Journal articles on the topic 'Contemporary Japanese art'
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Tagore-Erwin, Eimi. "Contemporary Japanese art: between globalization and localization." Arts and the Market 8, no. 2 (October 1, 2018): 137–51. http://dx.doi.org/10.1108/aam-04-2017-0008.
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Purpose The purpose of this paper is to identify and analyze the influence that globalization has had on the development of the contemporary Japanese art production. The study also aims to expand the global narrative of Japanese art by introducing concepts behind festivals for revitalization that have been occurring in Japan in recent years. Design/methodology/approach Guided by Culture Theorist Nira Yuval-Davies’ approach to the politics of belonging, the paper is situated within cultural studies and considers the development of contemporary art in Japan in relation to the power structures present within the global art market. This analysis draws heavily from the research of art historians Reiko Tomii, Adrian Favell, and Gennifer Weisenfeld, and is complemented by investigative research into the life of Art Director Kitagawa Fram, as well as observational analyses formed by on-site study of the Setouchi Triennale in 2015 and 2016. Findings The paper provides historical insight to the ways that the politics of belonging to the western world has created a limited benchmark for critical discussion about contemporary Japanese art. It suggests that festivals for revitalization in Japan not only are a good source of diversification, but also evidences criticism therein. Research limitations/implications Due to the brevity of this text, readers are encouraged to further investigate the source material for more in-depth understanding of the topics. Practical implications The paper implies that art historiography should take a multilateral approach to avoid a western hegemony in the field. Originality/value This paper fulfills a need to reflect on the limited global reception to Japanese art, while also identifying one movement that art historians and theorists may take into account in the future when considering a Japanese art discourse.
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Clark, John. "Japanese Modern and Contemporary Art: An Art-Historical Field." Art History 41, no. 4 (September 2018): 766–71. http://dx.doi.org/10.1111/1467-8365.12393.
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Moeran, Brian. "The Art World of Contemporary Japanese Ceramics." Journal of Japanese Studies 13, no. 1 (1987): 27. http://dx.doi.org/10.2307/132585.
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Foxwell, Chelsea. "The Painting of Sadness? The Ends of Nihonga, Then and Now." ARTMargins 4, no. 1 (February 2015): 27–60. http://dx.doi.org/10.1162/artm_a_00104.
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Nihonga (literally “Japanese painting”) is a term that arose in 1880s Japan in order to distinguish existing forms of painting from newly popularized oil painting, and even today it is a category of artistic production apart from contemporary art at large. In this sense, nihonga is the oldest form of a broader worldwide category of “tradition-based contemporary art.” While nihonga was supposed to encompass any form of “traditional” painting, however, in practice it was held together by a recognizable style. When nihonga stopped fulfilling certain material or stylistic criteria, it ceased to be distinguishable from the rest of artistic production. This led to a conundrum in which nihonga, constituted in an age of Orientalism by Western and Japanese fears about the loss of a truly “Japanese” form of painting, has been obliged to reaffirm and reiterate what Kitazawa Noriaki has called its “sad history” of segregation in order to avoid extinction. By examining a series of paintings and written statements that blur the line between nihonga and the rest of modern-contemporary artistic production, I question the practicality and the benefits of continuing to uphold nihonga and tradition-based contemporary as discrete categories of contemporary art.
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Wakeling, Emily Jane. ""Girls are dancin": shōjo culture and feminism in contemporary Japanese art." New Voices 5 (December 2011): 130–46. http://dx.doi.org/10.21159/nv.05.06.
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Foxwell, Chelsea. "The Currency of “Tradition” in Recent Exhibitions of Contemporary Japanese Art." Journal of Asian Humanities at Kyushu University 4 (March 2019): 57–76. http://dx.doi.org/10.5109/2231581.
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Higa, Karin. "Some Thoughts on National and Cultural Identity: Art by Contemporary Japanese and Japanese American Artists." Art Journal 55, no. 3 (1996): 6. http://dx.doi.org/10.2307/777760.
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Vandsø, Anette. "Rheo: Japanese sound art interrogating digital mediality." Acta Universitatis Sapientiae, Film and Media Studies 9, no. 1 (December 1, 2014): 141–54. http://dx.doi.org/10.1515/ausfm-2015-0007.
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Abstract The article asks in what way the Japanese sound artist, Ryoichi Kurokawa’s audiovisual installation, Rheo: 5 Horisonz (2010), is “digital.” Using professor Lars Elleström’s concept of “mediality,” the main claim in this article is that Rheo not only uses digital technology but also interrogates digital mediality as such. This argument is pursued in an analysis of Rheo that draws in various descriptions of digital media by N. Catherine Hayles, Lev Manovic, Bolter, and Grusin among other. The article will show how the critical potential in Rheo is directed both towards digital media as a language (Meyrowitz) (or a place for representation) and towards the digital as a milieu (Meyrowitz) or as our culture (Gere). The overall goal of the article is not just analyse this singular art work, but also to show how such a sound art work can contribute to our understanding of our own contemporary culture as a digital culture.
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Ognieva, T. K. "FEATURES OF THE DEVELOPMENT OF CONTEMPORARY CHINESE, KOREAN AND JAPANESE ART AND CINEMA." UKRAINIAN CULTURAL STUDIES, no. 1 (6) (2020): 69–83. http://dx.doi.org/10.17721/ucs.2020.1(6).15.
