But not only. Sekiya's professional career has gone through various phases, all centered around photography: from architectural photographer to architectural design consultant, to initiator of talented photographers. And the exhibition also gives an account of these aspects of his activity, in an itinerary divided into four sections, which brings together 85 photographs, 54 in color and 31 in black and white.
The first section recounts Sekiya Masaaki's activity as a promoter of talented photographers. This is the case of Hattori Aiko, a street photographer, who made a series of reportages on life in Tōkyō in the 1980s. The photographer deals with two themes: the world of youth and that of work.
The second section contains a selection of shots from his first photographic work, the one on the ruins of Angkor Wat in Cambodia.
The third section is instead dedicated to the most complete and important work of Sekiya's entire career in this field: the monographic work on Otto Wagner in Vienna, published in 1998.
The top two floors, where the fourth section of the exhibition winds its way, are instead dedicated to the work of Carlo Scarpa, the work that kept Sekiya busy until his death in 2002, therefore unfinished. In fact, Sekiya is unable to resume the entire work of the Venetian architect. And yet, in his archive there are a few thousand photographic plates, well over a thousand for the Brion Tomb alone, taken up in subsequent campaigns.