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The idea is to organize this exhibition not chronologically, but according to six key words or subjects, covering aspects characteristic of Japanese visual arts. Each keyword forms its own thematic island, the six being naturally connected to each other in the form of an archipelago. The design of the galleries has been realized by SANAA, Pritzker Prize winner and known for allowing the architectural form to flourish, by subtly connecting private and public spaces.

This exhibition aims to be more than an introduction to the contemporary art of a country in the Far East. It contributes to the understanding and appreciation of contemporary Japanese art as a model for a comprehensive, structural and instructive approach to a deep and diverse sensitivity within a single culture. Centre Pompidou-Metz will provide the opportunity and the place for a dialogue between Japan and the West, to continue widely and with a view to the future, because it is now indispensable for our cultural ecology, as we coexist in a period of crisis, to encourage creativity through the spreading and exchange of cultures.

Yuko Hasegawa, April The exhibition Japanorama — New vision on art since brings together visual arts, architecture, design, fashion and a flood of subcultures including illustration, manga and animation. Rather than organizing the exhibition chronologically, it has been organised into different thematic sections, modelled on an archipelago. It focuses on projects that explore relationships with others through participatory and collaborative approaches, characterized by maintaining the individualised self, but one whose contours must be flexible in order to emphasize harmony and interpersonal relations.

Particular attention is paid to the unusual renewal of solidarity following the disaster of the Tohoku earthquake on 11 March These key concepts stem from the most iconic creations in Japanese art from the s to the present day, and are to be understood in the relationship between aesthetic sensibility and materiality, politics, economics, societal facts or even information. The political and philosophical aspect of these artistic expressions should also be considered.

Rather than producing a chronological fresco or trying to encompass everything, the works presented were selected for their ability to show clearly these underlying concepts. To provide a deeper understanding of each theme, a number of works dating from before the s have been included as a reference.

While Expo '70 serves as a starting point, several works in the exhibition date back to , which, as a year of protest and calls for reform around the world, was, alongside the social movements, a time of great artistic exploration, the influence of which would be considerable.

Section D: Policies and Poetics of Resistance This island looks at the idiosyncratic part that ideas of resistance and criticism play in art in Japan. Section E: Subjectivity This island deals with subjectivity, from a personal point of view using a documentary approach.

Observing and judging the world from a personal point of view is a practice widely used by artists, producing highly expressive art. This section focuses on an approach often documentary in nature, in which the narrative occupies a special place. Photographs, films and videos, in particular, are presented.

Section F: Materiality and Minimalism The relationship to matter and minimalism are deeply linked to the idea of space developed in Japan, especially in architecture, in line with ways of thinking such as Zen. Section A: Strange Object - Post-human Body The main island serves as an introduction and is focused on the body: the question of sensibility and the relationship between the body and the external world.

How is the body perceived in Japan? Posthuman artworks, in connection with technology, also appear in this section which opens the exhibition and brings together some of the most spectacular and unusual art forms. Section B: Pop The notion of pop art and pop culture in Japan highlights the relationship between art, consumption and subcultures This large section shows the diversity and complexity, beyond appearances,.

The exhibition beginson the top floor of the artscenter in Gallery 3 which includes sections A and B. SANAA's design helps to create the idea of the archipielago, with each theme being at the same time separated and connected to the other physically and visually.

At the entrance to the exhibition, the first thing that visitors see on the landing is an iconic image of Expo '70, which marks the starting point of Japanorama. All these trends showed a leaning towards animism, the quest for an organic connection with non-human elements. In physical performances, objects seemed to be indigenous, surreal or grotesque. These actions, which opened the language of art to radically new forms of expression, can be considered as the premises for posthumanist performances.

In the s, the digital world became part of the debate and new relationships between the physical and the digital were established, notably with techno music, fashion and the media, opening the path to futuristic forms of expression. Also on display in this section are allegorical descriptions by Tetsumi Kudo of physical transformations due to radiation.

On entering the gallery, the visitor is confronted first with a group of anthropomorphic bodies and objects, including the Electric Dress by Atsuko Tanaka, a member of Gutai. When she created this dress in the late s, she opened a new page in the history of Japanese art: never had a work so closely linked body, technique and art.

The flashes and ethereal flickering produced by the electricity and light that wrapped her body become more than a skin, another metaphoric body, intertwined with the biological rhythm of the artist. This seminal work anticipated a body of the future. The body becomes a manifesto for a new approach to beauty, in opposition to conventional fashion, centred on balance and the concept of an ideal silhouette.