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The article analyzes the conditions and factors that influenced the formation of contemporary art and cinema in China, South Korea and Japan. We can determine the peculiarities of the development of Chinese contemporary art, such as the desire of the first artists, after the Cultural Revolution, to reflect its flux and effects as much as possible. Further, artistic tendencies become diverse: the commercial component and a certain element of the state of affairs are viewed in the works of art by Chinese authors, but the desire for self-expression in different ways testify to the progressive phenomena characteristic of art. Modern Korean art proves that the scientific and technological revolution and the dominant avant-garde component of mass culture in general cannot supplant the ultimate traditional artistic creativity. One of the characteristic features of contemporary Korean art is a demonstration of belonging to the culture of the country. First of all, this is the influence of the traditions of Confucianism, Buddhism, along with the painful memories of war and long-term colonization by Japan. One can note the simplicity, orderliness, harmony of colors and shapes as an inalienable feature of Korean contemporary art, but modern tendencies show the striving for the discovery of individuality of the artist, which manifests itself in non-standard artistic forms. Japanese visual art combines the works of autochthonous traditions and European artistic principles. Considerable attention is paid to the issue of the relationship between nature and man, reflected in the work of adherents of the synthesis of Japanese traditions and Western variety of forms. Particular attention is paid to contemporary artists in Japan with the latest technology – video art, 3D painting, interactive installations and installations-hybrids. Chinese cinema with the generation of directors, known as the Fifth Generation, reveals new trends. These artists initially sought to convey events and tragedies during the Cultural Revolution, but over time they turned to other themes and genres. Directors of the "Sixth Generation" paid special attention to social problems, the place of action in their films is unknown China – small settlements or cities. Modern Korean cinema covers two large areas: cinema for women – melodrama, and for men – adventure. Today the adventure genre is oriented mainly to teens, and the melodrama genre has been transformed from the problems of the middle-aged women's interest towards the youth audience, therefore, it is more likely to come closer to the romantic comedy. The tragedy of Korea, which is split up into two parts, worries the movie-makers. In recent years there have been changes in South Korean position in exposing North Korean residents. If the previous decades in South Korean cinema was cultivating the image of the enemy: North Korean could be either a spy or killer, but now the inhabitants of North Korea are perceived and presented in films differently, not embodying exclusively negative features. In Japanese cinema, the emphasis is on the visual array, which allows you to bring forward contemplation and the deep meaning is transmitted by artistic images typical of the oriental art in general. In films, much attention is paid to the smallest details; certain asceticism along with the aesthetization of the frame is a reflection of purely Japanese features – minimalism as the meaning of existence. Familiarity with the peculiarities of the development of contemporary art and cinema in China, Korea and Japan is a necessary component for further dialogue between the cultures of East and West in terms of balanced interaction and artistic transformations of the modern world.
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Kitazawa, Noriaki, and 빛나 황. "Exhibitions and Books History of ‘Japanese Contemporary Art History’ Studies in Japan." Art History Forum 50 (June 30, 2020): 215–33. http://dx.doi.org/10.14380/ahf.2020.50.215.
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Kitazawa, Noriaki. "Exhibitions and Books History of ‘Japanese Contemporary Art History’ Studies in Japan." Art History Forum 50 (June 30, 2020): 234–51. http://dx.doi.org/10.14380/ahf.2020.50.234.
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Becker, Ingeborg. "Japan and Modernism in Berlin: The Art Dealer Hermann Pächter and his Gallery." Journal of Japonisme 3, no. 2 (June 2, 2018): 187–200. http://dx.doi.org/10.1163/24054992-00032p02.
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Abstract The present article focuses on the art dealer Hermann Pächter, who was active in Berlin at the turn of the twentieth century. Pächter was the first to show Japanese images and other artefacts at his gallery. Later on, he combined this with contemporary European art. This mixture was unique and an eye opener for the public.
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Eubanks, Charlotte. "The Mirror of Memory: Constructions of Hell in the Marukis' Nuclear Murals." PMLA/Publications of the Modern Language Association of America 124, no. 5 (October 2009): 1614–31. http://dx.doi.org/10.1632/pmla.2009.124.5.1614.
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How does art cultivate moral reflexivity? Maruki Iri and Maruki Toshi, eyewitnesses to the atomic aftermath at Hiroshima, were the first artists to publicly display works showing the effects of nuclear irradiation on the human body. While their work has long been considered antiwar, few attempts have been made to theorize how their compositions structure an ethical response to aggression. Three interconnected zones of representation are explored: the artists' murals, Toshi's testimonials regarding the creation of the murals, and the museum in which the murals are displayed. Bringing Japanese Buddhist traditions for the depiction of suffering (etoki ‘picture explanation,‘ hell screen art) into conversation with contemporary theories of performance (Turner's concept of the “subjunctive mood,” Taylor's notion of “the repertoire”), memory (Kansteiner's “collected memory,” Auron's “pain of knowledge”), and museum studies (Crane's “distortion”), I articulate a contemporary Japanese model of nuclear criticism.
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MACHIN, Helena, and Jorge ALMAZAN. "EVOLUTION OF CONTEMPORARY JAPANESE ART MUSEUMS THROUGH THE ANALYSIS OF THE PLAN CONFIGURATION." Journal of Architecture and Planning (Transactions of AIJ) 82, no. 735 (2017): 1309–18. http://dx.doi.org/10.3130/aija.82.1309.
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Pedro Erber. "The Emergence of the Contemporary: Japanese Postwar Art in Twenty-First-Century Brazil." Verge: Studies in Global Asias 3, no. 2 (2017): 34. http://dx.doi.org/10.5749/vergstudglobasia.3.2.0034.
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Miller, Alison J. "An Amalgamation of Power and Paint: Gajin Fujita, Los Angeles Street Art, and Images of Edo Japan." Asian Diasporic Visual Cultures and the Americas 5, no. 3 (December 5, 2019): 329–56. http://dx.doi.org/10.1163/23523085-00503005.
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The paintings of Gajin Fujita (b. 1972) express the urban Asian diasporic experience in vivid images filled with historic and contemporary cultural references. Creating an amalgamation of contemporary sports figures, hip-hop culture, historic Japanese painting conventions, street art, and the visual language of Edo Japan (1600–1868), Fujita reflects his diverse experiences as a citizen of twenty-first century Los Angeles in his paintings. This article introduces the artist and provides a nuanced examination of his works vis-à-vis an understanding of the larger issues addressed in both Edo artistic practice and contemporary street art culture. By specifying the agents of power and performance in Fujita’s works, a greater understanding of the hybrid world of his colourful graphic paintings can be found.
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Uno, Kei. "Consuming the Tower of Babel and Japanese Public Art Museums—The Exhibition of Bruegel’s “The Tower of Babel” and the Babel-mori Project." Religions 10, no. 3 (March 5, 2019): 158. http://dx.doi.org/10.3390/rel10030158.
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Two Japanese public art museums, the Tokyo Metropolitan Art Gallery and the National Art Museum of Osaka, hosted Project Babel, which included the Babel-mori (Heaping plate of food items imitating the Tower of Babel) project. This was part of an advertising campaign for the traveling exhibition “BABEL Collection of Museum Boijmans Van Beuningen: Bruegel’s ‘The Tower of Babel’ and Great 16th Century Masters” in 2017. However, Babel-mori completely misconstrued the meaning of the Tower of Babel in Genesis 11:1–9. I explore the opinions of the curators at the art museums who hosted it and the university students who took my interview on this issue. I will also discuss the treatment of artwork with religious connotations in light of education in Japan. These exhibitions of Christian artwork provide important evidence on the contemporary reception of Christianity in Japan and, more broadly, on Japanese attitudes toward religious minorities.
