provoke japanese book — PROVOKE│courtesy of Gabriele Gafo Lei

At the end of the 70s, a group of young Japanese activists launched a magazine that would change the perception of what a photograph is in the coming years. That magazine was called PROVOKE.

What is PROVOKE?

PROVOKE (プロヴォーク) was a popular and highly influential photography magazine in Japan, launched in 1968 by a group of young photographers and writers: photographers Yutaka Takanashi and Takuma Nakahira, critic and philosopher Koji Taki, writer Takahiko Okada, and, last but not least, from the second issue, photographer Daido Moriyama.

Their aim was to break the existing conventions of traditional image-making, which had been dominated by documentary styles that sought clarity and objectivity. In contrast, PROVOKE embraced an anti-aesthetic, rooted in the idea that photography could express the world not as it was seen, but as it was felt. Born out of the ashes of World War II, PROVOKE captured the spirit of a nation grappling with its past and seeking a new identity. The magazine’s subtitle was ‘shiso no tame no chohatsuteki shiryo’ (‘Provocative documents for thought’), perfectly capturing the spirit of its mission.

PROVOKE ran for only three issues, respectively titled:

Provoke 1 - Summer 1968 (out 1st Nov.’68)
Provoke 2 - Eros (out 10th Mar.’69)
Provoke 3 (out 10th Aug.’69)

Historical Context - Post War in Japan

In order to understand why PROVOKE was a necessity for the art world, one must examine the historical background of post-war Japan. The country was still healing from the devastation of World War II, both physically and psychologically.

Occupied by American forces until 1952, Japan underwent significant political and economic transformations. The traditional values and hierarchical structures that had defined pre-war society were shattered. A sense of disillusionment and uncertainty permeated the atmosphere. The U.S. occupation brought democratic reforms, but it also imposed Western ideals, traditions, and brands, leading to a complex back-and-forth between traditional Japanese values and modern Western influences. The tension between Japan’s rapid modernization and the unease of a generation dissatisfied with wartime ideologies formed the emotional foundation that would inspire PROVOKE’s creators.

The Radical Approach of PROVOKE

The images published in PROVOKE were often grainy, blurred, and high-contrast—techniques that deliberately distanced themselves from the photographic precision to which viewers were accustomed. The creators chose these techniques to evoke emotional intensity, reflecting the inner turmoil of Japan’s post-war reality. The distorted and fragmented reality seen in the photographs mirrors the fractured state of Japanese society.

In addition to photographs, PROVOKE featured written essays that explored the intersection of language, thought, and image. The contributors believed that language was incapable of fully capturing the complexity of human experience.

Photography, on the other hand, could function as a form of language, engaging the viewer’s memory, influences, and emotions. This skepticism toward established forms of communication resonated with the growing disenchantment among Japanese intellectuals and artists of the era. This concept of photography as a new language is beautifully explained by Daido Moriyama himself in an interview with Ivan Vartanian for Aperture.

"Language is a direct medium and communicates meaning and intention straight. A photograph, on the other hand, is subject to the viewer’s memory, aesthetics, and feelings, all of which affect how the photograph is seen. It isn’t conclusive the way language is. But that’s what makes photography interesting. There’s no point in taking photographs that use language in an expository way. Taking photographs for the purpose of language is for the most part meaningless for me. Rather, photography provokes language. It recasts language; within it, various gradations outline a new language. It provokes the world of language: looking at images leads to the discovery of a new language."

provoke daido moriyama book japan — PROVOKE│courtesy of Gabriele Gafo Lei

Impact on Art and Society

The impact of PROVOKE on Japanese society was profound, particularly in how it resonated with a generation grappling with its identity in a rapidly modernizing world. At a time when Japan was presented to the world as a model of economic success, PROVOKE scratched off the surface to expose the wounds of war, political disillusionment, and cultural displacement. Its gritty aesthetic and uncompromising vision resonated with a younger generation who were disillusioned with the traditional values of their parents.

The magazine's popularity and influence played a pivotal role in creating a more open and tolerant society in Japan. This elevated PROVOKE to a symbol of rebellion, not just within the art world but also across the broader cultural landscape. The period was also marked by a wave of avant-garde movements, from experimental theater to radical student protests, that shared PROVOKE’s disapproval for conventional forms of expression.

Legacy

Despite its significant impact, PROVOKE was short-lived. The third and final issue was published in 1969, and by 1970, the magazine had ceased to exist. However, the end of PROVOKE did not mark the end of its influence. The ideas it cultivated continued to spread through the work of its contributors and the next generation of photographers. Figures like Daido Moriyama and Takuma Nakahira carried the magazine’s radical aesthetic into the future.

• In 1970, Takuma Nakahira published his most famous book, For a Language to Come.

• In 1972, Daido Moriyama published Farewell Photography.

These two works are recognized as some of the most famous and influential Japanese photobooks ever published.

Years later, Moriyama’s photographs, in particular, gained international recognition, serving as a bridge between the avant-garde movements of 1960s Japan and the global art scene. His images of urban life—raw, disjointed, and unapologetically gritty—became emblematic of a postmodern approach to photography.

Through exhibitions and publications worldwide, the ethos of PROVOKE found new audiences, influencing photographers far beyond Japan’s borders. The legacy of PROVOKE serves as a reminder that photography can be a tool not just for documenting reality, but for questioning it—through the very act of provocation.

At the time of its release, the publication had a very limited audience, with only 1,000 original copies ever produced. As a result, a set of three original issues can now sell for as much as $20,000 USD online. Fortunately, all three issues of PROVOKE were reprinted in 2018. Provoke Complete Reprint by NITESHA retains the original size of both the magazine and the images, and includes all the original texts. This edition is accompanied by a supplemental volume containing English and Chinese translations of the original Japanese texts.

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