The disconcerting asymmetry, the tears and the distortions, give shape to the idea of a new corporeity. During this period, hybrid, ambivalent sculptures by Kodai Nakahara, for example, are created. This is also the moment of the emergence of techno music of YMO Yellow Magic Orchestra which gave equal weight to musicians and computers, which Dumb Type would also do, and then later Rhizomatiks, in works characterised by the fusion of the human and the digital.

In the end, the human figure disappears, leaving only mechanisms in place and the result of the actions of intertwined objects, as in the new work by Yuko Mohri that closes this section. Its beginnings were influenced by American Pop Art in the s and its critique of consumerism, but in Japan it immediately involved a rereading of popular imagery, and expanded its framework to include underground culture as well as a political message. In the s, computers began to have an impact on society, new players became culturally influential, such as the PARCO conglomerate, while traditional forms of expression such as manga and illustration matured and diversified, fusing into a broader definition of pop art.

Section B begins with a room dedicated to the works of Tadanori Yokoo. Yokoo began work as a graphic artist in the s, and his success was based on the manner in which he created surreal imagery, connected with the vernacular and kitsch, while adhering to a sophisticated and recognizable visual style. A central figure in Japanese pop culture, Yokoo is known for his collaboration with Japanese artists and cultural figures such as underground theatre artist Juro Kara in the s, Shuji Terayama, Tatsumi Hijikata, Ryoji Ikeda and the Dumb Type collective, and electronic music band Yellow Magic Orchestra in the s.

By combining eroticism with ironic humour, his graphic design work reflects the visual characteristics that are essential in Japanese subculture. In the dystopian animation films of the s, Katsuhiro Otomo, the creator of Akira, and Kyoko Okazaki produced a vivid tale of youth bound by an uncertain future.

In the same decade, Takashi Murakami and Makoto Aida exhibited a raw talent for Neo-Pop forms, combining the clever use of traditional pictorial techniques with imagery associated with Japanese subcultures to produce an ambivalent message with respect to politics and the consumer society. This energetic and complex debate between society and pop art is one of the hallmarks of contemporary art in Japan and underscores the importance of the crucial commitment of pop culture.

All Rights Reserved. This triple disaster earthquake, tsunami, nuclear disaster that overwhelmed Japan not only caused material damage, but also an invisible fear and a deep and lasting trauma in people due to the nuclear contamination. Calling for a sharing of expertise, autonomous networks such as NGOs and social support groups directed contemporary art towards a more communicative juncture. These works question the position and commitment of artistic practices in the aftermath of an unprecedented crisis.

RMN-Grand Palais. Behind an apparent innocence or naivety hides a meaning. Rather than direct political assertions, such images are allegorical, serving as surrealist worlds that convey their messages through poetry. Harmony in relationships traditionally has an important place in Japanese culture.

In this tradition, collaborative works and works involving the viewer can be considered as an integral part of contemporary Japanese art. The Japanese Fluxus movement of the s was partly based on the Buddhist teachings of D. Suzuki, and found its expression mainly through works that involved participation or instruction for the viewer-participant.

This approach enjoyed a revival as part of the international concept of relational aesthetics of the late s. This strategy is not new approach. A connection can, indeed, be made between Mavo and Harue Koga, influenced by European Dadaism in the s, and the poetic practices of artists such as Yoshitomo Nara, who from the s took up subjects such as youth, Immaturity and purity. The fact that the pure, the innocent and the poetic can carry a political message is a conceptualism particular to Japan.

From where does the anger and the suspicious look of the girls painted by Nara come? The depictions of children or animals, while creating icon images, hides a critique of current times and the adult world. In a similar way, the gentle, utopian, surrealist style of Koga in the s dealt with the tensions of the inter-war period. In the middle of this section is a work using Bingata — the traditional dyed fabric of Okinawa — by Yuken Teruya, an artist who grew up near an American military base.

The colourful patterns of flowers and trees are gradually replaced by military fighter planes and parachutes. This section opens with a selection of Fluxus projects from the s. Fluxus was one of the most broadly international movements in the history of contemporary art, to which many artists participated, partly motivated.

In a black box, the sound installation by Fuyuki Yamakawa — juxtaposing recordings of the voice of his deceased father with that of a journalist covering the war zones of thes to s, and the naive voice of the artist — produces a powerful lyrical crescendo. The images of Rinko Kawauchi pursue the flow of inner energy, highlighting the details of everyday life and the cosmology of life. This personal documentation is, in essence, a subjective process to present oneself to the world as a real but transparent being.

In this context, contrary to Western culture which guarantees the autonomy of the subject above all, Japanese culture tends to redefine the concept of subject. Its contours are flexible and allow fluidity between the subject and the people close to it or external entities.