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Favell, Adrian. "Resources, Scale, and Recognition in Japanese Contemporary Art: “Tokyo Pop” and the Struggle for a Page in Art History." Review of Japanese Culture and Society 26, no. 1 (2016): 135–53. http://dx.doi.org/10.1353/roj.2016.0000.
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Merviö, Mika Markus. "Ideological Construction of Environment and Its Relationship With Japanese Society, Culture, and Politics." International Journal of Public and Private Perspectives on Healthcare, Culture, and the Environment 2, no. 1 (January 2018): 59–68. http://dx.doi.org/10.4018/ijppphce.2018010104.
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In this article, the Japanese “ideology” is critically examined and evaluated. While ideology very often is predominantly understood to cover political ideologies that the political parties and other political actors represent the more important ideology that is found in intersubjective practices is formed in everyday life and is rarely identified as ‘ideology' or politics. Japanese conservatism and nationalism are able to flourish under the cover of normalcy which social institutions support. To analyse the “ideology” of Japanese environmental thinking is far from being simple task as there is no orthodox dogma and the opinions of the elites is divided. Environmental thought and research are not particularly popular in contemporary Japan and there are, for instance, examples of universities that have scaled down their environmental studies programs. Instead, we should look to the whole society to see how much importance is given to the environment and how it is done. In fact, Japanese contemporary art and culture often register environmental concerns. However, in politics and administration there is less optimism on those concerns being resolved.
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Tes, Agnieszka. "Silence, Spirituality and Contemplative Experience in Contemporary Abstract Paintings. Analysis of Selected Examples." Perspektywy Kultury 31, no. 4 (December 31, 2020): 207–24. http://dx.doi.org/10.35765/pk.2020.3104.14.
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In recent decades, there has been increasing interest in including the spiritual dimension in artistic practice and in discourse on art. This phenomenon seems to be universal but is definitely not homogenic. I examine it by referring to meaningful examples of abstract paintings from different cultural and religious backgrounds. I analyze artworks by two contemporary bicultural painters: the American-Japanese artist, Makoto Fujimura, and American-Iranian artist, Yari Ostovany. The Polish non-figurative artist Tadeusz G. Wiktor is also considered. Their oeuvre can be set within the larger context of great religious and spiritual traditions. I stress the influence of Oriental legacy in contemporary examples of abstract art. I investigate how the selected artworks refer to an invisible reality, and I focus especially on the silence they evoke. My aim is to show how contemporary non-figurative art can influence the viewer by creating a contemplative experience. I also place the selected artworks in the theoretical contexts presented by the artists themselves and refer to classical and contemporary texts.
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Takezawa, Yasuko. "Major and Minor Transnationalism in Yoko Inoue’s Art." Asian Diasporic Visual Cultures and the Americas 6, no. 1-2 (July 6, 2020): 27–47. http://dx.doi.org/10.1163/23523085-00601003.
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This article elucidates major transnationalism and minor transnationalism through an analysis of works by New York-based Japanese artist Yoko Inoue (b. 1964). Inoue engages in social criticism through varied media such as ceramics, installations, and performance art. Her works demonstrate minor transnationalism observed in the relationships she has built with other transmigrants and minoritized individuals over such issues as xenophobia and racism after 9/11, as well as Hiroshima/Nagasaki and related contemporary nuclear issues. Inoue also addresses the disparities in collective memory and narratives between Japan and the US plus socio-economic inequalities between nation-states and the movement of people/goods/money within Trans-Pacific power dynamics, all of which illustrate major transnationalism in the Trans-Pacific.
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Nakamura, Kyoko. "De-Creation in Japanese Painting: Materialization of Thoroughly Passive Attitude." Philosophies 6, no. 2 (April 19, 2021): 35. http://dx.doi.org/10.3390/philosophies6020035.
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This paper demonstrates the method and meaning behind the argument that contemporary philosophers have found the key to “de-creation” in potentiality by implementing it in artwork. While creation in the usual sense seems to imply an active attitude, de-creation implies a passive attitude of simply waiting for something from the outside by constructing a mechanism to set up the gap to which something outside comes. The methods of de-creation are typically found in representations of reality using “Kakiwari,” which is commonly observed in Japanese art. Kakiwari was originally a stage background and has no reverse side; that is, there is no other side to the space. Mountains in distant views are frequently painted like a flat board as if they were Kakiwari. It shows the outside that is imperceptible, deviating from the perspective of vision. The audience can wait for the outside without doing anything (“prefer not to do”) in front of Kakiwari. It is the potentiality of art and it realizes de-creation. This paper extends the concept of de-creation by presenting concrete images and methods used in the author’s own works that utilized Kakiwari. This orients to the philosophy of the creative act by the artist herself.
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de Sousa, Ana Matilde. "‘Gaijin Mangaka’: The boundary-violating impulse of Japanized “art comics”." Mutual Images Journal, no. 7 (December 20, 2019): 3–26. http://dx.doi.org/10.32926/2019.7.sou.gaiji.
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This paper investigates the artistic strategies of Japanised visual artists by examining the emerging movement of manga-influenced international “art comics”—an umbrella term for avant-garde/experimental graphic narratives. As a case study, I take the special issue of the anthology š! #25 ‘Gaijin Mangaka’ (July 2016), published by Latvian comics publisher kuš! and co-edited by Berliac, an Argentinian neo-gekiga comics artist. I begin by analysing four contributions in ‘Gaijin Mangaka’ to exemplify the diversity of approaches in the book, influenced by a variety of manga genres like gekiga, shōjo, and josei manga. This analysis serves as a primer for a more general discussion regarding the Japanisation of twenty-first-century art, resulting from the coming of age of millennials who grew up consuming pop culture “made in Japan”. I address the issue of cultural appropriation regarding Japanised art, which comes up even on the margins of hegemonic culture industries, as well as Berliac’s view of ‘Gaijin Mangaka’ as a transcultural phenomenon. I also insert ‘Gaijin Mangaka’ within a broader contemporary tendency for using “mangaesque” elements in Western “high art”, starting with Pierre Huyghe and Philippe Parreno’s No Ghost Just a Shell. The fact that the link to Japanese pop culture in ‘Gaijin Mangaka’ and other Japanised “art comics” is often more residual, cryptic, and less programmatic than some other cases of global manga articulates a sense of internalised foreignness, embedding their stylistic struggles in an arena of clashing definitions of “high” and “low,” “modern,” “postmodern”, and “non-modern”, subcultures and negative identity.
