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Trauma contasianart
1. Museum Entrance Welcome to the Title Museum Japan China Add Artifact 2 Add Artifact 4 India Press for Curator
2. India India Add Artifact 7 Add Artifact 6 Add Artifact 5 Add Artifact 8 Museum Entrance
3. China China Add Artifact 12 Add Artifact 11 Add Artifact 10 China continued Museum Entrance
4. China China Add Artifact 12 Add Artifact 11 Add Artifact 10 Museum Entrance
5. Japan Japan Add Artifact 16 Add Artifact 15 Add Artifact 14 Add Artifact 13 GUTAI Museum Entrance
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16. GUTAI Return to Room I s olated from the Western art world, artists in post-war Japan, began to question the value placed on I n tellectual art. As the struggle to find a contemporary art movement that would encapsulate a country starting over pressed on, artists like Yoshihara Jiro promoted a bold, anti-academic idea that true art lay in the chance encounter of the gu --- tool or material and tai --- body or substance. Jiro challenged his colleagues to c r eate what has never before existed . and with that, Gutai was born. Gutai members created works, performances and installations that rejected the modernist value on intellectualism. Influenced by the more imaginative process of children ’s art and their ability to tap into an uninhibited mode of creativity, the movement worked to establish a universal artistic language that thrust Japanese avant-garde into the global art community. Focusing on materiality, action and raw human emotion, Gutai artists reached out in hopes to bridge the gaps between Japan and the rest of the world following the trauma of the second World War. Themes of impermanence, renewal, self-reflection and improvisation fueled open-air exhibits that exposed works to the elements. This emphasized materiality and allowed for viewers to interact instinctively with the exhibition space, as well as the pieces that exist within it.
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22. Trauma Due to The Interjections of The West Return to Room
Notes de l'éditeur
Take note of the thick relief like lines, usually seen in relief prints where copies of the same image can be produced, possibly to serve the masses. Wang Guangyi’s Great Castigation Series: Coca-Cola!, gives the impression of a superficial combination of political and commercial symbols with overt cynical tones. When looking at his work, a quote by Andy Warhol comes to mind: “the richest consumers buy essentially the same things as the poorest. You can be watching TV and see Coke, a Coke is a Coke and no amount of money can get you a better Coke -- all are the same and all are just as good.” Juxtaposing this egalitarian attitude with Great Castigation Series: Coco-Cola! shows that consumer culture and the ideology of the Mao era are not that far apart, making this piece a critique on how Chinese society has gone from being blindly led by the state to being blindly led by western consumer products.