The huge impact of subjectivist photography — represented by the visual style of the magazine Provoke founded in — is deeply rooted in the doubts of a generation evolving in a world of uncertainty. The exhibition brings together the works of many photographers who contributed to Provoke, such as Ikko Narahara, Daido Moriyama and Takuma Nakahira.

The intimate photographs that Nobuyoshi Araki took of his wife, and the unconventional approach of the images of Eikoh Hosoe in his pictures of the comedian Simmon, in particular, firmly demonstrate the ontological tendencies of these photographers. After the collapse of the economic bubble in the s, the ontological problem of reconciling. This particular space of the exhibition confronts us with a reflection on the presence and absence of the object.

From Zen gardens to the Mono-ha works of the s, artists developed processes that reveal the interdependence of existing things, taking up Buddhist ideas that each thing exists only in relation to others.

In what could be seen as the beginnings of a minimalism playing on repetition and difference, Hitoshi Nomura obsessively recorded the movements of the moon, using fixed observation points on film marked with the five-line musical stave. Hiroshi Sugimoto composed a series of almost abstract marine landscapes with the horizon line precisely cutting each photograph. These works also reflect questions of scale: macro-, nano-, micro The exhibition ends with the spectacular installation by Kohei Nawa, Force: a black rain made of falling oil, a symbol of policies on fossil fuels, a metaphor for the rain of radioactive fallout, but also a digital bar code, and a sublime painting, in a manner in which Barnett Newman might have employed.

This work represents the key to understanding Japanorama, an exhibition which offers an alternative vision and way of thinking to that of the West or the globalised world. The simplest visual language can carry a series of complex layers of meaning, linked to its environment and to information, the memory of the past as well as predictions for the future, providing an epilogue to the two exhibition galleries.

This last section presents a diverse selection of works belonging to the Zen movement, to minimalism, to Mono-ha the school of things or even to modernist architecture. As exhibition curator, I had the opportunity to collaborate regularly with the studio, experiencing how it conceived spaces perfectly adapted to the architectural and scenographic programmes.

As director of the institution, I designed the 21st Century Museum in Kanazawa, Japan, with them, taking as a starting point the porosity between public and private spaces. In the design of the Japanorama exhibition, one can see the main charecteristics of SANAA architecture: transparency, the decompartmentalization of space and the fluidity of the layout, which allows the visitor to wander around the works.

In the first gallery, the visitor can take in the entire exhibition space at once. Small rooms, similar to cells, have been carefully designed to vary the perception of scale in the gallery, accentuating the contrast between spaces of reduced size and the strong feeling of openness and freedom.

The itinerary then takes a more organic form, accommodating circular partitions, in the manner of an ecosystem similar to a floating archipelago, grouping the works according to different themes and creating a harmonious interplay of perspectives between them. For Kishio Suga, a major Japanese artist of the Mono-Ha movement literally, the school of things , man can reach a heightened awareness of his environment through simple gestures that transform the space into a place conducive to meditation.

The intention of the artist is to return our relationship with nature to the centre of our focus. Man is dominant and has control over the artificial materials, but not over the natural elements. The visitor is invited to look carefully at these stones, to appreciate their power and complementarity. They keep the strings taut and thus guarantee the balance of the whole.

With the support of the Tomio Koyama Gallery, Tokyo. The Dumb Type exhibition is the first monographic exhibition in France of this magnitude dedicated to this art collective. Formed in , Dumb Type, in its early stages, was made up of about fifteen Kyoto City Art College students from different fields: visual artists, video artists, choreographers and performers, as well as architects, graphic designers, sound engineers and computer scientists who combined to invent a new, fundamentally pluridisciplinary type of performing art.

Sanitised and unrelenting, the technology that proliferates in Dumb Type pieces formats the bodies and challenges the mind. The first political gesture of Dumb Type lies in choosing to work as a collective; the desire for several people to work together was aiming for a total interdisciplinary approach, abandoning categories and academic hierarchies. A new form of theatricality is taking shape, haunted by immersive technology, controlled by omnipresent data.

Very active until the early s, the company has regularly performed in museums and theatres in Japan, Europe and the United States, where some of its members have lived at times. Active on the international scene, Dumb Type examines the mutation of identities and communication in a globalised world.

The collective removed all dialogue from its early works, but the silent performers were surrounded by quotes from articles or lyrics of pop songs. New media and the digital revolution have transformed our intimate confession or direct addresses to the audience. Yet, at the heart of these. This existential dimension can be seen in Dumb Type with the inclusion of more popular and fragile forms, such as karaoke, talk show, cabaret, drag performance, intimate confession or direct addresses to the audience.