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YUN, Kusuk. "Analyzing the Visibility of Korean, Chinese, and Japanese Artists in the International Contemporary Art Scene: A Study of International Art Magazines, Auctions, Galleries, Contemporary Art Museums, Biennales, and the Venice Biennales’ Award." Korean Arts Association of Arts Management 20 (May 30, 2019): 177–212. http://dx.doi.org/10.52564/jamp.2019.50.177.
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Crump, Juliette T. "“One Who Hears Their Cries”: The Buddhist Ethic of Compassion in Japanese Butoh." Dance Research Journal 38, no. 1-2 (2006): 61–74. http://dx.doi.org/10.1017/s0149767700007336.
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In the San Francisco Weekly in 2002, reviewer Bernice Yeung referred to butoh as a “bizarre and mysterious art.” Although it has become a leading postmodern and international art form in the last thirty years and is familiar to contemporary arts festival viewers around the globe, butoh is still referred to as bizarre, tortured, disturbing. As a butoh practitioner who has seen many butoh performances in Tokyo, the United States, Canada, and Sweden from 1981 to 2006, I have come to believe that its grotesque elements, though important, do not constitute the core of butoh. Rather, it is the basic Buddhist value of compassion that inspires butoh's content and powerful expression. In the above remarks by Ohno and Hijikata, the founders of this esoteric art form, stretching out a hand or stepping a crippled step forward in crisis are acts of compassion, and it may be this compassionate aspect of butoh that engenders its appeal.
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Nanjo, Fumio. "Where it comes from and where it is heading: a concise history of Japanese contemporary art." MEDIANZ: Media Studies Journal of Aotearoa New Zealand 9, no. 1 (2006): 1–4. http://dx.doi.org/10.11157/medianz-vol9iss1id85.
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Baird, Christina, and Helen Backx-Palsgraaf. "Viewing Japan and China through Dirk Boer’s Panorama, 1835–1838." Journal of the History of Collections 32, no. 1 (November 28, 2018): 119–28. http://dx.doi.org/10.1093/jhc/fhy052.
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Abstract Dirk Boer (1803–1877) contributed to the popularization of Japanese and Chinese art in The Netherlands. He is best remembered for his ‘Groote Koninklijke Bazar’ or Grand Royal Bazaar which, during the nineteenth century, had an international reputation for exhibiting and selling Japanese and Chinese products, alongside a much wider and more diverse selection of goods. In this study, some of Dirk Boer’s earlier achievements and activities pre-dating the Groote Koninklijke Bazar will be discussed and Boer’s Chinese and Japanese Panorama will be highlighted as an illustration of the interest in China and Japan in The Netherlands during the 1830s. Contemporary reports are discussed with a view to establishing something of Boer’s Panorama’s physical appearance and popularity. Analogies will be drawn to similar exhibitions, cosmoramas and panoramas, both in Britain and The Netherlands.
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Herber, Norbert. "Awa Surfers: Riding the syncretic dynamics of sound art and traditional Japanese indigo." Organised Sound 19, no. 2 (June 30, 2014): 154–63. http://dx.doi.org/10.1017/s1355771814000090.
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Awa-ai is the indigo plant and dye made famous hundreds of years ago in Japan by the people living and working in the region now known as Tokushima Prefecture. This article explores the core concepts that link the aged traditions of indigo production, processing and dyeing with contemporary sound practice, and outlines the facets of a collaboration in which disparate fields not only coexisted, but used their technological and cultural differences to strengthen one another. Live field recordings, audio interviews and the sounds of Awa indigo production and practice were used in a large-scale, transcontinental installation which featured over 200 pieces of indigo-dyed cloth and multichannel, interactive sound. The collaborative nature of this project allowed the artists involved to understand and conceptualise their work in new ways, and can serve as an example for the ways in which syncretic exploration energises creative thinking and output.
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Dmitruk, Natalia. "Wierzenia z perspektywy estetyki japońskiej. Mushishi Yuki Urushibary." Literatura i Kultura Popularna 23 (May 31, 2018): 93–107. http://dx.doi.org/10.19195/0867-7441.23.7.
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Religious beliefs from the perspectiveb of Japanese aesthetics: Mushishi by Yuki UrushibaraThe Japanese culture is often portrayed as unique, in particular when compared to broadly-understood Western culture. It is important to notice, however, that the main trait of the Japanese culture is its openness towards outside influences and the ability to modify them to fit better with the Japanese system of values. The same could be applied to the Japanese aesthetics, which concernsm various aspects of life, not only the ones that would be described as art in Western culture. The contemporary Japanese culture and the aesthetics along with it is occasionally a combination of tradition and modern ideas; the works of popular culture, which includes comics and animation, may hold the most interesting cases in that regard. This article describes the issues of the Japanese aesthetics in Mushishi, a comic book by Yuki Urushibara. The author, while inspired by the classical works of Japanese literature and legendary tales, presents her own stories, in which the primary aesthetic value is the harmony between human and nature, sometimes represented by the supernatural beings known as mushi.
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Amit, Rea. "What Is Japanese Cinema?" positions: asia critique 27, no. 4 (November 1, 2019): 597–621. http://dx.doi.org/10.1215/10679847-7726903.
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Imamura Taihei (1911–86) is considered by many to be the first film theorist in Japan, and he is known chiefly for his two grand theories on documentary film and animation. Yet, at the same time, Imamura also developed a third, no less ambitious theory, that of “Cinema and Japanese Art,” in which he specified the national characteristics of Japanese cinema. This essay concentrates on this third and less studied thesis. Although the argument Imamura puts forth in the thesis is elusive, aspects in it enable an interpretation of Japanese cinema along lines of phenomenological critical theory. From this perspective, it appears that Imamura establishes a theorization of national cinema that is predicated not on film as a product, or ontological aspects of what films project, but rather on the phenomenology of the film-watching experience. In effect, the thesis thus defines Japanese cinema not as the total sum of films produced in Japan, or by Japanese filmmakers, but as a shared watching experience of films regardless of their country of origin. Measuring Imamura’s thesis against other theories of Japanese national cinema that were published around the same time, during World War II, the essay argues that his theorization is in fact flexible enough to withstand more recent critique leveled against the notion of national cinema, and even allows radical new ways of thinking about national cinema in the contemporary moment of a new media environment and increasing transnational cultural flows.
