Bye Bye Kitty Hello Bunny


So that's all folks for 2010, with the year of the rabbit coming up after a turbulent year of the tiger. Hew are a few reflections and links to my blogs of the year before signing off.

Three big international shows are looming on my radar. Bye Bye Kitty, curated by former Mori Museum Director David Elliott, will try to show there is life for Japanese contemporary art after Murakami (at the Japan Society, New York, from 19th March), while in May, in Düsseldorf, Germany, with a show whispered to be premissed on a theme of "UnCool Japan", the Showa Yon Jyuu Nen Kai boys will hopefully restore their rightful place in Japanese art history, that has been more or less airbrushed out by the legacy of Superflat, Little Boy and Micropop. The other obvious big news in 2011 internationally will be Tabaimo at Venice, which will put the vision of the younger "zero" generation upfront. I'll be keeping a close eye on all three shows.

These are all topics I have been arguing about since I started this blog in July 2009, so lets hope somebody outside of the archipelago takes notice for a change. Otherwise, as Mario A is pointing out this week, all we have to look forward to is more Nippon Disneyland.

Murakami made a storm in a media teacup in Versailles, but I think the legacy of Nara's comprehensive exhibition and catalogue at Asia Society in New York will -- despite the lukewarm reception of critics there - have the longer lasting impact.

Nobody read my blog about Beat Kitano and Takashi M., but they should have: the Fishy French Connection was perhaps my personal favourite of the year, written in a 20th arrondissement cafe, no less.

Meanwhile, in Tokyo, where the serious Japanese contemporary art is happening, the opening and optimism of 3331Arts Chiyoda (one of my things to watch in 2010) has shown there can be some kind of alternative urban arts vision for Tokyo than big city corporate art.

Having said that, I thought Roppongi Crossing 3 was a memorable show -- and it sure was a pity that Art Asia Pacific spiked my review. Because did any foreigners see this show at all?

And so the Galapagosization of Japan continues apace, although we are all hoping for lively new things with the Tokyo Art Fair coming under the new younger generational leadership of Takehiro Kaneshima this year.

Like many people, I thought Yasumasa Morimura's Japanese touring show, "Requiem", was a brilliant exhibition, and probably the best thing I saw this year. I saw it in Tokyo, then Hiroshima later in the year. My only regrets about this, was why it is not being seen internationally, something I put as the most important question to his gallerist Shugo Satani and the curators involved.

My blog about Makoto Aida taught me that there is a huge following for this artist in Japan. Re-printed in the week of the opening, it scored 2000 plus hits in a couple of days.

A lot of people read my rant about Akira Asada too,

I had a wonderful time art-tripping to Setouchi and Aichi, and for a few minutes even had the I Love Yu baths to myself on Naoshima.

I also had a lovely time in Berlin in August with friends and artists there.

My profiles and interviews this year included Mai+Naoto, Ryu Itadani, Satoru Aoyama, Koki Tanaka and Yukihiro Taguchi.

Mai Yamashita+Naoto Kobayashi

Seeing Kanneuji, Tanaka and Nishi up high in Laurel Canyon, LA, was another highlight.

I haven't even written about it yet, but it was fantastic to visit Kohei Nawa's Sandwich factory in Kyoto, and to meet Tomoko Yoneda in London. I was also able to introduce to each other two brilliant writers who have helped and influenced me a lot: cultural sociologist Sharon Kinsella and art/fashion writer Kiki Kudo. This has led to the following sparkling event at the Barbican, London:

In New York, in November, I caught up with my PonJa GenKon friends, Reiko Tomii and Miwako Tezuka, who I helped out a little with the catalogue for the Nara show,

as well as enjoying more J-art talk with Ashley Rawlings, whose second edition of Art Space Tokyo appeared so very elegantly this year.

A busy year then. I am about blogged out, as well as months behind due to having devoted most of my writing energies to the "shinsho" I have been writing about Japanese contemporary art since the Bubble (more about that in the New Year).

Meanwhile, Northern Europe has been in deep freeze for months, and its another three before the cherry blossoms will start to appear ...

Happy New Year to all.





プラダ 財布
Bye Bye Kitty Hello Bunny
投稿元 : プラダ 財布 / 2013年07月13日20:57





10月 < > 12月

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17/02/26 20:29
Radicalism in the Wilderness
16/06/02 14:50
Kyun-Chome on a LTERNATE f UTURES
16/01/04 02:56
15/02/07 23:39
Raiji Kuroda on aLTERNATE fUTURES
14/09/15 16:37
100 More Momoshimas
14/08/04 03:27
Islands For Life
14/07/03 04:18
aLTERNATE fUTURES...... My New Blog
14/01/26 11:24
13/12/09 02:00
Yukinori Yanagi
13/09/25 21:28
Theory of Tempelhof


12/10/20 08:41
12/09/25 15:05
Mario A / 亜 真里男
Documenta 13
12/02/18 22:13
東京の10日 (1+2)
11/08/03 15:52
田中 敦子
11/03/19 19:48
10/09/15 11:07
Mario A / 亜 真里男
10/08/24 16:26
10/07/19 22:29
Motus Fort
Roppongi Crossing 2010
10/05/19 12:43
Beat Kitano à Paris
10/05/06 23:25
Asada Crossing


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