The following pieces will send shock waves through this cold neutrality. Videos of nude torsos filmed through targets complete this clinical treatment of the body. The arrival of the compact disc in marked the transition from analogue recording to digital, where there is no longer any background noise. For Furuhashi, this elimination of ambient noise is symptomatic of a society that ignores all that it does not want to see or hear. Some of these works are the respective productions of three of the very first members of the collective — Teiji Furuhashi, Ryoji Ikeda and Shiro Takatani — who, alongside their work in the collective, continued to produce solo projects.

Archives and testimonies are also presented in the exhibition and retrace the genealogy of the group, before and after the death of Teiji Furuhashi in This understanding, both physical and documentary, of a selection of works from Dumb Type allows these striking creations to be considered in a new context, while placing them in perspective within the current context of a society still dominated by an excess of information and consumption. On the walls of a square room are projected the naked bodies, life-size, of nine performers, men and women, who meet.

The silhouette of the artist also comes to meet the visitor, before disappearing at the moment of embrace. Toposcan and is an audiovisual installation by Shiro Takatani born , responsible for the visual and technical aspects of Dumb Type projects.

A member of the Dumb Type collective, Ikeda is also a key figure in music and Electronic art. Since the s, the participation of Japanese artists in the major international avant-garde movements has taken place in the context of important intellectual and cultural exchanges with the West. Between and , the most experimental approaches were pursued in this venue where artists, musicians, designers, critics, writers and performers, came together around common ideals.

It was notably the forum for the Japanese Fluxus movement, the venue for the emergence of experimental cinema led by Takahiro Limura, and the legendary performances and experimental concerts of Toshi Ichiyanagi, John Cage, David Tudor and Merce Cunningham. This dynamic, to which the Cross Talk Intermedia events played a part, was fundamental to the development of a large number of artistic propositions which emerged at Osaka It was then that the Seibu Theatre later Parco Theatre was opened by the large conglomerate Saison, a cornerstone of consumer culture and also the owner of the J-wave radio station, an essential channel for music.

From , this place played a major role in the emergence of a Japanese pop culture, combining mass marketing, fashion and experimental artistic exploration. The Parco Theatre, a small, seat venue, quickly became the symbol of a unique relationship between counter-culture and burgeoning commercial culture, both feeding off each other.

It was also a prominent launch pad for artists such as Shuji Terayama and the venue for the Music Today festival promoted by Toru Takemitsu. The programme 10 Evenings has been designed as a series of monthly events from October to March , providing the opportunity to encounter key figures from the world of contemporary Japanese performing arts. Each of these events offers an insight into the relationship of an artist to his heritage and artistic and cultural context.

Coming from performance art, theatre and dance, these projects have been especially developed or adapted for the Centre Pompidou-Metz. Audiences will experience artistic projects, some never shown in France before, designed to complement the artistic themes developed in the Japanorama exhibition. The dynamics of American-Japanese exchanges at that time led to a similar event at the Yoyogi gymnasium in Tokyo, called Cross Talk Intermedia; it brought together a very large network of industrialists, sound engineers and artists, and involved structures and equipment that were a taste of the innovative artistic concepts which would make Osaka a success.

The bespoke 10 Evenings programme is intended as a hommage to this period of great creative richness from across the generations. This emerging Japanese scene was prolific and resonated abroad; it spread across public and private places and helped followed an aesthetic which drew inspiration from both underground movements and mass culture.

Suzuki Tadashi used this momentum to create the first Japanese international theatre festival in Toga in The tsunami and the Fukushima disaster found an echo in these asserted, politically committed, artistic practices which attracted a lot attention in the rest of the world. The changing nature of literature, theatre, fashion and music was transformed into exchanges with the community, between personal testimonies and highly developed social networks.

The s witnessed the arrival of new theatres, foundations and programs to support artists, thanks to a state cultural policy inspired by the French model. Built with funding from the economic bubble, but opened in the middle of a recession, they hosted large-scale productions and major international groups, far from the experimental emulation of an avant-garde that no longer had a place of reference. Large-scale facilities coexisted in this climate of disenchantment, while the gap between the commercial sphere and the underground widened irreparably, with counterculture artists forging parallel networks combining micro-scenes in Japan and international networks.

What unites these approaches probably has two central threads: navigating and reacting to the violent and intense whirlwinds of a period in constant flux, whilst retaining clear memories of the avant-garde movements. All the artists invited to take part in the 10 Evenings, have established a profoundly radical and singular approach, but in keeping with the avantgarde movements. The Kobe earthquake, whose social and political consequences shook the whole country, gave the cultural world a shot in the arm and artists reassessed the notion of collective and individual.