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Xu, Jian. "Body, Discourse, and the Cultural Politics of Contemporary Chinese Qigong." Journal of Asian Studies 58, no. 4 (November 1999): 961–91. http://dx.doi.org/10.2307/2658492.
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Many asian cultures have rich traditions of self-cultivation that exercise mind and body through physical and meditational training. Research and scholarship with respect to those traditions have focused fruitfully on how the body is cultivated to serve as an agent of resistance against various forms of social control. Of these many writings on this subject, I will here name only a suggestive few: Joseph Alter's study of Indian wrestling (1993), for example, tracks the wrestlers' self-conscious reappropriation of their bodies from the power of the state through a regimented discipline aimed at resisting docility. John Donohue's study of the Japanese martial art karate (1993) explores how, in the West, karate's symbolic and ritual functions create a psychological dynamic that counters the prevalent fragmentation of urban life. Douglas Wile's research on Chinese taiji quart (1996) similarly reconstructs the cultural/historical context in which this martial art was created. He shows that what motivated nineteenth-century literati to create taiji quan was its representational function rather than its practical utility. That is, Taiji quan “may be seen as a psychological defense against Western cultural imperialism” (p. 26) insofar as it produced a secure sense of the national self that helped China adapt to a new international environment (p. 29). All of these studies place the body-in-cultivation in a specific historical context; they maintain that the individual, physical body both registers and reveals the national sociopolitical landscape.
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Chin, Matthew, Izumi Sakamoto, Jane Ku, and Ai Yamamoto. "(Re)storying Japanese Canadian Histories: Artistic Engagements." Cultural Studies ↔ Critical Methodologies 21, no. 3 (January 19, 2021): 264–75. http://dx.doi.org/10.1177/1532708620987260.
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This paper examines how Japanese Canadian (JC) artists challenge discursive limitations of constructing representations of JC pasts. Their interventions into JC history-making are significant given the rise of interest in and proliferation of JC historical accounts, partly as a result of the accelerated passing of the remaining survivors of JC incarceration within a broader context of unsettled and unsettling discourses around incarceration in JC families and communities. Contrary to narratives of JC history premised on the conventions of academic history writing, we explore how JC artists engage with the past through their creative practices. Focusing on JC artist Emma Nishimura’s exhibit, The weight of what cannot be remembered, we suggest that JC creative history-making practices have important implications for processes of ethno-racial and-cultural identity formation. In so doing, we decenter state-bound history-making processes that reproduce colonial frameworks of JC subjectivity, temporal linearity, and “objectivity.” Instead, we focus on the temporally circuitous way that Nishimura and other JC artists engage with the past through the idiom of personal intimacy in ways that facilitate a more expansive notion of JC identity and community. Though Nishimura’s work is indexical as opposed to representative of contemporary JC art-making, it is significant in tapping into a common structure of feeling among JC artists that emphasizes a notion of JC’ness rooted in the active struggle to establish a relationship with the past. In attending to Nishimura’s work, we highlight the productivity of art-making as a method of (re)storying to expand meaning-making endeavors within and across communities.
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Belova, Darya Nikolaevna. "Female Images in Chinese and Japanese painting." Культура и искусство, no. 5 (May 2021): 114–38. http://dx.doi.org/10.7256/2454-0625.2021.5.35526.
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This article analyzes female images in Chinese and Japanese painting (Bijin-ga). The subject of this research is the depiction of Chinese beautiful women on the scrolls of the X – XVII centuries and Japanese woodblock printing of the XVII – XIX centuries. Attention is given to the works of modern artists. It is noted that the aesthetic ideals are oriented towards the perception of beauty in the context of national culture of China and Japan, which undergo changes in each era, nurtured by Buddhism, Shintoism, Taoism and Confucianism, which contributed to the development of female image and symbolic sound. The fact that the worldview orientation towards women and their status in the Far Eastern society faded away defines the relevance of the selected topic. The novelty of lies in the comparative analysis of philosophical-aesthetic traditions of Chinese and Japanese painting, reflected in female images in the historical development, with the emphasis on its modern development. The conclusion is made that the assessment of female image in Chinese and Japanese art requires taking into account the national mentality, spiritual traditions, and interinfluence of cultures. The perception of the changing image of women in society plays a special role. It is determined that the depiction of women in clothes and face paint that conceals their body shape and facial emotions, deprive a woman of her individuality and lower her social status. Such trend remains in the contemporary art of these countries. Up until now, female images resemble the symbolism of depiction, closeness to nature, interweaving of external and internal content substantiated by the aesthetic, ethical and philosophical saturation of painting, indicating the uniqueness of each culture and its national heritage.
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Rovner, Anton А. "The Transformation of a Music Festival in St. Petersburg “The World of Art. Contrasts”." ICONI, no. 2 (2019): 159–71. http://dx.doi.org/10.33779/2658-4824.2019.2.159-171.
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The article presents the history of an extraordinary music festival organized in St. Petersburg by two composers Igor Rogalev and Igor Vorobyev. The festival was fi rst called “From the Avant-garde to the Present Day,” subsequently “From the Avant-garde to the Present Day. Continuation,” and during the last three years — “The World of Art. Contrasts.” This festival was founded in 1992, and its aim was to create a venue for performance of music by contemporary composers and representatives of the “forgotten generation” of the early 20th century Russian avant-garde movement, such as Nikolai Roslavetz, Alexander Mosolov, Arthur Lourie, etc. Many premieres of these and other composers were performed at this festival, as well as well-known works by such early 20th century established masters as Arnold Schoenberg, Alexander von Zemlinsky, Igor Stravinsky, Bela Bartok, etc. Some of the leading contemporary composers of the late 20th and early 21st century were invited to participate in the festival, as were numerous outstanding performances, ensembles and orchestras up to the St. Petersburg Mariinsky Theater, artists, poets and writers. At the present time the artistic goal of the festival is to connect the strata of music by contemporary composers with the masterpieces of the great classics of the previous centuries — from the Renaissance era to the 19th century. Each year the festival has a certain particularthemes, such as, for instance, Italian music or Japanese music, around which the program is built endowed with a broad stylistic and genre-related pallette.
