"When you've lived through those three deaths, you'll be a photographer"-4

Sex. 

"compared with many people, my lust may be weaker, but my lens always has an erection." 

"A camera is a very sexy object. 

Both literally and stylistically, the camera has pornographic elements in it. Just look at the lens. 

The world around us is sexy, and even the shooting itself is sexy. 

If there is a distinction between art and eroticism, then the lack of eroticism in the art will weaken its appeal. " 

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For Araki Jingwei, sex is the keyword in his photography. 

Sometimes, to create some events, he arranged women in an atmosphere and space full of suspense, projected his various imaginations on them, and sometimes regarded them as metaphors of the city, juxtaposing their bodies with various parts of the city, so that the human body became a kind of image text that cross-referenced and texted with the city. 

Sometimes he creates a myth of romantic love with the image of being loyal to his wife, and sometimes he haunts his photos with the most obscene characters, appears in his photography collection, and breaks the illusion he has created. 

But no matter how he turns into a phantom, women always fatally become the object of male lust in his lens, and are transformed into substances that can be consumed in large quantities through his image production. 

In response, Japanese feminist art critic Miyoko Asahara coined a Chinese word to describe the male-centered photography represented by Araki Jingwei: "visual adultery". 

That is, male photographers use the line of sight to violence women through the frame of the camera. 

When such images of "visual adultery" are spread to society through a large number of published photo albums and magazines, then this kind of "visual adultery" is not just a personal "affair" of an individual in the secret room. rather, it has a collective "visual adultery" that satisfies the characteristics of common fantasy and collective indulgence. 

In the social transmission of this line of sight, women have become a kind of consumed material, which has become a fait accompli. 

Araki also believes that only taboos are obscene. 

Because the regulation of taboos essentially lures the emergence of obscenity, taboos cause curiosity, and the only way to dispel curiosity or obscenity is to dispel taboos and make taboos harmless. 

It is with his photography that he completes his seeming sophistry logic. 

On the one hand, he uses his photography to remind people that pornography is everywhere. 

On the other hand, he shows with various images from reality that the so-called porn danger does not exist quietly in the body and body organs but may appear in a variety of places, such as flowers, clouds, fire hydrants, women napping in the subway, as well as bare thighs between skirt and socks, a strand of hair on the chest, and so on. 

Araki only uses his universal image rhetoric to make pornography harmless, or universal.