One of the most striking examples was the radical and politically committed performances of the collective Dumb Type and the activism of the communities which formed around this group; a group that gained legendary status when its leader, Teiji Furuhashi, died of AIDS in These singularities reflect the idyosyncratic dimension particular to Japanese culture and which remains symbolic of how each individual may face a society fossilising over the years into a socio-political model the collective , whilst urban and technological development is at a peak.

A body of testimonies, impressions of time and place: Gozo Yoshimasu and Min Tanaka since the 60s and 70s, Yasumasa Murimura, Norimuzu Ameya, Saburo Teshigawara and Ryuichi Sakamoto, key performers at the time of the economic bubble, Dumb Type, Ryoko Sekiguchi and Fuyuki Yamakawa, in the disenchantment of the 90s, and Mariko Asabuki and Kukangendai, young artists from a post-Fukushima era.

Against a backdrop of social unrest, a breakdown of values and a deep crisis of identity, economic activity picked up in , intensified by the place of technology used in everyday life. These artists make up an archipelago of singular emotions linked to one another, going beyond any generational divide, elements of a continuous cultural whole facing a world in flux.

The cultural fabric strengthened and artists renewed their relationships with the community, reassessing the cultural roots of their ancestors, such as animism. They expressed a need to re-invent a social reality. A strong policy of cultural cooperation with the countries of Asia and the continuity of exchanges with the West accompanied this debate. In , he created the company [M. Although he took part in the Venice Biennale in with the work Public Semen, he then took a break for several years, during which time he opened a pet shop and published a book on the relationship between man and animals.

He returned to visual art in and to the theatre in In the same year, he took part in the Osaka International Art Festival with Classroom, a play for children created and performed with his own family. From this method of singing, in which he is recognized internationally, he has developed happenings based on amplified sounds and notably the heartbeat using an electronic stethoscope.

With all his artistic endeavours, he aims to push the limits of art, through his own bodily space. At the same time, he creates visual and sound installations, as well as performances in collaboration with artists from very different disciplines dance, fashion, cinema, radio.

Since the Fukushima disaster, his work has been marked by strong social criticism. In , he formed a new group, Grand Guignol Future and, with the art critic Noi Sawaragi, produced a play based on an actual aviation accident. His forms of artistic expression have led to numerous collaborations with intellectuals and visual artists from around the world, from Gilles Deleuze to Anna Halprin.

He presented his work abroad for the first time in , guest of the pluridisciplinary event conceived by Arata Isozaki and the Autumn Festival Ma: Space-Time in Japan. His dance is an art of passage, of the ephemeral. With Locus Focus, he captures the meteorology of a place to embody all the atmospheric variations, like a barometer or a seismograph.

Locus Focus is the name of a series of performances that Min Tanaka started in The project is deeply connected to the space that the dancer invests, in various places in our everyday environment around the world. The movement, forged by the place where it occurs, is different each time. For this new instalment of Locus Focus, Min Tanaka will improvise in. At the same time a calligrapher and photographer, he has set himself free from the traditional distinctions between poetic genres, combining poems and images, objects and videos with other artists, and reviving the practice of declamation through the power of his public recitals in which all the resources of the voice and the breathing come into play.

He regularly collaborates with visual artists and free jazz and. He published his first collection of poetry in and has received numerous awards in Japan and abroad. His latest opus, Kaibutsu-kun Dear Monster , is a long poem written between and in the aftermath of the Tsunami. It was published in Followed by Tomoko Sauvage, Water Bowls, performance-concert creation.

Kukangendai, a group formed in , creates its music through a process of editing, repetition and deliberate errors, creating a feeling of distortion. In recent years, the group has tried to develop and implement a form of live concert in which they simultaneously play several songs that turn into a single rhythmic flow. Tomoko Sauvage, a sound artist based in Paris, has been working for several years with waterbowls, comprising hydrophones immersed in porcelain bowls of various sizes, filled with water.

The drops, waves and bubbles with which she plays resonate in the bowls forming natural harmonics according to the resonance of the place. This electro-aquatic framework is a delicate balance between control and chance, order and disorder, fleeting and repeating.

The first performance of a rare collaboration between Gozo Yoshimasu and this young rock band was commissioned for the retrospective devoted to the poet at the MOMAT in Tokyo in It was based on the theme of the Monster Kaibutsu, dear to Yoshimasu since the Fukushima disaster.

Ryoko Sekiguchi in collaboration with Chef Sugio Yamaguchi and designer Felipe Ribon, When humidity changes, the world changes, performance creation Sunday, 10 December at 4pm. She studied History of Art at the Sorbonne and received a doctorate in comparative literature and cultural studies from the University of Tokyo.