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Podlednov, Denis. "The Phenomenon of Metamodernism in Contemporary Russian Art (On the Example of Paintings by V. Pushnitsky)." Ideas and Ideals 13, no. 1-2 (March 19, 2021): 425–41. http://dx.doi.org/10.17212/2075-0862-2021-13.1.2-425-441.
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The article is devoted to the analysis of the functioning of metamodernism in the field of Russian contemporary art. Researchers of metamodernism talk about the revival of historicity, depth and affect that were lost with the era of postmodernism. Metamodernism is characterized by oscillation, metaxis, new sincerity, neo-romantic sensuality, reconstruction, etc. In this paper, the author attempts to analyze markers of metamodernism in the visual arts using the example of the artist Vitaly Pushnitsky (St. Petersburg). The material for the study was a research interview with the artist V. Pushnitsky, as well as a semiotic and formal-stylistic analysis of his works (2015-2020). The author comes to the conclusion that through such markers of metamodernism as oscillation, reconstruction and appeal to new sincerity, the artist V. Pushnitsky seeks to show the reality in which the artist is at the stage of searching for new artistic means of expression. Along with this, through certain compositional and color features, V. Pushnitsky pays tribute to such artists as Pierre-August Renoir, Claude Monet, Leonardo da Vinci, Francis Bacon, as well as the Japanese poet I. Kosugi.
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Hillenbrand, Margaret. "Murakami Haruki in Greater China: Creative Responses and the Quest for Cosmopolitanism." Journal of Asian Studies 68, no. 3 (August 2009): 715–47. http://dx.doi.org/10.1017/s0021911809990039.
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The relationship between popular culture and East Asian identity is now an established field of enquiry, with the products of Japan's mass media industries—television series, pop stars, and manga—still providing much of the fuel for debate. This paper, however, moves away from the dominant notion of “culture as industry,” and explores animated personal responses to the fiction of Japanese writer Murakami Haruki in Hong Kong, China, and Taiwan through art house cinema, popular fiction, and online creative communities. The vogue for Murakami has swept across the region in recent years, and for many of those inspired by his work, it is Murakami's role as a conduit to cosmopolitan cultural citizenship that is so alluring. Yet rather than crude imitation, the filmmakers, writers, and Internet fans analyzed here misappropriate the “Murakami mood” in different ways, and in the process, they reveal the diverse meanings that attach to cosmopolitanism across contemporary East Asia.
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Sas, Miryam. "Consuming Bodies: Sex and Contemporary Japanese Art. Edited by Fran Lloyd. London: Reaktion Books, 2003. 224 pp. $25.00 (paper)." Journal of Asian Studies 63, no. 1 (February 2004): 196–98. http://dx.doi.org/10.1017/s0021911804000518.
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Tret'yakova, M. "FROM CANON TO DESIGN BY THE EXAMPLE OF JAPANESE INTERIOR." Technical Aesthetics and Design Research 1, no. 2 (December 24, 2020): 26–35. http://dx.doi.org/10.34031/2687-0878-2019-1-2-26-35.
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In accordance with V. F. Sidorenko, ‘Canon-culture’ is ‘negative definition of Design’, because the Design always produces new forms and breaks the Canon. However the fact that the Design is always strives for new forms as a rule becomes the cause of superficial understanding of own traditional culture among designers. In turn it leads to loss of cultural identity what we can see in design in our country.
The purpose of the article is to trace ‘positive’ connection between the Design and the Canon by the example of Japanese interior. We believe that it will help us to find deeper cultural meanings for design objects.
At first we research the fundamental principle of Japanese art called ‘Shin – Gyo – So’. It is remarkable that this principle let transform the Canon within the Canon. Then we research the method called honka-dori, which, on the one hand, is rooted in traditional culture, in poetry, but, on the other hand, in the 20th century it was reconsidered and transferred in contemporary ‘traditional’ interior.
After all we research design method of interpretation of the Canon. We called it the method of ‘internal of similarity’, because it let follow traditional aesthetics without of ‘cites’ of traditional forms. We suggest that it is this method which gives us ‘positive’ connection between the Design and the Canon. Although this method brings partial loss of cultural meanings, by the example of Japan we can conclude that the principle of ‘Shin – Gyo – So’ as well as the method of honka-dori can be used in contemporary design.
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Wurmli, Kurt. "Kazuo Ohno's World from Without and Within. By Kazuo Ohno and Yoshito Ohno. Translated by John Barrett. Middletown, CT: Wesleyan University Press, 2004; pp. 344. $34.95 paper." Theatre Survey 46, no. 2 (October 25, 2005): 315–17. http://dx.doi.org/10.1017/s004055740523020x.
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Kazuo Ohno and Tatsumi Hijikata are recognized as the most influential creators of the contemporary Japanese dance form known today as butoh. Since its wild and avant-garde beginnings in the late 1950s, butoh has evolved into an established and appreciated art form throughout the world. Despite its popularity and strong influences on the international modern dance world, butoh only recently became an accepted subject for academic research in Japan as well as in the West. With the new opening of butoh research centers and archives—such as the Ohno Dance Studio Archives at BANK ART 1929 in Yokohama, the Kazuo Ohno Archives at Bologna University in Italy, and the Hijikata Tatsumi Archives at Keio University in Tokyo—serious scholarly attention has been given to the art of butoh's founders. However, the lack of firsthand sources by butoh artists reflecting their own work still poses great limitations for a deep understanding of the art form. Kazuo Ohno's World from Without and Within is not only the first full-length book in English about the master's life and work, but also offers a rare inside view of butoh.
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Shishkin, Andrey G., and Olga O. Morozova. "Art in the Age of Globalisation: Dialogue of Cultures (Ural Opera Ballet Theatre’s Production of the Opera Tri Sestry)." Changing Societies & Personalities 4, no. 4 (December 29, 2020): 476. http://dx.doi.org/10.15826/csp.2020.4.4.112.
