press release
338KB
Photo captions credits
3KB
october 11, 2019 - Mori Art Museum
Mori Art Museum small programs to run concurrently with Shiota Chiharu
MAM Collection 010: FAKE NEWS?
Participating Artists: Aida Makoto, Yuan Goang-Ming, Zhou Tiehai Curated by: Kondo Kenichi (Curator, Mori Art Museum)
“Fake news” is a stock phrase of current US President Donald Trump, and indeed, one undeniable truth is that starting with the false rumors that fly about the internet, it is becoming increasingly hard to tell fact from fiction. MAM Collection 010 will ponder the essence of how information is produced in the mass media, through works by three artists.
In his “Fake Cover” series (1995-1997), Zhou Tiehai turns his attention to the power of the media to create celebrities, transposing his own face and works on the covers of globally influential magazines such as Newsweek. In Aida Makoto’s The video of a man calling himself Japan’s Prime Minister making a speech at an international assembly (2014), disguising himself as Japanese prime minister, the artist gives a speech in heavily-accented English espousing an unconventional approach to foreign relations; one that includes the importance of sakoku isolation. The speech is obviously fake, yet simultaneously satirizes the globalized nature of the modern world. Yuan Goang-Ming’s The 561st Hour of Occupation (2014), documents a scene from the Sunflower Movement of students and civic groups that occupied the Taiwanese National Assembly in 2014. As well as serving as a valuable record, Yuan’s film seduces us with the power of its camerawork, showing a way to make filmic image as spectacle.
MAM SCREEN 011: TAKATA FUYUHIKO
Curated by: Tsubaki Reiko (Curator, Mori Art Museum)
Takata Fuyuhiko (b. 1987 in Hiroshima) has expressed themes as diverse as religion, myth, fairytales, gender, trauma, sex, and the BL (“Boys’ Love”) manga sub-genre, in humorous, occasionally erotic videos with a pop sensibility. Dissecting, commenting on, and exaggerating universal human themes in unconventional ways, Takata’s works look absurd, but are in fact meticulously composed. Thus though humorous in nature, they serve as caricatures of a sort that raise a variety of issues. Of particular note is their critical take on definitions of masculine and feminine, at a time when these are being increasingly called into question.
MAM Screen 011 will home in on the myriad delights of Takata’s oeuvre by presenting, in a single screening, eleven of his video works, spanning the years 2007 to 2019.
MAM Research 007:
SODEISHA - THE DAWN OF CONTEMPORARY JAPANESE CERAMICS
Curated by: Tokuyama Hirokazu (Associate Curator, Mori Art Museum)
Nakamura Yuta (Artist; Specially-Appointed Lecturer, Department of Fine Arts, Kyoto Seika University)
Curatorial Support: Moroyama Masanori (Former Chief Curator, The National Museum of Modern Art, Tokyo) Morino Akito (Professor, Kyoto City University of Arts)
Sodeisha was a group of ceramicists formed in Kyoto in 1948, and active for a full half-century up to its disbandment in 1998. The group’s longevity, and the fact that many leading figures of the Japan’s postwar ceramics were its members, assures Sodeisha a special place in Japanese ceramic history.
At its launch, Sodeisha centered around Yagi Kazuo, and included Suzuki Osamu, Yamada Hikaru, Matsui Yoshisuke and Kano Tetsuo, all up-and-coming artists based in and around the Kyoto neighborhood of Gojozaka, traditional home of Kyoyaki (Kyoto ware). The traditions of Kyoyaki formed a backdrop to the emergence of Sodeisha, as did connections with the avant-garde art that appeared in the Kyoto-Osaka-Kobe area soon after the war, practiced by the likes of the Gutai Art Association, Pan-Real Art Association, Bokujinkai, and Ikenobo.
This edition of MAM Research examines photographs of works by Sodeisha artists and other materials to explore the background and factors underlying the artists’ activities at the time of the group’s formation.* In addition, Nakamura Yuta, artist and co-curator of the exhibition, presents an experimental installation analyzing the “transition of form” seen in contemporary ceramics in the 1950s and 1960s. Through these exhibits, MAM Research 007 reflects on the activities of a group of ceramicists on a quest for new forms of expression in the interspace between tradition and innovation, and analyzes their significance in contemporary ceramic art.
www.mori.art.museum
753 S
850x592, 74KB
752 S
563x709, 194KB
751 S
850x478, 286KB
750 S
850x478, 156KB
749 S
850x548, 264KB
748 S
477x850, 237KB
747 S
1134x638, 276KB
736 S
850x478, 289KB
Related news |
||
|
|
|
may 26, 2023
|
january 27, 2023
|
january 05, 2023
|
|
The “Roppongi Art Night 2023” will be held for two days from Saturday, May 27 to Sunday, May 28, 2023. It will be an all-night eve... |
Participate! Roppongi Crossing 2022 Exhibition-Related Learning Programs and Community Engagement ProgramGallery Talk in EnglishGa... |
In 2023, the #moriartmuseum is organizing three exhibitions following the current exhibition, Roppongi Crossing 2022: Coming &... |
Download all 
You might be interested in |
||
|
|
|
december 16, 2022
|
november 30, 2022
|
november 04, 2022
|
|
Visit the #moriartmuseum with your little ones aged up to six years, and join other families to view the Museum at your leisure be... |
Roppongi Crossing is a series of co-curated exhibitions staged every three years to provide a snapshot of the contemporary Japanes... |
The #moriartmuseum, Tokyo, will celebrate its twentieth anniversary in 2023.In the two exhibitions planned for the year, the #mori... |
Italian 
Download all 
Share
Share via mail 
Automotive
Sport
Events
Art&Culture
Design
Fashion&Beauty
Food&Hospitality
Technology
Nautica
Racing
Excellence
Corporate
OffBeat
Green
Gift
Pop
Heritage
Entertainment
Health & Wellness