She writes in French and Japanese, translates in both directions, working in literature and gastronomy, and on several collaborative projects The novelist Mariko Asabuki has had an extraordinary career. Her second book, Kikotowa, won the Akutagawa Prize. The richness of her vocabulary and her reflections on time and memory, have led some critics to compare her to Proust. Since then, she has published Timeless, a novel published in several parts. She has written a dozen or so books in French, mainly published by P.

She has written about ten books in Japanese, published mainly by Shoshi-Yamada. Regarding her performance When humidity changes, the world changes, she wrote:. Since , Ryoji Ikeda, also a member of the artist collective Dumb Type, has had a strong presence on the international art scene, with concerts, installations and recordings that integrate sound, acoustics and images.

His explorations have led to collaborations with the visual artist and musician Carsten Nicolai, the choreographer William Forsythe, the photographer Hiroshi Sugimoto, the architect Toyo Ito. A corpse decomposes, but, thanks to a subtle process of adding water, it can acquire different textures.

The skin of mummies can become paper-thin, but it can also be like leather, tree bark or paraffin. When we put dry food on our palate, the food absorbs moisture from our mouth so it can then be assimilated into the body. There is a constant exchange of water between this world and ourselves, between you and us, until our body is no more.

The only thing left that does not contain water is thought. And even then. Norico Sunayama, A sultry world Saturday, 20 and Sunday, 21 January continuously to be confirmed Norico Sunayama is a dancer and performer from Dumb Type who creates her own performances and many other collaborations with, amongst others, the Japanese band Kyupikyupi and Kill your television from Singapore.

Snatch Z, she presents performative works, at the crossroads of contemporary art and the subculture, cabaret and representative art. Noriko Sunayama is known for her extremely provocative performances. For the opening of the Dumb Type exhibition, Centre Pompidou-Metz is putting on two exceptional performances by artists from this legendary collective that has influenced the artistic world far beyond the Japanese archipelago These events will tackle the main dimensions of Dumb Type language: social engagement and criticism and the creation of a new language based on technologies.

Originally from Tokyo, Saburo Teshigawara began his career as a choreographer in , after studying visual arts and classical dance. Interested in all the artistic disciplines, he also staged five operas and made several installations and films. In each of his creations he considers the work as a whole, and designs the costumes, lighting and.

In , he opened his own creative space Karas Apparatus in Tokyo, which puts on shows, exhibitions and workshops. In conjunction with 10 Evenings and the installationperformance work at the Centre Pompidou-Metz, Saburo Teshigawara will present his latest work at the Arsenal concert hall:. In this new show combining performance and video, Yasumasa Morimura offers a vision which is a mixture of his own personal story, the history of Japan and the history of art in Japan after the Second World War.

As such, the extraordinary fluidity and extreme precision of his dance seems to surge from within, going beyond questions of rhythm and freeing him from mathematical constraints. This relationship with the elements and the inner spirit, therefore, provides the perfect cradle to sublimate the romanticism of Tristan and Isolde.

Embodying these ill-fated lovers, their bodies become messengers of the unspeakable, aiming straight for our hearts. Yasumasa Morimura works as a conceptual photographer and has been making films for more than three decades. Using accessories, costumes, make-up and digital manipulation, he has transformed himself into subjects from Western art as an examination of the cultural canons. By reinventing the iconic figures from the history of art, he challenges not only the traditional male viewpoints, but also commentates on the assimilation of Western culture in Japan.

The music is taken from his new album async together with new material. Sakamoto and Shiro Takatani Dumb Type are currently developing unique visuals and a site-specific acoustic installation. Ryuichi Sakamoto made his debut in with his solo album Thousand Knives. For several years, he has collaborated with artist Shiro Takatani from the collective Dumb Type, with whom, amongst other things, he produced the opera LIFE and composed the soundtrack for the installation Plankton He has also worked.

Since the s, Sakamoto has been a staunch supporter of environmental conservation efforts and world peace, and since he has been actively working to achieve denuclearisation. Shiro Takatani has been a founding member of the collective Dumb Type since He has produced numerous performances and multimedia installations and presents his work in theatres and museums around the world.

In , Takatani began a solo career alongside his work with Dumb Type. Camera Lucida, the first retrospective exhibition of his work, took place at the Tokyo Photographic Art Museum in A Anime is the most popular Japanese form of animation created from cartoon strips see Manga. The term is used both for TV series and feature films. Indeed, after the Second World War, Japan was inspired by the productions of major American media companies such as Disney. From the s, with the development of technology companies, Japan exported and popularised its anime characters internationally, notably thanks to video games and related products which appealed to the West.