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The article explores the dialogics of art and the role of art as a tool of dialogue between cultures on the example of the Ural Opera Ballet Theatre’s recent stage production of the opera Tri Sestry (Three Sisters), which demonstrates a successful interaction between different cultural traditions.Interpreting Chekhov’s play from a late 20th century perspective, Hungarian composer Peter Eötvös presented new responses to the questions that tormented the play’s characters one hundred years ago. In his work, which blends French and German avant-garde techniques with structural elements drawn from film narrative and the Japanese Noh theatre tradition, he added a radically new dimension to Chekhov’s play. As a result, he was able to open up latent meanings the play within the great time space proposed by the Russian philosopher Mikhail Bakhtin. In turn, Christopher Alden (USA), the Artistic Director of the Ural Opera Ballet production, merged voices from different artistic traditions into a new contemporary musical image.
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LAVRENOVA, OLGA A. "“THE SEAMY SIDE OF THE CITY”: MARGINAL LANDSCAPES AND CONTEMPORARY VISUAL CULTURE." ART AND SCIENCE OF TELEVISION 17, no. 2 (2021): 61–117. http://dx.doi.org/10.30628/1994-9529-2021-17.2-61-117.
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The topic of people thrown to the sidelines of life is considered in a double frame—in the context of the way the urban space is arranged and in the context of modern visual culture (feature films, video and photo blogs, videos on popular YouTube channels). The most hyped-up type of marginal landscape in modern media is slums. The otherness of such spaces has always been a subject of interest and curiosity, for “gazing”—interpretation, perception and entertainment. In modern mass culture, the “location” of the global south slums is especially trendy. In such exterior, hyper-popular feature films such as Slumdog Millionaire have been shot, causing a new cultural phenomenon—mass slum tourism. This phenomenon seems to be ambiguous from an ethical point of view; but from the point of view of visual culture, it is voyeurism brought to the level of an art and everyday life practice. The second type of marginal urban landscapes is local “invasion” into the decent and institutionalized city space. This art form serves as a “location” for a psychological drama of superfluous people. Features of national identity are most clearly manifested on its seamy side rather than anywhere else. Japanese townships of the homeless, incorporated into central and well-to-do areas, are no strangers to order and aesthetics; while Russian realities—chaos, departure from norms and underground—are completely opposite. Classic films devoted to this issue—Dodes’ka-den by Akira Kurasawa, Promised Heaven by Eldar Ryazanov, The Lady in the Van by Nicholas Hytner—model these seamy spaces and their peculiarities inherent in national culture. Very popular now are YouTube channels about the life of homeless people, which show real characters in their real habitats, introducing marginal spaces into the rank of a hot-topic visual culture. This type of visualization provokes another cultural phenomenon— the perception of marginal loci and their inhabitants as an interactive performance. Interactivity can vary from attacking to fraternization, from preaching to charity. Odd as it may seem, hyper-visualization and aestheticization of social ulcers contributes to their social invisibility. It is a problem, which no one is going to solve anymore; it has become a part of modern culture with its own philosophical and aesthetic arguments—and in a certain sense they act as its justification.
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LAVRENOVA, OLGA A. "“THE SEAMY SIDE OF THE CITY”: MARGINAL LANDSCAPES AND CONTEMPORARY VISUAL CULTURE." ART AND SCIENCE OF TELEVISION 17, no. 2 (2021): 61–87. http://dx.doi.org/10.30628/1994-9529-2021-17.2-61-87.
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The topic of people thrown to the sidelines of life is considered in a double frame—in the context of the way the urban space is arranged and in the context of modern visual culture (feature films, video and photo blogs, videos on popular YouTube channels). The most hyped-up type of marginal landscape in modern media is slums. The otherness of such spaces has always been a subject of interest and curiosity, for “gazing”—interpretation, perception and entertainment. In modern mass culture, the “location” of the global south slums is especially trendy. In such exterior, hyper-popular feature films such as Slumdog Millionaire have been shot, causing a new cultural phenomenon—mass slum tourism. This phenomenon seems to be ambiguous from an ethical point of view; but from the point of view of visual culture, it is voyeurism brought to the level of an art and everyday life practice. The second type of marginal urban landscapes is local “invasion” into the decent and institutionalized city space. This art form serves as a “location” for a psychological drama of superfluous people. Features of national identity are most clearly manifested on its seamy side rather than anywhere else. Japanese townships of the homeless, incorporated into central and well-to-do areas, are no strangers to order and aesthetics; while Russian realities—chaos, departure from norms and underground—are completely opposite. Classic films devoted to this issue—Dodes’ka-den by Akira Kurasawa, Promised Heaven by Eldar Ryazanov, The Lady in the Van by Nicholas Hytner—model these seamy spaces and their peculiarities inherent in national culture. Very popular now are YouTube channels about the life of homeless people, which show real characters in their real habitats, introducing marginal spaces into the rank of a hot-topic visual culture. This type of visualization provokes another cultural phenomenon— the perception of marginal loci and their inhabitants as an interactive performance. Interactivity can vary from attacking to fraternization, from preaching to charity. Odd as it may seem, hyper-visualization and aestheticization of social ulcers contributes to their social invisibility. It is a problem, which no one is going to solve anymore; it has become a part of modern culture with its own philosophical and aesthetic arguments—and in a certain sense they act as its justification.
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Dahlstedt, Ami Skånberg. "A Body of Accents." Nordic Journal of Dance 9, no. 1 (June 1, 2018): 44–51. http://dx.doi.org/10.2478/njd-2018-0005.
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Abstract Dance practice is often hidden inside dance studios, where it is not available for dialogue or interdisciplinary critique. In this paper, I will look closer at one of the accents that my body has held since the year 2000. To Swedish dance academies, it is perhaps the most foreign accent I have in my dance practice. It has not been implemented as ‘professional dance’ in Western dance studios. This foreign accent is called Nihon Buyō, Japanese dance, also known as Kabuki dance. Nihon Buyō, Nō or Kabuki are local performing arts practices for professional performers in Japan. A few foreigners are familiar with these practices thanks to cultural exchange programmes, such as the yearly Traditional Theatre Training at Kyoto Art Centre. There is no religious spell cast over the technique or a contract written that it must be kept secret or that it must not leave the Japanese studio or the Japanese stage. I will compare how dance is being transmitted in the studio in Kyoto with my own vocational dance education of many years ago. Are there similarities to how the female dancer’s body is constructed? Might there be unmarked cultural roots and invisible originators of the movements we are doing today in contemporary dance?
