I’ve finally been able to post shots of the artists’ work from Beautiful New World: Contemporary Visual Culture from Japan, the show which my fiancée has been working on.The show was split over three venues in the 798 Art District in Beijing, Long March Space, Tokyo Gallery and Inter Gallery. Each venue presented works under a different theme within the Beautiful New World concept. Long March Space presented ‘Beautiful Real World,’ Inter Gallery ‘New Media World’ and Tokyo Gallery ‘End of the World and Future World.’
Category: Art
With a degree in Fine Art the world’s my oyster!!
Ujino Muneteru performance
The Japanese artist Ujino Muneteru performing at the opening night of the Beautiful New World exhibition at Long March Space, Beijing.
His accumulation of practical, everyday-life objects all are representatives of the tangible in our life. However, he experiments with the double-dimensions of those materials by creating also an intangible effect, namely sounds.
Before I go to China . . . Henry Moore
Just a quick post before I leave for Beijing in a few hours time.
I had a few hours spare yesterday morning, before I had to go to the airport to pick my parents up from their holiday, so I made a swift trip over to Kew Gardens to see the Henry Moore show.
Henry Moore, Large Reclining Figure, 1984
This is a great collection of 28 sculptures, placed within the landscaping of these botanical gardens. There is a real sense of these pieces working well with their surroundings. And it’s good to see them being used!
Despite the warnings, the pieces were being used as playgrounds by children who had been dragged along by their parents. I felt annoyed at first that I wasn’t able to appreciate the pieces in some kind of ‘pure’ state, without the distraction of people clambering over them, but I soon realised this was a great way to appreciate the pieces, by interacting with them, not just viewing them from afar in stately isolation.
Of course, this brings up questions about the preservation of art, questions which usually seem to be concerned with commercial value (as in “to touch a piece will reduce it’s value”), but I actually think we shouldn’t be so precious about these works where a physical relationship adds so much to the appreciation.
Crafting Beauty in Modern Japan at The British Museum, London
After savouring the delights of the Terracotta Warriors in the Reading Room at The British Museum I saw that there was a smaller show of craft-work from Japan upstairs.
The show, “Crafting Beauty in Modern Japan,” concentrates on the productions of Japan’s craft artists, many of whom have been designated ‘Living National Treasures’ in recognition of their skills. I love the idea of this accolade, the place that Japanese society apparently gives to the activities the result of which were on display in this exhibition. The small brochure talks about ‘tangible’ and ‘intangible cultural properties’: ‘tangible’ being “historic architecture, sculpture, painting and calligraphy, and craft objects as well as significant sites, scenic places, and particular plants and animals.” ‘Intangible’ includes “performing skills in traditional theatre and music, and craft techniques.” Those quotes from the brochure are not really adequate to explain the differing concepts involved, but there seems to be a distinction between the object and the activity here. I believe UNESCO has a similar designation now, which perhaps stemmed from the Japanese system.
The show has some gorgeous pieces. What comes across very strongly in the presentation is the attention to detail and evident, intense craft involved in the works. This gives the show an almost reverential feeling in its presentation of the various pieces. The value accorded to the pieces is not unique to this show, of course that is the function and result of placing anything in a museum, it will inevitably gain that ‘aura’ from being isolated for our attention. But this particular show taps into an existing tradition and appreciation of craft which massively adds to this aura.
At the same time these appreciations are not the same. Within a museum, the object loses it’s everyday use value, whereas I get the feeling that while the Japanese craftspeople value perfection and quality, in some ways a piece must be used to be completed. I’m generalising here, and working from limited knowledge, but this is the feeling I get from the show.
So, another wonderful show at The British Museum. As my fiancée keeps telling me, we are very privileged in London to have so many cultural institution on our doorstep.
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