The powerful expressiveness of the characters, long pauses and the dynamics of the drawing form the characteristic identity of Japanese animation. The anime film Akira , directed by Katsuhiro Otomo, writer of the eponymous manga, is an important milestone in the history of anime, which had a major impact internationally. Set in a dystopian world, it imagines the outbreak of World War Three, a nuclear war, following an explosion in Tokyo in Today, the undisputed master of anime is Hayao Miyazaki, cofounder of Studio Ghibli, known for his highly poetic films and his mastery of animated drawing.

Butoh A form of dance which appeared in the aftermath of the Second World War, expressing distress in a way not seen before in Japanese culture, through the movement of the body in extreme situations. They sought an alternative to the Western forms of dance popular in Japan after the war, and to the traditional Japanese performing arts see Noh , to define a new vocabulary through which the human body could, in harmony with the times, transform itself into any living or nonliving form.

Dance becomes a ritual in which the body is no longer simply a human body, but takes on a primeval, erotic force embodying creation itself. Their first show in , accompanied by a publicity campaign featuring the word Butoh, was called Reda Santai Three Phases of Leda. Bubble economy The Japanese bubble economy or speculative bubble was a phenomenon which occurred between and We talk of bubbles and then the bursting of bubbles when prices paid in a market in particular the stock market or real estate market are excessive in relation to the intrinsic value of the assets traded.

The Japanese economy, having flourished since the post-war miracle, essentially resulted in extreme inflation of real estate prices in the s, with banks taking risks by offering very low interest rates and encouraging excessive consumption in the pursuit of better standards of living. The speculative bubble was, in fact, an opportunity to promote the national interest. Even though Japanese media and industry were involved in the globalisation which created imbalances between those who benefitted and those who suffered from it.

The Japanese speculative bubble also had an important effect on the market for art which became a place to invest. In , a sharp depreciation of the American dollar signalled the start of the long collapse of the bubble, as the Japanese found themselves with vast sums of devalued dollars. Dumb Type A collective bringing together artists, videographers, musicians, architects, choreographers, graphic designers, actors and computer programmers, founded in by students from Kyoto City Art College.

The collective aims to bring art out of museums and galleries through interdisciplinary performances, a cross between poetry and cynicism, featuring highly innovative installations combining audio and visual technologies. Their ambition is to produce a new type of show, which is not only entertaining but also politicised and committed the group actively campaigns in the fight against AIDS.

They are part of the movement which could be called Media Art, which emerged with the economic bubble of the s see Bubble economy. The movement quickly resonated with Japanese artists who, attracted by the American artistic circle of that period, lost no time in settling in New York to experience this interdisciplinary emulation. The forging of ties with Japan was organized by Yoko Ono who returned to Tokyo between and , with her husband at the time, the composer Toshi Ichiyanagi, and the Korean artist Nam June Paik, who came to Tokyo in ; they helped to create interest in performance art amongst other avant-garde artists in Tokyo, setting up to this end a Fluxus centre in Tokyo.

Hi Red Center In , the artist Genpei Akasegawa, together with Jiro Takamatsu and Natsuyuki Nakanishi, taking the English transcription of the first syllables of their names, formed a highly influential collective in the history of Japanese, post-war neo-avant-garde movement, Taka Aka Naka, better known as High Red Center.

Initially, they took part in the Yomiuri Independent Exhibition, an annual exhibition without jury or awards, organized by the Yomiuri newspaper company at the Metropolitan Museum of Art in Tokyo; then the Naika gallery offered them a place for a year to organise regular events. They worked with the choreographer Tatsumi Hijikata, who also took a novel interest in the body through a new form of dance performance, Ankaku Butoh style see Butoh. The seeming banality of the actions of Hi Red Center aimed to provoke reactions from passers-by, to incite the spectators to question the received ideas and the political propaganda.

In his fifties, Yoshinara worked alongside younger artists such as Kazuo Shiraga, Shozo Shimamoto and Atsuko Tanaka, and with his experience and material resources, he enabled the group to gain recognition quicker and more easily. Experiments marked by violence and repetition appeared in the works of some of the artists,such as Shimamoto. Action remained key, with the artists using the whole of their bodies to make changes to the materials, without necessarily producing an aesthetic result.

Japan-ness Made up of an English root word and suffix, this expression was defined, notably, by the architect Arata Isozaki, in an essay on architecture in Japan, published in , with the aim of identifying the characteristic features intrinsically linked to Japanese culture from the 7th to the 20th century. Isozaki pointed, in particular, to the efforts of his peers to create a specifically Japanese architecture based on modernity.

Taking the great shrines as an example, he showed how the periodic and ritual reconstruction of the building on the same site could be an alternative to the modern agonising quest to find origins. The building is not seen as an object but as an event, taking into account the social and historical context. It is a form open to re-reading and reinterpretation, and not frozen in its material quality.