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Jamieson, Daryl. "Field Recording and the Re-enchantment of the World: An Intercultural and Interdisciplinary Approach." Journal of Aesthetics and Art Criticism 79, no. 2 (February 27, 2021): 213–26. http://dx.doi.org/10.1093/jaac/kpab001.
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Abstract Nonfictional field recording is a genre of music (sound art) which offers a glimpse of art beyond our late-capitalist age. The ongoing ecocide which we, in a state of abject detachment, are witnessing and abetting calls out for artists to reconnect and reengage with the nonhuman world that has been deemed valueless by our civilization. Countering the disenchantment of nature wrought by scientism, human-centrism, and above all capitalism necessitates a dissolving of the barriers we set up between ourselves and our environment, a task which can be only accomplished via religion or art: an art—like field recording—which affords reconnecting its audience with the enchantment of the ignored world surrounding them. In this article, Toshiya Tsunoda’s exemplary Somashikiba (2016)—recorded in locations forgotten by civilization—will be examined via interpretive tools adapted from Ueda Shizuteru’s Kyoto School aesthetics and Takahashi Mutsuo’s poetics. Ueda’s philosophy offers a way of understanding perception which eliminates the subject-object division. Takahashi’s project of recovering the spirituality of place through poetry is a model of historically and politically engaged art. Looking, as these contemporary Japanese thinkers have done, to the precapitalist, pre-formalist past to rediscover (sound) art’s function as a medium which reconfigures the listener’s perception of reality, I argue for the urgency of sound art such as Tsunoda’s which aids in the re-enchantment of the world to a future beyond capitalist, humanist “civilization.”
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Tornier, Etienne. "True or False: Japonisme and the Historiography of Modern Design." Journal of Japonisme 2, no. 2 (July 20, 2017): 117–32. http://dx.doi.org/10.1163/24054992-00022p01.
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While most of the artistic trends of the late nineteenth century were indebted to the arts of Japan, their influence on western decorative arts – unlike painting – has only been acknowledged in the last quarter of the twentieth century. Early design historians, such as Nikolaus Pevsner (1936), hardly mentioned Japan in their works, although they recognized the importance of Christopher Dresser and the Arts & Crafts movement. Though this absence has been most commonly attributed to this authors’ involvement in contemporary design, this paper argues that their studies relied on many of their predecessors’ biased view on the artistic phenomenon. By drawing a distinction between a “good” vs. “bad” interpretation of Japanese art, their writings participated in the formation of a certain history of modern design.
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Ikegami, Hiroko. "Pop as Translation Strategy: Makishi Tsutomu's Political Pop in Okinawa." ARTMargins 7, no. 2 (June 2018): 42–71. http://dx.doi.org/10.1162/artm_a_00208.
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This essay makes the first sustained study of the Okinawan artist Makishi Tsutomu (1941–2015) who used American Pop Art vocabularies to describe the complex realities of US-occupied Okinawa. Focusing on his 1972 installation Commemorating the Reversion to the Great Empire of Japan, the essay examines the critical ambivalence of Makishi's Political Pop as a translation strategy. Despite his critique of both American and Japanese imperialism, Makishi was aware that Okinawa was inseparably entangled in it, especially in the context of the Vietnam War, which brought violence, but also economic benefits, to Okinawa. Despite his use of the American Pop idiom as a new lingua franca for contemporary art, Makishi's work did not reach either mainland or international audiences as the artist exhibited almost exclusively in Okinawa. By comparing Makishi's artistic strategies with those of a representative Okinawan novelist, Ōshiro Tatsuhiro, especially as articulated in his 1967 novella The Cocktail Party, the essay situates the significance of Makishi's project within the emerging discourse on the global neo-avant-garde.
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Lakatos, Mihály. "Sights and Sounds of Big Data: Ryoji Ikeda’s Immersive Installations." Acta Universitatis Sapientiae, Film and Media Studies 18, no. 1 (October 1, 2020): 109–29. http://dx.doi.org/10.2478/ausfm-2020-0006.
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AbstractThe Japanese multimedia artist Ryoji Ikeda’s work can be interpreted as a contact between mediums, but also as a contact between disciplines. Most of his video installations are based on concepts borrowed from the field of mathematics, physics or information technology. In this paper I will examine Ikeda’s audiovisual installations by presenting these multimedial installations as possible methods of visualizing digital data in the context of contemporary art. Considering their digital and abstract nature, these works can also be analysed as unique audiovisual environments built from different media based on the same data-sets, offering the possibility of immersion. By unfolding the medial relations within Ikeda’s work I will try to demonstrate how the combination of sight and sound creates the inter-sensual experience of getting in touch with digital data.
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Kawai, Toshio. "The consequence of traditional understanding of psyche and nature for the environmental and psychological problems." STUDI JUNGHIANI, no. 50 (January 2020): 5–18. http://dx.doi.org/10.3280/jun2-2019oa8878.
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From a historical perspective, psyche is seen to have changed from an open system in the premodern time to a closed one in modern time. This has brought a separation of nature and psyche; Science has the nature as object, psychology only copes with the inside of person. The process of internalization seems to be changing in the postmodern time. The inner life is shown to all over the world via internet, twitter, etc. Psyche is again becoming an open system. To have some hints on contemporary situation Japanese culture and history are compared. There still remains premodern understanding of psyche and nature in Japan. But Japanese art such as gardening and ikebana show that a unique process of internalization has happened by way of making exquisite miniatures of nature. There is a growing tendency in the postmodern age not to decide and to be involved. This can be called a "contingent" attitude (Agamben). According to the modern understanding of psyche, psyche and environment are separated. But the postmodern situation makes again a world possible where everything is connected. This may be a chance to contribute to global and environmental problems from the psychotherapy
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Krylovskiy, Konstantin K. "TAKASHI MURAKAMI AND OTAKU CULTURE: “THE HIGH” AND “THE LOW”, “THE EASTERN” AND “THE WESTERN”, “THE OLD” AND “THE NEW” IN CONTEMPORARY JAPANESE ART." Articult, no. 1 (2017): 53–66. http://dx.doi.org/10.28995/2227-6165-2017-1-53-66.
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Wattles, Miriam. "Beyond Hiroshima: The Return of the Repressed; Wartime Memory, Performativity and the Documentary in Contemporary Japanese Photography and Video Art ed. by Ayelet Zohar." Journal of Japanese Studies 43, no. 1 (2017): 197–201. http://dx.doi.org/10.1353/jjs.2017.0023.
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