On the second installment of the group exhibition series that attempts to provide an overview of post-World War II Japanese art connecting Mono-ha and Superflat while synchronizing it with the development of ceramics What Is the Relationship Between Ceramics and Contemporary Art? (Considering the Context of Ceramics in the Lineage of Contemporary Art) Participating artists: Lee Ufan, Kishio Suga, Kanjiro Okazaki, Katsuhiko Hibino, Kodai Nakahara, Masanobu Ando, and Kazumi Sakata (antiques dealer) I am quite invested in this exhibition that just opened on August 3rd. I am now fifty-five, and it has been almost twenty years since I proposed the concept of Superflat to the Western contemporary art scene and executed the exhibition of the same name. A few years ago, Mika Yoshitake curated Requiem for the Sun: The Art of Mono-ha at Blum & Poe and caused Mono-ha to be noted in the mainstream Western art scene. This, in turn, has brought to attention the lack of any notable movement in the Japanese art scene during the twenty years between Mono-ha and Superflat. While Mono-ha was purely a contemporary art movement, Superflat was conceived as an appellation that contemplated visual art as a whole, encompassing subculture and otaku culture even as it adopted a contemporary-art perspective. The reason why the intervening twenty years are nameless to date, I think, has to do with the surge and burst of the so-called Bubble Economy. That is, those are the twenty years for which Japan is ever apologizing. Superflat attempted to illustrate the reality—and to explore the cause—of the sorry sight that was the state of Japanese culture as a whole, charred to the ground after the collapse of the Bubble Economy. I had felt, however, that I hadn’t played a role in the said twenty years and therefore intentionally avoided touching on that period. But no one since has stepped up to fill that void, creating a sense of dysfunction in the narrative. This period corresponds to the era of Neo-expressionism (New Painting) in the US. ↑this is PART 1 to be continued...

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村上隆のインスタグラム(takashipom) - 8月5日 09時55分


On the second installment of the group exhibition series that attempts to provide an overview of post-World War II Japanese art connecting Mono-ha and Superflat while synchronizing it with the development of ceramics

What Is the Relationship Between Ceramics and Contemporary Art?
(Considering the Context of Ceramics in the Lineage of Contemporary Art)
Participating artists: Lee Ufan, Kishio Suga, Kanjiro Okazaki, Katsuhiko Hibino, Kodai Nakahara, Masanobu Ando, and Kazumi Sakata (antiques dealer)

I am quite invested in this exhibition that just opened on August 3rd. I am now fifty-five, and it has been almost twenty years since I proposed the concept of Superflat to the Western contemporary art scene and executed the exhibition of the same name. A few years ago, Mika Yoshitake curated Requiem for the Sun: The Art of Mono-ha at Blum & Poe and caused Mono-ha to be noted in the mainstream Western art scene. This, in turn, has brought to attention the lack of any notable movement in the Japanese art scene during the twenty years between Mono-ha and Superflat.
While Mono-ha was purely a contemporary art movement, Superflat was conceived as an appellation that contemplated visual art as a whole, encompassing subculture and otaku culture even as it adopted a contemporary-art perspective.

The reason why the intervening twenty years are nameless to date, I think, has to do with the surge and burst of the so-called Bubble Economy. That is, those are the twenty years for which Japan is ever apologizing.
Superflat attempted to illustrate the reality—and to explore the cause—of the sorry sight that was the state of Japanese culture as a whole, charred to the ground after the collapse of the Bubble Economy. I had felt, however, that I hadn’t played a role in the said twenty years and therefore intentionally avoided touching on that period. But no one since has stepped up to fill that void, creating a sense of dysfunction in the narrative.
This period corresponds to the era of Neo-expressionism (New Painting) in the US. ↑this is PART 1
to be continued...


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