A Japanese adaptation of Chinese and Korean painted scrolls imported by Buddhist monks, these scrolls were read from right to left and initially served to convey Buddhist ideas before becoming the horizontal support for all kinds of narratives. It is this work that gave the term its popularity in the West with the wave of Japanism in the 19th century. The first mangas to be thought of in the modern sense of the term were the caricatures of Yasuji Kitazawa published at the turn of the 20th century.

The explosion of the genre took place after the Second World War, under the influence of American comic strips. Major figures of the genre emerged at that time, amongst whom Osamu Tezuka, known as Manga no Kamisama the God of Manga , who was the first to make a series of animations for television.

Manga magazines became very popular in the s and different genres and categories of manga appeared, such as dramas taking place in fantasy historical settings. Female mangaka manga artists , in particular those of the Year 24 Group Nijuyo-nen Gumi , revolutionised manga for girls shojo manga. The phenomenon, which has become an industry, is closely associated with the otaku generation see Otaku. In , the Museum of Modern Art in Tokyo devoted a retrospective to Osamu Tezuka, fully integrating manga into the national cultural history.

In reality, the idea conveyed by this word translates innocence, infantility, purity and inexperience. The word is not new, although it only appeared in the dictionary after the war in the form kawayushi, which evolved around into kawayui, meaning shy, embarrassed, and also vulnerable. We can describe a young child, a person, an animal, a situation as being Kawaii. Kawai characters would soon surge into the entertainment industry see Manga, see Anime.

The Kawai style flooded all media, as well as the consumer goods and service sectors between and , peaking in the s. Besides the characters, Kawaii also defines a childish, horizontal writing with rounded characters, which breaks with the vertical writing and elongated form of the Japanese characters; It was initially adopted by teenagers, causing problems in schools.

The style was then taken up by business and the media, targeting women in particular: in , Sanrio, the creator of Hello Kitty, chose a marketing design aimed at attracting teenage girls; the brand rapidly claimed a monopoly on kawaii, and in the s, sales of its products increased exponentially outside Japan.

Media Art See Dumb Type. Ma The fundamental concept of Ma is used in Japan to define an aesthetic of the void and its variations: silence, space, duration.

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Map updates are paused. Zoom in to see updated info. Updating Map Establishment Type. Accepts Credit Cards. Outdoor Seating. Show more. Family style. Free Wifi. Cheap Eats. Brew Pub. Central European. Dining bars. Eastern European. Fast Food. Hong Kong. Middle Eastern. South American. Street Food. Wine Bar. Carrot Cake. Dim Sum. Foie gras. Fried rice. Ice Cream. Patatas Bravas.

Secreto Iberico. Tikka Masala. Vegetarian Friendly. Vegan Options. Gluten Free Options. Special occasions. Sort by: Highest Rating. You are zoomed out too far to see location pins. Please zoom back in. We found great results, but some are outside Kleinbettingen.

Showing results in neighboring cities. Somewhat unfriendly or cold service. We used to live in Port Washington and ate here once or twice a week. My husband was in the area a year or so ago and found that they had closed due to a fire. We tried our luck to see if he was We eat sushi constantly and feel that this is the best sushi we've ever had.

Fresh, fresh, fresh fish. The service should be copied by any restaurant. We were served complimentary edamame along with another little dish before we ordered and an assortment of fresh fruit at the end of our meal. The staff is so very friendly and the service is prompt. If I"m anywhere near Port Washington again, I will make it a point to go again. Food here is good in general also is the service. I come here a couple of times a month. They open at and sometimes run out of lunch special menu by Popular place.

I give this restaurant my highest recommendation. The sushi and sashimi are wonderfully fresh and beautifully presented. I moved from Port Washington to Manhattan some years back but this is one of the few places on Long Island I keep coming back to. The owner Service is exquisite. ANY of the food is a delight.

Soup, main course, pick your flavor! Nicely presented. The owner is always present to oversee and assist. Flights Vacation Rentals Restaurants Things to do. Skip to main content. Log in to get trip updates and message other travelers. Yamaguchi Restaurant, Port Washington. See all restaurants in Port Washington. Yamaguchi Restaurant Unclaimed. All photos Ratings and reviews 4. View all details meals, features.

Tuna Sashimi. Tempura Soba. Vegetable Zosui. Nori Chazuke. Show full menu. Is this restaurant good for business meetings? Yes No Unsure. Is this restaurant good for special occasions? Is this restaurant romantic? Does this restaurant have private dining rooms? Does this restaurant have a full bar? Does this restaurant offer highchairs for toddlers?

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